Paulo's Picks

2011 Movie Reviews

2011-05-09T14:08:00.105-04:00

All films have a U.S. release date of 2011 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

Update:
2.7: Killer Elite - 5/10 (video)
2.6: Cars 2 - 3/10 (video)
2.6: Take Shelter - 9/10 (video)
2.4: The Iron Lady - 6/10 (theater)
2.4: Sucker Punch - 3/10 (video)
2.4: If a Tree Falls: A Story of the Earth Liberation Front - 5/10 (video)
2.3: Real Steel - 6/10 (video)
1.30: Rampart - 3/10 (theater)

13 Assassins [Jusan-nin No Shikaku]: 7/10 - With a plot-structure essentially the same as Kurosawa's influential "Seven Samurai" (1954), director Takashi Miike has created an engaging and constantly entertaining men-on-a-mission film.

50/50: 8/10 - A comedy that works is a rare occurrence these days, so when one comes along, it should be admired. Joseph Gordon-Levitt delivers a very good performance in the lead, Seth Rogen works perfectly as comedic relief, and best of all, Will Reiser manages to craft a strong script that doesn't fall apart and let us down in the third act like so many recent comedies.

The Adjustment Bureau: 4/10 - The movie is a mess from top to bottom, but director George Nolfi's decision to allow the boom mic to slip in and out of nearly every scene left me feeling irate through the entire experience. Supposedly it was an artistic decision, one I hope will never be duplicated again.

Another Earth: 5/10 - Screenwriters Mike Cahill and Brit Marling (he directs and she stars) have crafted a thought-provoking premise, but neither one has any idea of what they should do with it.

The Artist: 8/10 - The film's first 30 minutes or so are astoundingly beautiful and brilliant, with scene after scene of memorable moments. Unfortunately, it does lose some steam during the middle and it could have benefited from some tighter editing. Make no mistake though, I was thrilled to see a film this far outside the box (a silent film) done with such mastery at this point in time, and I applaud the efforts of director Michel Hazanavicius and star Jean Dujardin.

Bad Teacher: 6/10 - I went into the film expecting an abomination, but was pleasantly surprised by a mostly funny comedy. It's a hybrid of films we've all seen before -- especially "Bad Santa" (2003) -- but the laughs hit more than they miss, which I consider a success today.

The Beaver: 5/10 - Mel Gibson gives a strong performance and Jodie Foster does very well behind the camera, but this is a really bad script -- all-time bad. In the end, regardless of the talent involved, it's a story about a depressed man walking around with a Beaver puppet on his hand. It felt more like an exercise stripped from a college acting class than it did a feature film.

Beginners: 3/10 - A very dry, existential movie-viewing experience. While there are moments to remember -- and Christopher Plummer is always a pleasure to watch -- the mostly sloppy filmmaking of Mike Mills keeps the viewer at a distance.

A Better Life: 6/10 - This is a good film with solid-storytelling and a strong performance from Demian Bichir. It's nearly impossible not to draw the obvious comparison with De Sica's "Bicycle Thieves" (1948), which also unites a man and his son in search of the only piece of tangible hope within their grasp.

Bridesmaids: 5/10 - Director Paul Feig moves his overblown, two-dimensional characters from set-piece to set-piece, giving them free-reign to try and get laughs through any means possible. While there are some moments of humor, the result, for the most part, is an awkward, overlong bore.

Captain America: The First Avenger: 4/10 - Easily one of the worst films that Marvel has produced -- it's extremely corny and disengaging. The bright-side of course is that it has laid the final piece of groundwork for "The Avengers" (2012), which has been building up to release for a few years now.

Cars 2: 3/10 - Pixar apparently can screw up after all. This is their worst film since "A Bug's Life" (1998).

Certified Copy [Copie Conforme]: 8/10 - Writer/Director Abbas Kiarostami has crafted a brilliant exploration of the affects perception and emotion can have on the reality of a relationship. There are several possibilities still rattling around in my head for what actually happened during the film, but with each one, Kiarostami's theme is triumphant, only making the point that perhaps the exact details of the plot aren't relevant at all. Just as impressive as the filmmaking is a genuinely astounding performance from Juliette Bionche, who has to carry a truth with her throughout the entire film without the audience ever fully understanding the parameters of her character.

The Change-Up: 7/10 - I really can't ask for anything more from an elicit, raunchy R-rated comedy. The film's premise involves two (very different) friends swapping bodies, so the suspension of disbelief bar is placed extremely low to start with. There are also two great performances from Jason Bateman and Ryan Reynolds that keep the laughs constant.

Conan O'Brien Can't Stop: 5/10 - Filmmaker Rodman Flender follows comedian Conan O'Brien around on his 32-city comedy tour that followed his departure from the NBC Tonight Show in 2010. I find Conan mildly entertaining, but all this documentary revealed to me is how hollow of a man he really is -- his drive for success far outweighs his talent and the footage of him during his touring downtime only magnified his flawed, selfish -- and often cruel -- character.

Conan the Barbarian: 5/10 - A mindless action film with a plot as silly as one should expect from viewing the trailers.

The Conspirator: 7/10 - The film centers on the trial of Mary Surratt, the first woman sentenced to death in American history, for her involvement in the assassination of President Lincoln. From context alone, the film is interesting and engaging; however, Robert Redford falls somewhat short in his direction, failing to deliver the finer details needed for a period piece like this one to become greater than the sum of its parts.

Contagion: 4/10 - Superficial and scattered; it's really baffling to think Soderbergh didn't see where this train-wreck was going during the filming. For a film that centers around massive loss of life, it's somewhat of an accomplishment for a director to never create an emotional connection between his audience and any of the characters on screen.

Crazy, Stupid, Love: 7/10 - While the script often struggles from the same ailments most modern comedies do, I'll forgive the forced twist for the simple reason that it creates the funniest scene in the film. As a whole, the film works due to strong performances from the entire cast and a tremendously enjoyable effort from Ryan Gosling, who you can clearly tell was having more fun than anyone with his chance at such an atypical role.

A Dangerous Method: 5/10 - It was incredible to watch writer Christopher Hampton and director David Cronenberg transform some of the most brilliant minds in history into two-dimensional talking heads. The ideals of Freud, Jung and Spielrein are certainly offered up to be discerned, but the flesh and blood that created them is nowhere to be found -- as viewers, we're left to see the creation of psychoanalysis from the perspective of a history book rather than a reimagining of what actually may have transpired.

The Debt: 7/10 - The film's strength is in exploring the plot-line of the younger characters as they exercise their mission to extract a Nazi war criminal from East Berlin in 1965 -- director John Madden does well with those scenes, crafting suspense at every turn. It's unfortunate to see the film take such silly turns in the narrative that runs parallel, 30 years later.

The Descendants: 4/10 - Director Alexander Payne's ("About Schmidt," 2002, and "Sideways," 2004) latest film is off-tune from start to finish, and in turn, none of the acting is very strong since none of the characters are ever believable constructs of any reality I've ever known. Payne is so concerned with style that the film gradually slips into irrelevance -- there's never really a reason to care about anyone on the screen, nor is there ever a moment to think of the characters as anything more than actors collecting a paycheck.

The Dilemma: 4/10 - Silly, over-the-top, and rarely deserving of your attention. In a more positive light, Vince Vaughn turns in another strong comedic performance, so it's frustrating to see him waste his talents on such a week script.

Drive: 9/10 - I often make the mistake of not reserving judgment on a film until it concludes; making resolutions in my mind as the film unfolds. At first, the movie felt to me like a lesser "Taxi Driver" (1976), with a somewhat contrived script. In retrospect, it's meant to be a superficial fairytale, not an introspective social statement -- maybe the better comparison to make would have been to Malick's "Badlands" (1973). While Ryan Gosling is very good in his lead role, make no mistake, the film is driven by director Nicolas Winding Refn.

The Girl with the Dragon Tattoo: 9/10 - It was impossible for me to go into the film without carrying the memories of the Swedish version from 2009 (a movie that I greatly enjoyed). Amazingly, even knowing every detail of the mysterious plotline, I was gripped the entire way through. Director David Fincher has crafted a near masterpiece with his latest work -- something that certainly stands on its own merit and should be heavily considered come award season.

The Guard: 5/10 - Endearing performances from Brendan Gleeson and Don Cheadle squeeze all they can out of this quirky Irish comedy.

Hall Pass: 4/10 - There's really one major difference between "Hall Pass" and "Wedding Crashers" (2005): Vince Vaughn. If you took his semi-brilliant performance out of the now-comedy-classic, you'd be left with exactly what we're given in Owen Wilson's latest film: lukewarm comedy mixed with a few over-the-top characters to remind us all that we're watching a movie intended for teenagers.

The Hangover Part II: 3/10 - Just about as terrible as the first one, so I suppose if you liked that, you'll like this. My major issue is that I find Zach Galifianakis inherently unfunny.

Hanna: 6/10 - While the script is paper thin, director Joe Wright infuses enough cinematographic style and creative supporting characters to keep the film enjoyable. It'd be interesting to see him tackle an action film with more substance.

Hell and Back Again: 3/10 - A documentary about an injured marine's return home, juxtaposed with footage taken from his time in Iraq. Considering the material, the finished project is shockingly stale and non-engaging.

The Help: 6/10 - A great ensemble cast keeps the film engaging, but the harsh subject material is watered-down too far for it to be taken very seriously. The overlong runtime doesn't do it any favors either.

Hesher: 5/10 - It would be easy to excessively pan this movie for being so ridiculously implausible that only anger and resentment to its existence could result from viewing it, but I can't bring myself to do that. After all, I kept watching it. I'm not exactly sure why though: maybe it was the strong performances -- especially by the title character Hesher, portrayed by Joseph Gordon-Levitt -- or maybe it was due to the continual use of Metallica songs that guide the film from point A to point B; in either case, I kept watching...and I don't imagine forgetting the film anytime soon.

Horrible Bosses: 7/10 - When a script premise is as ridiculous as this one, the ceiling on the film begins to lower before the opening title; however, director Seth Gordon and the pitch-perfect cast squeeze every ounce of potential out of the project. Kevin Spacey and Jennifer Aniston especially are able to elevate roles that in most other hands would have been cringe-inducing disasters.

Hugo: 9/10 - The first half of the film is a very well-made family movie with great use of 3D technology (though I'm still not sold on the medium as it stands currently); the second half of the film is Martin Scorsese's love letter to cinema, which is a movie-going experience I'll never forget. It's a profound experience to see what a gifted filmmaker can do behind the camera, regardless of the subject material -- and I think it's fair to state that "Hugo" marks Scorsese's furthest departure from his typical comfort zone.

The Ides of March: 9/10 - George Clooney has created a brilliant political drama that depicts the cause and effect of corruption more effectively than any film of its kind that I can think of. The movie, while easily predictable, manages to be gripping from the opening scene -- aided enormously from yet another strong performance from Ryan Gosling and great supporting roles for Paul Giamatti and Philip Seymour Hoffman.

If a Tree Falls: A Story of the Earth Liberation Front: 5/10 - The issue with the documentary is its vantage point, following a protagonist who no one should have sympathy for unless their moral compass is irretrievably broken. In itself, that is not a fault, but filmmaker Marshall Curry clearly allowed himself to be swayed by the man's story, in turn losing site of what should be the pinnacle of common sense.

The Iron Lady: 6/10 - With each performance, Meryl Streep's talents seem more and more uncanny. It's only unfortunate that her brilliant portrayal of Margaret Thatcher is mostly wasted in a film that chooses to devote a majority of its time on her slide into dementia instead of her rule over Great Britain as one of the most influential leaders of the 20th century.

J. Edgar: 8/10 - Clint Eastwood has created a biopic that starts off cold and unfeeling, but gradually transforms into something more. I can't be certain when the moment occurs, but by the end I was genuinely drawn into the fascinating life of a man who was perhaps America's most fascinating historic figure. As has become expected, DiCaprio is pitch-perfect in the role; it's to a point where I feel that I'm starting to take his talents for granted, which isn't fair to man who has still not been awarded a Best Actor Oscar. At the least, a nomination is certainly coming.

Killer Elite: 5/10 - It's a really weak script, but Jason Statham and Clive Owen have some fun with it; Deniro -- who is enormously miscast -- struggles with it the whole way through unfortunately.

Larry Crowne: 6/10 - While the characters are certainly endearing, Tom Hanks behind the camera -- as a writer/director -- is missing the genuineness that makes him so special as an actor.

Limitless: 6/10 - I love the concept -- the idea of allowing a human to efficiently maximize his/her potential; drawing from all memory at a moment's notice and calculating complex, real-world algorithms in seconds -- unfortunately, the formulaic plot-structure really drags the film's potential into the gutter.

The Lincoln Lawyer: 6/10 - The movie is just about exactly what I expected it to be: mindless entertainment with a forced twist at the end. McConaughey and his ensemble cast deliver relatively strong performances though, keeping the film rolling and preventing numerous pitfall dragging points.

Margin Call: 6/10 - With "Too Big to Fail," we were able to see a re-enactment of the economic crash in 2008 from a macro perspective; with "Margin Call," we see a fictionalized recount of the 24-hours leading up to the historic Lehman Brothers collapse. While it's essentially just more of the same thing, it's a topic that I find infinitely interesting.

The Mechanic: 6/10 - The plot is about as simple as it gets, but Statham and Foster keep the material engaging. It's a straight-forward and often enjoyable action film.

Meek's Cutoff: 6/10 - Director Kelly Reichardt has crafted a throwback western, giving significant focus to the women included in a caravan traveling the Oregon Trail in 1845. The narrative feels stoic and we get a sense early on that we're meant to feel the experience of the journey more than we are meant to project ahead to the destination.

Midnight in Paris: 8/10 - Woody Allen's latest film is about as flawed as a masterpiece could ever be, putting me in the difficult position of trying to evaluate it in spite of his glaring mistakes -- specifically, the two-dimensional caricatures he wrote for the protagonist's fiancee (Rachel McAdams), her friends, and her family. If one's able to lobotomize them from the film, even if only for a moment, the result is one of the more wonderful experiences I'd expect to have this year in theaters.

Mission Impossible - Ghost Protocol: 7/10 - One of the stronger entries into the series and a worthy action film in its own right. The narrative weaves us from one set-piece to the next, but never leaves us bored -- though, I will note that the cast chemistry is about as cold as I've ever seen for a "men on a mission" film.

Melancholia: 6/10 - Lars Von Trier's success typically comes when he creates a perfect thematic allegory on screen and then plays with the variables as only he can. With his latest film -- using the impending apocalypse as a metaphor for depression -- he doesn't fit it all together quite so tightly, and as a result, the film's internal logic doesn't always add-up and his characters never breathe life on their own.

Moneyball: 7/10 - The film certainly maintains an agenda to favor Billy Beane's legacy, but I'm ok with that. The man revolutionized the game of baseball by allowing a new approach in baseball player-evaluation to find its way into mainstream acceptance. Brad Pitt does well in the lead role, but like most Aron Sorkin screenplays, he's the star.

The Myth of the American Sleepover: 3/10 - The film is a reoccurring nightmare of bad acting and sloppy filmmaking all the way through.

My Week with Marilyn: 8/10 - This is a great film in sole part because of Michelle Williams' brilliant performance, which elevates everything else in the movie above what it should be. Her encapsulation of Monroe allows all of director Simon Curtis' themes to work despite his often mediocre executions. The rest of the cast does well to move aside, especially Branagh (portraying Lawrence Olivier), who effortlessly pulls back exactly when he should.

Nostalgia for the Light [Nostalgia de la Luz]: 1/10 - While I admired filmmaker Patricio Guzman's vision of connecting the past with the future through astronomy and archeology, his film really misses the mark and lacks any form of focus.

No Strings Attached: 5/10 - The film feels like what would happen if HBO or Showtime decided to air a sitcom and then stretch one episode out to nearly two hours. In film form, it fails more than it works -- we see two-dimensional characters find themselves in marginally funny scenarios while waiting (and waiting) for them to reach the inevitable conclusion. On a more positive note, the talented Natalie Portman does all she can to be funny and sexy in a mostly dull film -- it'd be interesting to see what she could do in a comedy with better material.

Page One: Inside the New York Times: 6/10 - The revolution away from print media is an endlessly interesting topic, but the footage filmmaker Andrew Rossi compiled feels very scattered at times. Also, ironically enough, even though the film's contents were only a year old, it managed to feel dated. I suppose, if nothing else, that's a sign of how imperative it will be for print media to adapt at unprecedented rates to stay alive.

Point Blank [À Bout Portant]: 7/10 - A paper-thin plot that carries along enough adrenaline to allow the viewer to get lost in the action. Director Fred Cavaye follows the model for what an action film should be -- and it works -- which is more than can be said for most Hollywood action films, with inflated runtimes and failed character development.

Rampart: 3/10 - An egaging performance from Woody Harrelson doesn't save Oren Moverman from the muddled mess he's created.

Rango: 5/10 - I'm very torn with "Rango" because it's a movie I should have enjoyed more than I did. The film was seemingly made for movie-lovers; it's an innocent, animated, satirical homage to every Western I've ever seen, yet I sadly found myself wishing it had a little more meat on its bones.

Real Steel: 6/10 - It's a contrived and often agonizingly unoriginal script, but the film has heart and Hugh Jackman has some fun with the role.

Rise of the Planet of the Apes: 6/10 - It's exactly the film I expected it to be -- nothing more; nothing less. It requires a tremendous amount of suspension of disbelief and James Franco is really terrible in the lead...still, it's certainly never boring.

A Separation [Jodaeiye Nader az Simin]: 7/10 - Director Asghar Farhadi allows his viewers to act as voyeurs, observing a group of generally good people in a morally complex situation. I kept waiting for the other shoe to drop -- expecting a Hollywood-like twist -- but it never came; instead it remained a very bare-bones character study, where the idea of right and wrong never quite seemed to fit.

Shame: 8/10 - A strong film with a great performance from Michael Fassbender, who bravely tackles the subject of sex addiction without limitation. Director Steve McQueen was wise in his choices, letting each scene drag on just a little longer than one would expect, allowing the viewer to follow the narrative as an intimate voyeur incapable of intervention.

The Skin I Live In: 8/10 - Pedro Almodovar is on a very short list of the most talented directors working today, but he always seems to tackle absolutely bizarre material. His latest film is no exception -- in fact, it's perhaps the strangest film I've ever seen -- but his beautiful style is able to overcome any quandaries one might have about the content.

Source Code: 7/10 - I love the idea of exploring brain activity after death, largely because as an atheist, it's my only insight into an afterlife. "Source Code" takes the thought-provoking concept and squeezes it into a highly entertaining action film.

Sucker Punch: 3/10 - Expertly filmed, beautifully photographed garbage -- wasting so much talent on such worthless and misguided content is bewildering. I can only hope that Zack Snyder looks to better material in all of his future endeavors.

Super 8: 5/10 - J.J. Abrams film is all style over substance. It's the idea of great filmmaking stuck in a plot that isn't designed to support greatness. The best I can offer to Abrams is the compliment of that in lesser hands, the film would have likely been entirely unwatchable.

Tabloid: 9/10 - "She’s not an evil person. I mean, she’s...just a bit crazy, eccentric...self-obsessed and self-involved, manipulative...and barking mad! Probably. Basically." Documentary filmmaker Errol Morris has crafted his finest film yet, allowing viewers to examine the life of Joyce McKinney, a former Miss Wyoming who was charged with abducting and raping a young Mormon man she loved. The film plays out like a real life "Rashomon" (1950), as we eagerly listen to the various versions of the bizarre tale unfold before us.

Take Shelter: 9/10 - Writer/Director Jeff Nichols has crafted a brilliant film, delving into the the life of a man spiraling deep into mental illness. Michael Shannon is a tour de force in the lead, delivering one of the year's great performances, and Jessica Chastain -- in one of her four strong performances of the year -- does very well as Shannon's wife.

Thor: 7/10 - A largely entertaining film that suffers from a very difficult script. Long before Thor makes his way to earth, the viewers are fed the complicated events that lead up to his journey, which at the time (and in retrospect) felt more like an overlong prologue. Director Branagh (well known for his work with Shakespeare adaptations to the screen), did an admirable job in piecing the sections together, but the cost of such a plot-line led to an inevitable time-crunch in generating any kind of on-screen chemistry between the two leads (Hemsworth and Portman).

Tinker Tailor Soldier Spy: 7/10 - A very tightly woven espionage mystery with a perfect cast that gradually builds momentum toward the conclusion. Its fault comes only in how neatly pieced together everything is -- sometimes at the cost of viewer understanding -- but I'd always prefer a film be more challenging than less.

Too Big to Fail: 7/10 - Director Curtis Hanson's newest film is a re-enactment of events rather than a non-fiction film, the difference being two-fold: every character is two-dimensional and every line spoken by one is done to further the plot. The result is a very entertaining and fascinating film with virtually no depth.

Transformers: Dark of the Moon: 3/10 - There's a very cool, well-shot 20-30 minute sequence where a Chicago skyscraper is sawed in half, but it's surrounded by two-hours of pure nonsense.

Tree of Life: 10/10 - Despite my initial temptation, it would be foolish to call this a flawed film as it is so personal; I suspect every frame is exactly as director Terrance Malick wanted. The best comparison that can be given would be to Tarkovsky's "The Mirror" (1975), though instead of traveling inward, Malick decides to expand his scope outward -- an immeasurably more difficult task. The result is a film that tells the story of our universe, using a small Texas town in the 1950s as the focal point. I applaud Pitt's performance, but this is Malick's film and his camera is the star -- we follow his vision as the imagery weaves us through one of the more unforgettable journeys one could have in a theater.

Trust: 8/10 - Director David Schwimmer's success with "Trust" comes from the creation of a fully realized, perfectly written character, portrayed poignantly by Liana Liberato. It's rare to see such complex subject matter (child sexual abuse) handled so well, so I can only applaud Schwimmer for his brutal, yet elegant approach. My only gripe would be in the frequent narrative shifts to the father's (Clive Owen) search for vengeance.

Unknown: 4/10 - The issue with twists today is that the audience is now trained to look for them. In the 1990s, films like "Usual Suspects" (1995) and "The Sixth Sense" (1999) were genuinely able to shock the audience, but I wonder if they'd work at all if released in 2011. The resolution to that issue for many screenwriters is to simply make the twists more and more ridiculous. I can genuinely state that the twist in "Unknown" caught me by surprise, but in reflection I feel more cheated than exhilarated since the twist was completely ridiculous in the context of the film I was shown. Worth adding, I also find it astounding that January Jones has a career as an actress.

War Horse: 1/10 - I made it through most of the movie, but each second was increasingly more difficult. The film is embarrassingly bad, to such an extent that I actually feel it hurts Spielberg's legacy.

Warrior: 7/10 - Easily the most contrived film I've ever seen, but it's amazing what good acting and solid storytelling can make you forget during a film experience. Tom Hardy is exceptional and I really hope he isn't forgotten come award season.

Water for Elephants: 8/10 - The viewing experience for "Water for Elephants" was both highly enjoyable and frustrating: director Francis Lawrence does well in creating a throw-back to old-fashion film-making, but he doesn't take any risks throughout -- it's as if he was content to follow the color-by-numbers, directing-101 manual. However, it's difficult to blame someone for not creating a masterpiece, when the finished result was as good as this film is. Christopher Waltz steals every scene he's in (much like his work in Tarantino's Inglourious Basterds) and Robert Pattinson does well as the brooding lead character, Jacob; sadly Reese Witherspoon fails in every conceivable way in what is one of the worst performances of her career.

We Need to Talk About Kevin: 6/10 - I didn't buy into any of the characters' internal logic or in how the plot progressed, which had me feeling uncomfortable and frustrated throughout the entire film. Still, just as I would never re-watch it, I never would have turned it off before seeing how it concluded. If nothing else, it demands that the viewer think, which I appreciate.

Win Win: 6/10 - A little too formulaic for a quirky drama and not quite enough laughs for a quirky comedy, but the film's performances all have enough heart to really bring the characters to life. This is the type of role that Paul Giamatti was born to play, so in a matter of moments, he brings you into his little world and you actually care about his well-being.

Winnie the Pooh: 6/10 - It's difficult to objectively critique a film whose cast of characters is closer to my heart than any other and a film whose target audience is under the age of five. For nostalgic purposes alone, the film is worth the viewing, but if you have no such connection, it's likely something that you should leave to the little ones.

X-Men: First Class: 6/10 - The film is just about what you expect it to be, which is fine, but don't go in with hopes of something that elevates itself beyond the baseline for the genre. The one bright-spot is Michael Fassbender's performance as Magneto, which shows some flashes of a future star.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

The 100 Greatest Films

2011-03-09T12:02:00.000-05:00

Regretfully, I haven't seen many films within the last year that merit a position on this list -- even the few films I've added were viewed about a year ago. Due to 2010 being such a weak year for film, it left me uninspired to seek out as many old classics as I typically would. Hopefully 2011 proves to be more engaging.

The following list represents what I feel to be the 100 greatest movies. Following a film's title, in parenthesis, is each director's last name and the year of the film's release.

1. The Godfather (Coppola, 1972)
2. Stalker (Tarkovsky, 1979)
3. Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb (Kubrick, 1964)
4. Casablanca (Curtiz, 1942)
5. Apocalypse Now (Coppola, 1979)
6. Double Indemnity (Wilder, 1944)
7. Citizen Kane (Welles, 1941)
8. Wild Strawberries (Bergman, 1957)
9. There Will Be Blood (Anderson, 2007)
10. The Graduate (Nichols, 1967)
11. Last Tango in Paris (Bertolucci, 1972)
12. 2001: A Space Odyssey (Kubrick, 1968)
13. Ugetsu Monogatari (Mizoguchi, 1953)
14. Taxi Driver (Scorsese, 1976)
15. Jules and Jim (Truffaut, 1962)
16. The Godfather, Part II (Coppola, 1974)
17. The Good, the Bad, and the Ugly (Leone, 1966)
18. The Treasure of Sierra Madre (Huston, 1948)
19. The Mirror (Tarkovsky, 1975)
20. The Princess Bride (Reiner, 1987)
21. Mulholland Dr. (Lynch, 2001)
22. On the Waterfront (Kazan, 1954)
23. Lawrence of Arabia (Lean, 1962)
24. Rocky (Avildsen, 1976)
25. Rashômon (Kurosawa, 1950)
26. Chinatown (Polanski, 1974)
27. Star Wars (Lucas, 1977)
28. One Flew Over the Cuckoo’s Nest (Forman, 1975)
29. Unforgiven (Eastwood, 1992)
30. 12 Angry Men (Lumet, 1957)
31. Raging Bull (Scorsese, 1980)
32. Ordet (Dreyer, 1955)
33. A Fish Called Wanda (Crichton, 1988)
34. Paths of Glory (Kubrick, 1957)
35. First Blood (Kotcheff, 1982)
36. JFK (Stone, 1991)
37. Patton (Schaffner, 1970)
38. The Big Lebowski (Coen Brothers, 1998)
39. 21 Grams (Inarritu, 2003)
40. Pulp Fiction (Tarantino, 1994)
41. Goodfellas (Scorsese, 1990)
42. Before Sunset (Linklater, 2004)
43. Singin’ in the Rain (Donen/Kelly, 1952)
44. The Seventh Seal (Bergman, 1957)
45. Heat (Mann, 1995)
46. Once Upon a Time in the West (Leone, 1968)
47. Closer (Nichols, 2004)
48. Amadeus (Forman, 1984)
49. Silence of the Lambs (1991)
50. A Clockwork Orange (Kubrick, 1971)
51. Bicycle Thieves (De Sica, 1948)
52. Bringing up Baby (Hawks, 1938)
53. The Good Shepherd (DeNiro, 2006)
54. Star Wars: Episode V – The Empire Strikes Back (Lucas, 1980)
55. Reservoir Dogs (Tarantino, 1992)
56. Sunset Blvd. (Wilder, 1950)
57. Away From Her (Polley, 2006)
58. City Lights (Chaplin, 1931)
59. The Deer Hunter (Cimino, 1978)
60. Braveheart (Gibson, 1995)
61. All About Eve (Mankiewicz, 1950)
62. Vertigo (Hitchcock, 1958)
63. Sleuth (Mankiewicz, 1972)
64. Make Way for Tomorrow (McCarey, 1937)
65. Donnie Darko (Kelly, 2001)
66. North by Northwest (Hitchcock, 1959)
67. Face/Off (Woo, 1997)
68. Jarhead (Mendes, 2005)
69. “I, Claudius” (Wise, 1976)
70. Jaws (Spielberg, 1975)
71. The Reader (Daldry, 2008)
72. Psycho (Hitchcock, 1960)
73. Network (Lumet, 1976)
74. Brokeback Mountain (Lee, 2005)
75. The Terminator (Cameron, 1984)
76. Wuthering Heights (Wyler, 1939)
77. Rosemary’s Baby (Polanski, 1968)
78. The Third Man (Reed, 1949)
79. The Last Picture Show (Bogdanovich, 1971)
80. A Streetcar Named Desire (Kazan, 1951)
81. Sweet Smell of Success (Mackendrick, 1957)
82. Some Like It Hot (Wilder, 1959)
83. The Killing (Kubrick, 1956)
84. Umberto D. (De Sica, 1952)
85. Andrei Rublev (Tarkovsky, 1966)
86. Before Sunrise (Linklater, 1995)
87. “The Decalogue” (Kieslowski, 1989)
88. The Assassination of Jesse James by the Coward Robert Ford (Dominick, 2007)
89. Tokyo Story (Osu, 1953)
90. The Matrix (Wachowski Brothers, 1999)
91. Stray Dog (Kurosawa, 1949)
92. White Heat (Walsh, 1949)
93. It’s a Mad, Mad, Mad, Mad World (Kramer, 1963)
94. Who’s Afraid of Virginia Woolf (Nichols, 1966)
95. McCabe & Mrs. Miller (Altman, 1971)
96. Lady Vanishes (Hitchcock, 1938)
97. Raiders of the Lost Ark (Spielberg, 1981)
98. Full Metal Jacket (Kubrick, 1987)
99. Scarface (De Palma, 1983)
100. Apocalypto (Gibson, 2006)

ADDED:
#64 Make Way for Tomorrow (McCarey, 1937)
#85 Andrei Rublev (Tarkovsky, 1966)
#91 Stray Dog (Kurosawa, 1949)
#95 McCabe & Mrs. Miller (Altman, 1971)

REMOVED:
Fear and Loathing in Las Vegas (Gilliam, 1998)
Fight Club (Fincher, 1999)
Gone with the Wind (Fleming, 1939)
The Odd Couple (Saks, 1968)

REMOVED EARLIER:
American Beauty (Mendes, 1999)
American History X (Kaye, 1998)
The Boat (Peterson, 1981)
Butch Cassidy and the Sundance Kid (Hill, 1969)
Casino (Scorsese, 1995)
The Departed (Scorsese, 2006)
Hotel Rwanda (George, 2004)
It Happened One Night (Capra, 1934)
Kill Bill (Tarantino, 2003/2004)
A Night at the Opera (Wood, 1935)
The Passion of the Christ (Gibson, 2004)
Se7en (Fincher, 1995)
Shadow of a Doubt (Hitchcock, 1943)
The Shawshank Redemption (Darabont, 1994)
Touch of Evil (Welles, 1958)
The Usual Suspects (Singer, 1995)
The Wizard of Oz (Fleming, 1939)

Looking Back at 2010 - Top 10 and More

2011-02-17T10:13:00.006-05:00

Like last year, I've delayed writing this post as long as I felt feasible so I could allow myself to see as many films 2010 had to offer as possible. While there are still a few movies that I haven't been able to see, with the Academy Awards quickly approaching, I think I've procrastinated as long as I can. At the time of this posting, I've seen 67 films with a US release date from 2010.

The Top 10 Films Released in 2010

1. Biutiful
2. Inception
3. Blue Valentine
4. Solitary Man
5. The Secret in Their Eyes
6. Black Swan
7. The Social Network
8. The King's Speech
9. The Girl with the Dragon Tattoo
10. True Grit

Individual Accolades

Best Director:
1. Christopher Nolan - "Inception"
2. Alejandro González Iñárritu - "Biutiful"
3. Juan José Campanella - "The Secret in Their Eyes"
4. Darren Aronofsky - "Black Swan"
5. Tom Hooper - "King's Speech"

Best Performance by an Actor:
1. Javier Bardem - "Biutiful"
2. Michael Douglas - "Solitary Man"
3. Ryan Gosling - "Blue Valentine"
4. Colin Firth - "The King's Speech"
5. Al Pacino - "You Don't Know Jack"

Best Performance by an Actress:
1. Natalie Portman - "Black Swan"
2. Noomi Rapace - "The Girl with the Dragon Tattoo"
3. Michelle Williams - "Blue Valentine"
4. Hailee Steinfeld - "True Grit"
5. Milla Jovovich - "Stone"

Best Screenplay:
1. Christopher Nolan - "Inception"
2. Aaron Sorkin - "Social Network"
3. Mark Heyman, Andres Heinz and John J. McLaughlin - "Black Swan"
4. Alejandro González Iñárritu, Armando Bo and Nicolás Giacobone - "Biutiful"
5. David Seidler - "King's Speech"

2010 Movie Reviews

2010-03-28T23:00:00.083-04:00

All films have a U.S. release date of 2010 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

127 Hours: 4/10 - All I could think about during most of this film was how much better it would have been in the hand's Kevin McDonald, the director of the great 2003 documentary, "Touching the Void." The issue with filming a story like this without a documentary style is that there's no action, conflict or interest through most of the run-time. As a viewer, I wanted to hear from Aaron Ralston, the real-life hiker who was pinned by the boulder; I didn't care about James Franco's mediocre interpretation or Danny Boyle's meaningless re-imagining.

The A-Team: 5/10 - Much like 'G.I. Joe' last year,"The A-Team" is over-the-top action that really can't be taken seriously. While all the characters are two-dimensional, the performances are mostly fun to watch.

All Good Things: 6/10 - The film is based on true events and the content is there to make an engaging film, unfortunately, nothing about the filmmaking is half as clever as director Jarecki seems to think it is. The film revolves around clumsy narrative structures, gaps in logic, and an underlying bias that always seems misplaced. However, I will add, regardless of the filmmaking, the story is fascinating and the cast is strong, making it a marginally intriguing experience.

The American: 5/10 - I admire what director Anton Corbijn was attempting to do in this film, however, in all the ways Jim Jarmusch succeeded with last year's great "The Limits of Control," Corbijn falls short. I make the comparison because both films are slow-paced, often surreal and involve hit-men; the distinction is that "The American" has a protagonist who strives for a human connection -- he seeks out love -- and it takes the screenplay in a direction that is not maintainable. The film slowly drifts into the purposeless examination of a character, instead of an idea. It's only made worse by a very odd performance from George Clooney, who is never quite sure of how he should be portraying the role.

Animal Kingdom: 6/10 - Ben Mendelsohn and Jacki Weaver create two of the most terrifying and creepy characters I've seen on screen in awhile and their performances keep an otherwise uneven film very engaging. Director David Michod wants this film to be very raw, which is obvious throughout the first half, but as the plot picks up, Michod becomes decidedly more fancy with how he chooses to capture the narrative -- the overall feeling I left with is that the filmmaking could have been much tighter, and in turn, the film could have been much better.

Biutiful: 9/10 - Inarritu's 4th film is uniquely brilliant and profoundly sad. It focuses on a a very flawed man dying from terminal cancer, trying to set his affairs in order before his time ends -- most notable on his list of things that need to be tended to, the welfare of his children after he's gone. Javier Bardem is pitch-perfect (as has come to be expected from him) and posses an innate sadness in his eyes that conveys Innaritu's message in every frame: we are all powerless.

Black Swan: 8/10 - Have you ever wondered what the outcome would be if David Lynch directed "Red Shoes" (1948)? Me neither...yet here it is. Darren Aronofsky has helmed a fascinating and horrific film; a deep, introspective look into the mind of a very damaged New York city ballet performer (Natalie Portman). Portman is impressive in her roll -- never misreading a scene or skipping a note -- it's her best work since "Closer" (2004) and I can only hope she continues to challenge herself moving forward.

Blue Valentine: 9/10 - I once read a great anonymous quote: "Men marry women in hopes that they will never change, and they do; women marry men in hopes that they will change, and they don't." I feel as though writer/director Derek Cianfrance could have used that line as his elevator pitch very successfully. The film is an examination of the birth and death of a relationship, and by the time we're half way through, we realize it has a life of it's own -- almost as though Cianfrance is sitting beside us, wondering along with us where the story is going. Of course, such an approach can only work with the right cast and Ryan Gosling and Michelle Williams are superb in their portrayals.

The Book of Eli: 4/10 - A short-sighted concept and a painfully illogical plot are partially saved by an engaging performance from Denzel Washington. I'm in no way recommending the film to anyone, but hell, I guess it could have been worse.

The Bounty Hunter: 2/10 - Laughably terrible. The plot is so random and ridiculous that it may even temporarily distract you from the awful acting. I really wish there was a way to better emphasize how bad this movie is, but I'm out of adjectives.

Brooklyn's Finest: 5/10 - Director Antoine Fuqua pulls us into the lives of three police officers using elegant tracking shots, almost stalking his characters through each scene. Fuqua is unable to prolong the charade for more than about thirty minutes though since the script really has no story to tell. None of the actors deliver believable performances and none of the characters have a story arc worth viewing.

Catfish: 7/10 - The filmmakers of this modern parable leave a lot on the table, but the message viewers are left with is an extremely important one; in turn, making the film important. It's somewhat amazing to consider how young the widespread use of the internet is -- so much so, that I don't feel most people are even capable of recognizing the repercussions of human interactions that are now made possible by it. The line to avoid crossing, as I can see it, is the emotional investment so many are willing to give to a virtual world.

Centurion: 2/10- Filmmaking at its worst.

City Island: 3/10 - There's nothing worse than a film that does nothing to mask that it's a film. Every character -- every line of dialogue -- is never anything more than words from a piece of paper. Creating a reality for viewers is the most basic and important thing for a filmmaker to do; writer/director DeFelitta falls woefully short in the task.

Cop Out: 3/10 - Incomprehensibly bad. It felt as though Director Kevin Smith and several of the actors were at times aware of how awful the script was, and in turn, hamming it up and winking at the audience -- unfortunately, that approach remained as inconsistent and sloppy as the plot.

Date Night: 3/10 - Roger Ebert, a film critic I greatly admire, gave this train wreck three-and-a-half stars; and after reading his review, I couldn't help but realize that I understood and agreed with every core point he made about comedy, yet blatantly disagreed with his application of these points on "Date Night." It's no different than the dozens of other comedies Hollywood churns out each year: cheap laughs, illogical plot structures and unbelievable characters jammed together by a director who has no concept of his own profession. It's not just unfunny, it's depressing.

Daybreakers: 3/10 - It's difficult to imagine such a promising premise reduced to such a worthless and illogical pile of crap -- by the end, the film had more conceptual holes than I could count. What could have been a breakthrough for the genre, was instead a decade regression.

Edge of Darkness: 4/10 - I'm not sure what the exact percentage is, but the translation of stupid scripts into stupid movies is probably very high. Combine that with deplorably poor and uninspired direction from Martin Campbell and you're left with what was generally a very tedious moviegoing experience. Despite Mel Gibson's acting strengths and enjoyable charisma, this film was setup to fail from start.

Expendables: 6/10 - While there's a lot in this film that could have been much better (and I can't stress that enough...), the characters work and the movie is conceptually a ton of fun to watch. See it for the nostalgia of an old-fashioned (1980s) action film and you won't be disappointed.

The Fighter: 5/10 - The film is a big mess on the whole -- extremely uneven and filled out with a cast of characters I simply disdained. The only aspect really worth noting is Christian Bale's role as the former boxer turned unreliable crack addict. It's a great performance--albeit often too flashy for the content--however, it's fascinating to just see how Bale literally transforms himself from one movie to the next. He's a remarkable actor, it's just unfortunate that the film offers nothing more than an outlet to showcase his chameleon-like abilities.

Fish Tank: 5/10 - As a character study, it's vapid; as an examination of a decaying culture, it's too narrow. The film keeps us engaged, largely due to a very strong debut performance from Katie Jarvis, but there's little else for filmmaker Andrea Arnold to hang her hat on.

From Paris with Love: 4/10 - The film is fun for a little while, but you soon realize that the entire plot revolves around a series of contrivances leading you from one set piece to the next. And while John Travolta is always enjoyable to watch in his over-the-top bad-ass schtick, his talents can't save the cringe-worthy and lifeless performance from Jonathan Rhys Meyers.

GasLand: 7/10 - The documentary is an important examination of the harm caused by natural gas drilling in the environment around it and to the Americans who live in close proximity. As necessary as I feel the message is, I left the film feeling disappointed in how short-sighted director Josh Fox is. His view is very direct and simplistic: Dick Cheney is the devil and natural gas drilling needs to stop immediately, yet both those thoughts aren't explored nearly enough to account for how prominently they're showcased. Maybe the responsibility doesn't land on Fox, but I have hope that someone can pick up where Fox left off and think bigger -- really dig into the issue and gut it down to the core; as is, I feel as if I'm left with an open, festering wound, with no understanding of why it's there or how to heal it.

Get Him to the Greek: 7/10 - Easily the hardest I've laughed during a movie in a very long time; if not for the awkward and disappointing last act -- an affliction many modern comedies suffer from -- this would have ranked very highly among the best films I've seen this year.

The Ghost Writer: 7/10 - Those willing to absorb the slow start will be rewarded by a tight, engaging political mystery. Roman Polanski is a master at creating suspense and his latest film proves that he still has some gas left in the tank.

The Girl with the Dragon Tattoo [Män som hatar kvinnor]: 8/10 - This rating is probably more a reflection of how bad everything else is this year, as the film does have many faults. Nonetheless, it's among the better movie experiences I've had in recent memory and was thoroughly enjoyable all the way through. It's an intriguing and genuinely engaging mystery thriller that should satisfy all viewers.

The Girl Who Played with Fire [Flickan som lekte med elden]: 4/10 - The sequel to "The Girl with the Dragon Tattoo" is about as underwhelming as a film can be -- the plot is overwhelmingly uninteresting and rarely makes any sense. It's really unfortunate to see such a drastic falloff from the original, especially considering the trilogy was filmed all at once; it's not as if the sequel was forced by the studio.

The Girl Who Kicked the Hornet's Nest [Luftslottet som sprängdes]: 5/10 - The problems that this last chapter in the trilogy suffer from are not at all unlike the issues the second film, "The Girl Who Played with Fire," were afflicted with. It's blatantly clear that the final product of both films was callously ripped from something far more grand -- they were simply translated from novel to movie in a ridiculously sloppy fashion. Looking back at all three films, I will remember the first very fondly and do my best to forget the jumbled messes that followed it.

Going the Distance: 3/10 - Boy meets girl...they fall in love...but they live in separate cities...bickering ensues...they end up together and live happily ever after. There's virtually no conflict in the film, so it's not a drama, and there's not enough laughs for it to be a comedy -- its existence defies both genre and purpose.

Green Zone: 4/10 - "Green Zone" suffers from a very familiar pitfall: trying to make a film around an idea, forcing in everything else...you know, like believable characters and a rational plot. The "idea" that I reference is the common conception that the U.S. acted hastily (and possibly foolishly) in disbanding and disenfranchising the Iraqi military once Bagdad was occupied in 2003. Unfortunately, that idea isn't enough to support a Hollywood thriller; instead we're led on a ridiculous journey through the thought process of a very biased mind.

Grown Ups: 2/10 - It felt as through I was watching 100 minutes of outtakes of all the bad jokes and poorly written scenes that would typically not make it into a big budget Hollywood movie -- sadly, the scenes weren't taken from anything more grand -- the film was nothing more than an opportunely for Adam Sandler to give some of his old buddies a hand out.

Hot Tub Time Machine: 3/10 - The characters are unbelievable stereotypes and the plot is understandably ridiculous, yet it gets worse than that. Much worse. The film's major pitfalls actually come in the inexplicable editing and child-like plot structure. It's almost as if the world's worst writer, who wanted to jam into one movie every concept he had ever known, teamed up with the world's worst editor, who thought he could simply remove every other scene in an effort to reduce the run-time.

How Do You Know: 4/10 - Off the top of my head, I feel comfortable saying that these are the most poorly written characters I've ever seen on screen. None of them work on any level, which in turn doesn't allow them to work together. It's shocking to see such a mess come from the pen of James L. Brooks.

How to Train Your Dragon: 6/10 - Dreamworks just can't seem to escape the shadow of Pixar. The film is good -- it's enjoyable all the way through -- but it lacks the humanity that I've come to expect from an animation film because of Pixar's efforts. The bar has been raised for years and I'm not handing out anymore free passes to those unable to keep up.

Inception: 9/10 - Christopher Nolan, borrowing greatly from Andrei Tarkovsky, has created a brilliant film and a wholly original screenplay (which is not a common occurrence in Hollywood these days) -- I give high compliments to Nolan for his bravery. I think the film's only flaw lands in Nolan not pushing the emotional depth far enough; he brings the audience to the brink of nostalgia and then backs off, which at times made the film feel like it could have offered up even more. There's really not much else I can add without spoiling key plot points, but that's probably for the best -- Nolan has created a great film that should be discussed and debated, not reviewed.

Iron Man 2: 4/10 - While my rating is slightly higher for this than its predessesor, that's in no means an endorsement, but rather a product of significantly lower expecations going into the sequel. As I mentioned in my critisiscm of Director John Favreau's first installment of the comic book hero, when a superhero film is based in the real world, the leesh on suspension of disbelief is shortened, thus making the illogical characters, ridiculous plot and awful acting (by most involved) more troublesome to accept. What I cannot argue is the fact that it is a perfectly mindless way to spend two hours of your time.

Jackass 3D: 6/10 - The truth is, I have absolutely no idea how to review this film. There are no actors or plot and the cameraman spends half the film puking at what he's forced to witness. On the other-hand, to give it an unfavorable review would be dishonest since I spent a good deal of time (relative to the many other comedies released) laughing hysterically.

The Karate Kid: 2/10 - A deplorable abomination of all that made the original an entertaining film. In addition, the decision to lower the ages of the children involved from late-high school to 11-12 year-olds made nearly all of the action sequences uncomfortably awkward or laughable.

Kick-Ass: 3/10 - As I sat and watched the movie, I couldn't help but be completely bored by the predictable plot and utterly terrified by the reprehensible content. My displeasure was so apparent, that I was often reminded by those around me that "it's just a Superhero movie." Alright, that's fine, I'll review it as such...and as such, it's among the worst superhero movies I've ever seen.

The Kid's Are All Right: 6/10 - This is an extremely contrived film -- it is laughably neat and tidy throughout -- and director Lisa Cholodenko makes some poor judgments in her initial character and plot introductions and then concludes the film in a very uneven way. Even so, the film constantly remains very watchable because of the strong performances from Annette Bening, Julianne Moore and Mark Ruffalo.

The King's Speech: 8/10 - Wonderful performances by Colin Firth and Geoffrey Rush allow director Tom Hooper the room he needs to make the movie he wants. It's no simple task to fit such a complicated relationship -- between a king and his slightly eccentric speech therapist -- in the context of a demanding historical narrative. Hooper lets all his chips ride into the final scene (the big pre-war speech) and he manages to pull it off flawlessly.

Knight and Day: 5/10 - So insanely over-the-top and ridiculous that it becomes difficult to review with proper perspective. Essentailly, the movie acts as a cartoon, moving two-dimentional characters directly from one set piece to the next (often times literally). Still, it is mindlessly entertaining and does fulfill its obvious main-purpose: the completion of Tom Cruise's image recovery plan.

The Last Song: 2/10 - One of the worst films I've seen in a long time. Nothing in the film has any redeeming value and Miley Cyrus has no future as an actress.

Oceans: 6/10 - There are some amazing shots in this film, so at only 85 minutes in length, the cinematography alone should hold you captive. My only qualm would be the lack of depth in the narration -- this is the ideal documentary where a filmmaker can overload his/her audience with information, so it feels hallow to walk away having learned so little.

The Other Guys: 4/10 - The plot is idiotic; the writing is sophomoric; the acting is uneven; and the direction is unfathomably sloppy. Fine. It's a summer comedy staring Will Ferrell, so I can accept those shortcomings. The film's true undoing, however, are the characters and how unbearably unbelievable they all are. It's great to cast a comedy with eccentrics filling out the roster, but when they're pushed this far over the top, everything they do becomes inherently unfunny -- it's a movie that actually would have worked remarkably better as a cartoon.

Prince of Persia: The Sands of Time: 5/10 - The script is weak throughout and often painfully predictable, but the film as a whole is entertaining enough to merit a viewing for those bored enough to take the plunge.

A Prophet [Un Prophete]: 6/10 - An engaging performance from Tahar Rahim and a strong script make this film a worthy time-investment, but director Jacques Audiard's tedius pacing and painful stumbling through every step left me feeling robbed of what could have been a truly great film.

Red: 6/10 - Make no mistake, with any other cast, this film would be borderline unwatchable. Fortunately, Willis, Malkovich, Freeman and Mirren keep the film engaging and entertaining all the way through.

Repo Men: 1/10 - The film takes place in the future, when people purchase organs on credit. When one fails to make a payment for three months, "Repo Men" are sent to the person's home to retrieve the organ, usually killing the person in the process. Everyone seems to be alright with how the process works. I suppose if you're able to suspend your disbelief enough to accept that reality, you might enjoy the movie...but that may even be a foolish assumption.

Robin Hood: 4/10 - Ridley Scott's latest film is an absolutely bizarre experience. The production values are top-notch, but the script suffers all the way through. There is literally no character development of any kind, so we're just thrust into this big-budget bastardization of famous English folklore, unable to see Russell Crowe as anything other than Russell Crowe...and if you lose focus for a moment, you might even think he's Maximus Decimus Meridius.

Salt: 5/10 - I'm alright with an action triller having a weak plot in exchange for solid entertainment, but when screenwriters jeopardize the internal logic of their own character creations, it's very difficult to get absorbed in a film. While it's a relatively enjoyable experience, none of the script's pieces add up.

The Secret in Their Eyes [El Secreto de Sus Ojos]: 8/10 - "Memories are all we end up with; at least choose the nice ones." This is a very powerful film that goes to great lengths in exploring the concept of human passion. Director Campanella chooses to make his stand with a clever detective story, but it's a film that could have been told through a thousand different lenses. I admit some liberties are taken with the plot and I was forced to suspend my disbelief on a few occasions, but gratefully those aren't the memories I'll take from the film. I'd find it difficult to imagine anyone not connecting with this film on a very intimate level, in one way or another.

She's Out of My League: 7/10 - Me enjoying this movie is about as ridiculous as the premise of the film: a guy who is a "5" having a relationship with a girl who is a "10." While director Jim Field Smith doesn't always hit his marks, he hits more than most comedy directors do these days; and with help from a mostly funny supporting cast, it was one of the more pleasant surprises thus far this year.

Shutter Island: 7/10 - Scorsese's new film is possibly the perfect prototype for a flawless movie with an unforgivably stupid gimmick -- which then in turn makes you wonder: what would be left if the gimmick were removed? It's simply impossible to suspend one's disbelief during the viewing; at no point does the material ever elevate beyond a writer putting fantasy onto paper. Still, I can't help but recommend the film on the merit of its masterful acting and direction, but I also can't help but to warn you of the unavoidable disappointment that you'll likely feel during the credits.

The Social Network: 8/10 - Strong performances from the young cast and tight direction from David Fincher keep the film rolling, but the real star is screenwriter Aaron Sorkin, who churns out two hours of non-stop, snapping dialogue, engaging the audience in a story that shouldn't have been so easy to tell.

Solitary Man: 8/10 - This is a very smart film. It looks at the same broad, sweeping motifs that hundreds of other films examine -- specifically life relationships and the charade they often transpire to become -- however, it does it from the vantage point of a very flawed character. Not flawed in a traditional sense, like a stereotypical hero with a weakness, but rather from the perspective of a villain with some scattered positive qualities. It's not a role many actors could pull off so seamlessly, but Michael Douglas does wonders with it -- easily one of the great performances of his career.

Stone: 7/10 - As a film-lover, this was an infuriating film experience. Robert DeNiro, Ed Norton and Milla Jovovich are great -- they deliver award worthy pieces of brilliance -- but director John Curran screws this film up so badly it made me nauseous. Curran's vision is so muddled and confused that I doubt he could even convey what he was trying to accomplish with the disastrous narrative. Regardless, I still strongly recommend the film on the sole merits of the actors involved.

The Tourist: 5/10 - The script had the feel of a throwback to an old Cary Grant/Grace Kelly adventure, unfortunately only Angelina Jolie seemed to get the memo. Director Donnersmarck and Johnny Depp went ahead as if the project was a straight thriller, which simply didn't work.

The Town: 5/10 - While it might not be saying much, Ben Affleck is certainly a better director than he is an actor; but even so, "The Town" is a step down from his first film, "Gone Baby Gone" (2007). With the exception of the lead character (played by Affleck), all the other characters are two-dimensional, wandering through an extremely contrived and linear storyline. The one shinning bright spot in the film is the performance by Jeremy Renner, in large part because he's able to show off his range following up "The Hurt Locker" (2008) -- I eagerly anticipate seeing what he does in future projects.

Toy Story 3: 7/10 - Interestingly, I've always found the Toy Story franchise to be the weakest member of Pixar's collection, yet something about this sequel seemed to rise above its predecessors. While the film can't be compared to some of Pixar's best work, it is certainly a worthy addition to the Pixar Library, and likely will be in contention for the best animated film released in 2010.

True Grit: 8/10 - This is a unique remake; it's equal or superior in every measurable way to the 1969 original...every way but one. When you have a film character defined by an iconic performance, such as John Wayne's Rooster Cogburn, it's simply impossible to remove that image from a viewer's memory -- it'd be the exaggerated equivalent of casting a great actor like Daniel Day-Lewis in a remake of "Rocky" (1976) and then trying to debate and contrast his performance against Sylvester Stallone's. Make no mistake, this is a very good film, but I suspect I'll find myself reflecting back on Wayne's version more often.

Unstoppable: 5/10 - It's a film with not much going for it -- even pulled off flawlessly, the ceiling wouldn't be very high. The only way the movie could even remotely work would be with a leading actor who the audience can undoubtedly believe is always the smartest man on screen -- Denzel Washington is that man.

Wall Street: Money Never Sleeps: 5/10 - It's a forgettable film, headlined by an even more forgettable performance from Shia LaBeouff. However, I do admit to having a soft spot for a reoccurring iconic performance -- Gordon Gecko is one of the greatest characters created for the screen, so any chance to see Michael Douglas have another chance to portray him is enjoyable from the perspective of a cinephile.

When in Rome: 3/10 - A painfully bad script with some of the worst dialogue I've seen in a main stream film. On an even more basic level, it was a "comedy" without the laughs, making me wonder what exactly director Mark Johnson was striving to accomplish.

Winter's Bone: 3/10 - It's a harsh rating I suppose, but it's tough to have sympathy when the thought that crossed my mind most during the viewing was: "Why was this film made?" Seriously, I have no idea why the script was written and I have no idea why anyone thought the script was interesting enough to make a film from it.

"You Don't Know Jack:" 7/10 - An absorbing look into the life of Dr. Jack Kevorkian. While the film has powerful moments, it mostly drifts along, walking between the raindrops; never really delving into the moral complexity of assisted suicide as much as I would have liked (the opposition to it in the film almost entirely revolved around the views of religious fundamentalists). Nonetheless, it was a joy to watch Al Pacino dig into a substantial role and it's thrilling to see that he still has gas in the tank.

Youth in Revolt: 5/10 - The concept is directly stolen from "Me, Myself and Irene" (2000) and falls well short of it in laughs...and even plot, if that's believable. However, it does have good heart, held together almost solely by Michael Cera's strong performance.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

A Decade in Review (2000-2009)

2010-01-21T14:12:00.027-05:00

I sat down to create my “top ten films of the decade list” and realized that there were 11 films that I consider to be masterpieces that have been made since 2000. Logically, I decided to expand the list to 11 to accommodate them all. All of the films also appear on my top 100 greatest film list, so no film’s presence here should be surprising.

The Masterpieces

11. Brokeback Mountain (2005): Among the most well directed films I’ve ever seen, Ang Lee’s tale of impossible love is pitch perfect and rightfully deserves to be in the company of similarly themed classics, such as William Wyler’s “Wuthering Heights” (1939). Lee brilliantly captures the internal agony of love just out of reach and contrasts it with the societal hurdles of being a gay man in the 1960s. He’s also able to elicit beautifully brave performances from Heath Ledger and Jake Gyllenhaal, creating the level of depth needed for this film to succeed.

10. The Reader (2008): Stephen Daldry created a film that encompasses Nazi guilt and the pains of adolescence in a way that I had never seen before, and perhaps superior to any film that has ever tried on either topic (an enormous accomplishment considering the two subject matters). The merger of themes plays out like a requiem; each note carried by one of the great female performances of the decade. Kate Winslet bears her sole as a former Nazi guard, forcing the audience to sympathize with a representative of one of the most sadistic symbols in the history of mankind.

9. Jarhead (2005): While many consider this film to be a weakness on Sam Mendes’ resume, I feel it to be his greatest accomplishment, which is heavy praise considering my admiration for his other work. “Jarhead,” for mostly superficial reasons, is deemed a war film, but it’s done in the same view that “Apocalypse Now” (1979) is considered a war film. Both films exist in the setting of war, but neither is about a war; in both cases, the war is an afterthought. Many films have tried to duplicate the success of “Apocalypse Now,” making a film about what war does to a person, but “Jarhead” is by far the closest I’ve seen a filmmaker come. In the hands of a different director, the film could have easily fallen into the numerous pitfalls that challenge such a concept.

8. Away From Her (2006): This film lands on my list largely because of the emotional reaction it elicited from me. Sarah Polley walks a tightrope on this film, always managing to prevent the material from slipping into a melodramatic mess—the film is always very real and honest. I maintain the viewpoint that there is no disease worse than Alzheimer’s for the simple reason that there is nothing more vital to the human existence than one’s mind. The very idea of witnessing a life partner losing his or her mind, and in turn losing the bond that connects you, is heart wrenching, and Polley tackles the script with masterful skill.

7. Donnie Darko (2001): It feels like so long ago that this film came out. I remember watching it, thinking how unbelievably talented Richard Kelly was, and how he was the next great filmmaker in Hollywood. Since his debut film, he has hit some bumps in the road, but I find that nothing has been taken away from his masterpiece. Kelly navigates his script’s brilliantly woven plot to perfection, creating arguably the biggest cult classic of the decade. The film also marks a breakthrough performance for Jake Gyllenhaal.

6. The Good Shepherd (2006): As year’s have past, I find that I’m standing mostly alone in admiration of DeNiro’s directorial monument. Three years have gone by since I sat in the theater, transfixed on this biographical tale of CIA’s foundation (like the word: “god,” there’s no “the” preceding CIA), and I have lost no love for it. It’s a shame how little accolade Matt Damon received for his quiet portrayal of protagonist Edward Wilson; the non-flashy performance was unfairly glanced over by most viewers.

5. Closer (2004): Mike Nichols elevated Patrick Marber’s play; the venom-spitting dialog, performed wonderfully by Clive Owen, Jude Law, Natalie Portman and Julia Roberts, never could sound better. Whenever I sit down to view the film, I spend the entire runtime grinning ear to ear because of the endless buffet of deliciously wicked exchanges. “Closer” is the pinnacle of the anti-romance genre—it bears the soul of love and all the awfulness that can accompany it.

4. Before Sunset (2004): Richard Linklater’s “Before Sunrise” (1995) is among the greatest romances ever filmed—it perfectly encapsulated the beginning of love—his sequel, “Before Sunset,” is even better. It works so well because it looks at love through a lens of real human interaction, from the vantage point of people who do not exist solely to exercise a script. Viewing this film feels like catching up with old friends—Jesse and Celine—and checking in on them years after the open-ended, yet somewhat fairytale-like conclusion in “Before Sunrise.” It also must be added that the film’s final scene, in my view, is the greatest ending any film has ever been given.

3. 21 Grams (2003): Quiet desperation has never played out more profoundly than it does in Alejandro Gonzalez Inarritu’s gripping masterwork. The film’s story of loss, guilt and redemption uses a unique narrative, revealing the plot’s timeline out of sync and forcing viewers to piece together the harrowing tale at Inarritu’s designed pace. The real stars of the film, however, are the cast: Sean Penn, Benicio Del Toro and Naomi Watts are brilliant; they deliver devastatingly powerful portrayals of people in pain, coping with the worst life has to offer them.

2. Mulholland Dr. (2001): The great David Lynch created his magnum opus in 2001. The narrative intertwines real life, nightmarish dream, and fantasy into a wonderful blend of pure genius. Nothing in this film is out of place; it travels the well-worn path of surreal filmmaking and does it better than anyone before or after it. In addition, Naomi Watts delivers what is arguably the greatest female performance of the decade, perhaps only surpassed by Charlize Theron in “Monster” (2003). There are few experiences even comparable to viewing this film and there is no one that shouldn’t experience the magic Lynch created at least once in their lifetime.

1. There Will Be Blood (2007): Paul Thomas Anderson created the best film made in my lifetime, let alone the decade. It’s the film that I have been waiting for as long as I can remember—I always wondered what it would have been like to see one of my favorite classics for the first time in a theater and I can’t thank Anderson enough for making that dream come true. He didn’t do it alone though; Daniel Day-Lewis’ portrayal of Daniel Plainview is one of the greatest performances in the history of cinema—it’s a powerful, visceral embodiment of a man consumed by greed. I’m almost at a loss even discussing the film because I don’t know where to start or how to avoid being too brief. My words would be wasted anyway; it’s something that must be seen by anyone who loves film.

In addition to listing the above 11 masterpieces, I thought I’d compose a list of every other four star film released this decade (37). I strongly recommend all of the below films.

The Great Movies (listed alphabetically):

American Gangster (2007)
Antichrist (2009)
Apocalypto (2006)
The Aristocrats (2005)
The Assassination of Jesse James by the Coward Robert Ford (2007)
The Aviator (2004)
Batman Begins (2005)
Brothers [Brodre] (2004)
City of God [Cidade de Deus] (2002)
Crash (2005)
Dear Zachary: A Letter to a Son About His Father (2008)
The Departed (2006)
Gangs of New York (2002)
Grindhouse (2007)
A History of Violence (2005)
Hotel Rwanda (2004)
One Hundred Steps [I Cento Passi] (2000)
In the Loop (2009)
Inglourious Basterds (2009)
Inland Empire (2006)
Into the Wild (2007)
Kill Bill (2003/2004)
The Last Samurai (2003)
The Limits of Control (2009)
Little Miss Sunshine (2006)
Murderball (2005)
The Passion of the Christ (2004)
Revolutionary Road (2008)
Road to Perdition (2002)
Sin City (2005)
Summer Hours [L'heure D'été] (2008)
Thirteen (2003)
Touching the Void (2003)
Up (2009)
Vanilla Sky (2001)
Watchmen (2009)
The Wrestler (2008)

Looking Back at 2009 - Top 10 and More

2010-01-18T20:15:00.010-05:00

(Edited on 1.30.10: "Crazy Heart" was viewed after the time of the initial posting.)

I delayed writing this post slightly this year to allow further time to view the films released in 2009. While there are still several movies that I haven't been able to see, I felt that Golden Globe weekend was about as far as I could push the date back. At the time of this posting, I've seen 99 films with a US release date from 2009.

The Top 10 Films Released in 2009

1. Watchmen
2. Inglourious Basterds
3. The Limits of Control
4. Antichrist
5. Dear Zachary: A Letter to a Son About His Father
6. Up
7. Summer Hours [L'heure D'été]
8. In the Loop
9. Up in the Air
10. The White Ribbon [Das Weisse Band - Eine Deutsche Kindergeschichte]

Individual Accolades

Best Director:
1. Jim Jarmusch – "The Limits of Control"
2. Zach Snyder – "Watchmen"
3. Pedro Amodovar – "Broken Embraces" ["Los Abrazos Rotos"]
4. Quentin Tarantino – "Inglourious Basterds"
5. Olivier Assayas – "Summer Hours" ["L'heure D'été"]

Best Performance by an Actor:
1. Jeff Bridges - "Crazy Heart"
2. George Clooney – "Up in the Air"
3. Joaquin Phoenix – "Two Lovers"
4. Christopher Waltz – "Inglourious Basterds"
5. Peter Capaldi – "In the Loop"

Honorable Mention (bumped for Jeff Bridges): Souleymane Sy Savane – "Goodbye Solo"

Best Performance by an Actress:
1. Julianne Moore – "A Single Man"
2. Meryl Streep – "It’s Complicated"
3. Tilda Swinton – "Julia"
4. Meryl Streep – "Julie & Julia"
5. Vera Farmiga – "Up in the Air"

Best Screenplay:
1. Quentin Tarantino – "Inglourious Basterds"
2. Nick Hornby – "An Education"
3. Lars Van Trier – "Antichrist"
4. Jesse Armstrong – "In the Loop"
5. Michael Hanke – "White Ribbon" ["Das Weisse Band - Eine Deutsche Kindergeschichte"]

2009 Movie Reviews

2009-03-21T21:49:00.137-04:00

All films have a U.S. release date of 2009 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

12: 5/10 - An updated and expanded version of Lumet's classic, "12 Angry Men" (1957). While some of the additions added depth to the characters and a further examination of the thematic points at the core of the narrative, the majority of additions simply muddled the remake, bloating the two hour and forty minute runtime. I will admit though, seeing the concept brought to life in modern-day Russia (as opposed to 1950s America) really amplifies the strength of the story -- there will never be a setting where the film won't work.

(500) Days of Summer: 8/10 - Director Marc Webb displays masterful control of the content and really pieces the film together with great insight to the material. Equally impressive are the two leading performances: Zooey Deschanel gives what is probably the best performance of her career and Joseph Gordon-Levitt takes yet another step toward inevitable greatness; I think he's the most promising young actor since Heath Ledger.

Adventureland: 8/10 - The first thing worth mentioning is how awful the marketing for this film was -- they attempted to ride the coattails of terrible films like "Superbad" (2007) and sold-out a great film in the process. Director Greg Mottola absolutely nails adolescent love and the awkwardness that accompanies it and Jesse Eisenberg turns in a spot-on performance as the protagonist.

Angels and Demons: 3/10 - I remember reading the book and thinking that it would make a terrible movie. The reasoning is mostly the disastrous contrivances and ridiculousness of the last act. Beyond that though, the film represents Tom Hanks and Ewan McGregor's worst performances of their careers.

Antichrist: 9/10 - "A crying woman is a scheming woman." Humanity was ejected from Eden because of woman's weakness -- what if at the end of days, humanity returns to Eden for the same reason? Only this time, Eden isn't represented with happiness, love and hope, but instead grief, pain and despair? Director Lars Van Trier, using stylized horror filmmaking, has created a film with such depth that I'm not sure I've even begun to scratch the surface of its meaning, though it certainly affected me in ways I never before imagined. I found myself often forcing myself to ignore specific character actions and remind myself of the overall scope, which is far more grand than the simplistic plot suggests.

Anvil! The Story of Anvil: 6/10 - I suppose it's always interesting to see how twists of fate can lead similar people in entirely different directions. Still, this documentary on the failed metal band, Anvil, plays more like an examination of pity than anything else.

Avatar: 8/10 - The story and characters have been done a hundred times before, but never this beautiful or engaging. In retrospect, I'm confident that it didn't have the emotional impact James Cameron intended; however, he did accomplish something equally important: he created the most visually impressive film I've ever seen. Granted, that's a title that won't last forever, and upon relinquishing it, the film will lose much of its current appeal.

Away We Go: 1/10 - The film is contrived and unwatchable. I'm having a very difficult time knowing that Sam Mendes was behind the camera, considering he is among the best directors working today. I will be patiently awaiting his penance.

The Bad Lieutenant: Port of Call - New Orleans: 6/10 - "Shoot him again...His soul is still dancing!" I think it's fair to state Cage and Herzog are the two most insane individuals making films today -- this movie being the result of them teaming up is not surprising. Cage is so far off the reservation with his performance and Herzog's vision is so far past madness that I'm not even sure how to evaluate the film; what I can state (admittedly with some hesitation) is that I strangely enjoyed watching it.

The Blind Side: 7/10 - A fun, light-hearted, inspirational film that will keep everyone entertained. None of the characters are given much room -- the film's major strength is the story -- but Sandra Bullock is able to go above and beyond the material and deliver a very solid performance.

The Box: 5/10 - The more time that passes since the film ended, the less fondly I'm remembering it. Writer/Director Richard Kelly ("Donnie Darko") has taken an old morality tale and attempted to elaborate on it. The original material was a short story, but Kelly needs it to last nearly two hours, stretching the premise out far longer than it's capable of withstanding -- the final product is muddled and convoluted.

Broken Embraces [Los Abrazos Rotos]: 8/10 - Almodovar's pen strokes brilliance very often with his latest screenplay, but it also hits a few bumps along the way -- the direction, on the other-hand, is impeccably masterful from start to finish. He crafts a film that binds life with film in a unique way, telling a story with his characters and his camera.

Brothers: 8/10 - Director Jim Sheridan was able to create enough of a contrast from Susanne Bier's original, "Brodre" (2005), that his remake was able to exist well separately. The tone of quiet desperation in the original was replaced with a tone of volatile simmering -- everything about the film's setup acts as a boiling underneath the surface, making the conclusion a necessary act of destruction. While I prefer the original, I do admit that the performance of Jake Gyllenhaal is noteworthy enough to stand apart as an improvement; oppositely, Tobey Maguire's flashy portrayal of the distraught brother seemed off-tone and over-the-top, which unfortunately disrupted the restraint in Natalie Portman's approach.

The Brothers Bloom: 4/10 - Much like Rian Johnson's first film, "Brick" (2005), this movie isn't half as clever as it wants to be. Johnson, while talented behind a camera, must spend the rest of his life in another world, because his writing is incoherent and misplaced. Fortunately, the film does have the saving grace of Rachel Weisz's wonderful performance as an eccentric rich women looking for adventure.

Bruno: 5/10 - The film falls somewhere between unprecedented idiocy and groundbreaking genius -- I just can't seem to lean one way or the other yet. At the very least, I can state that it is something you could save for the rental.

Cloudy with a Chance of Meatballs: 5/10 - The film is harmless fun with some humorous moments, but there's not much to take with you after the credits roll.

Coco Before Chanel [Coco Avant Chanel]: 5/10 - A very bland biopic depicting the life of Gabrielle "Coco" Chanel before her rise to fame as one of the most prominent fashion designers in history. Director Anne Fontaine, who also adapted the book into a screenplay, was too content in her filmmaking, sitting back and asking the story to carry the piece -- unfortunately, there's not enough there for such an approach.

Coraline: 3/10 - While sometimes visually interesting, the plot is boring and the writing is witless. The film is hollow, which has me questioning its critical appeal; I'm honestly not sure who this film was intended for.

Couples Retreat: 5/10 - While the laughs are all hit and miss through most of the movie, it does remain entertaining until the last act -- at which point the script completely collapses.

The Cove: 5/10 - This is a very thought-provoking documentary with three very distinct layers: the first, and the one monopolizing most of the film's running time, is a relentless pounding of manipulative methods to humanize dolphins in an effort to create sympathy; the second layer is a fascinating examination of the many victims fooled into eating purposely mislabeled dolphin meat, which is highly toxic for human consumption due to the mercury levels; and the final layer is the depths that the filmmakers went to reveal the slaughter of the dolphins (an act that while unbelievable to witness, seems largely pointless -- we know about the dolphin deaths regardless of the footage). The film's major flaw is the misguided direction and burying of the most important point, which is not the death of cute animals, but the trickery used to feed their toxic meat to unsuspecting humans -- a film solely focused on that, would have been a great documentary.

Crank: High Voltage: 3/10 - As over-the-top as the first one was, I found it tolerable; the sequel, however, is unbearable. I understand that it shouldn't be criticized simply for being unordinary, but if you strip that away, it's absolutely worthless. It is sloppy, rushed, and completely pointless.

Crazy Heart: 8/10 - A powerful, career-best acting performance from Jeff Bridges encapsulates the film experience. Director Scott Cooper acts as a passive observer, documenting Bridges portrayal of a man debilitated by alcohol. It's worth adding, the film's music doesn't fall into the typical category of Hollywood fluff -- the songs feel genuine, even though Bad Blake is fictional.

Dear Zachary: A Letter to a Son About His Father: 9/10 - I find this documentary impossible to review through the typical criteria of filmmaking -- because the truth is, it's not especially well made -- beyond the few well crafted narrative shifts, all director Kurt Kuenne needed to do was put his camera in front of a group of people involved with one of the most harrowing situations one could ever imagine. The film is essentially about the family and friends of a man who is murdered and the unborn child he left behind. That's all I'll write though, because the less you know about the film, the better your film experience will be -- and to be absolutely clear, there's really no excuse for anyone not to watch it.

District 9: 3/10 - I'm giving the film a three, but it's based solely on the cool premise and the unique narrative. As a whole, however, it ranks among the worst films ever made. I hated the film so much, that I'm legitimately angry at the people who enjoyed it. The movie was so bad, and so incomprehensibly stupid, that I find it impossible to respect anyone with a different viewpoint. Director Neill Blomkamp takes what would be the most significant moment in human history and defecates all over it; he removes all logic -- to both the storyline and the environment the story is being told -- and asks audiences to embrace his idiocy. I guess I was awarding humanity too much credit to expect them not to.

Duplicity: 4/10 - Clive Owen is great as usual and he has great chemistry with Julia Roberts (who he worked with on "Closer" as well). Unfortunately, the film doesn't make any sense. I really wanted to like it, but the convoluted plot completely unravels in the third act.

Drag Me to Hell: 2/10 - I'm not certain what this film wanted to be, but I have to believe that director Sam Raimi fell well short of whatever predetermined goal he had.

An Education: 5/10 - The film has a certain magic that keeps it always engaging (due mostly to a very good script); unfortunately, it's terribly miscast and director Lone Scherfig completely butchers the tone, transforming the film from a potentially brilliant coming of age tale into a very creepy, cringe-inducing examination on pedophilia.

Fantastic Mr. Fox: 3/10 - I'm at a loss for words on this one, though I'm willing to simply concede that I did not share Wes Anderson's vision.

Five Minutes of Heaven: 7/10 - Strong performances from James Nesbitt and Liam Neeson, combined with director Oliver Hirschbeigel's talent for tension, create an engrossing tale of redemption for two men. The filmmaking is tight and very well crafted until the end, when screenwriter Guy Hibbert seemingly runs out of room to maneuver the characters. The ending, while forced, does not spoil the time spent getting to it.

Food, Inc: 8/10 - There's a lot to take away from this film, but I find that its best quality is transcendent beyond the food industry: the way in which decisions and practices are all interconnected. Using an example from the film, the US government's decision to subsidize corn indirectly led to illegal immigration and healthcare issues. On the surface, that seems nonsensical, yet, it's only when you dig past an appearance that the entire portrait becomes visible, which is exactly what Robert Kenner has done in his attempt at unmasking the food industry.

Funny People: 7/10 - There was a great movie somewhere inside the final product, but Apatow seemed to lose sight of the film's direction a little more than halfway through. The first 70-90 minutes were on-target and covered a spectrum of thematic points, but then the film takes an unfortunate turn, ignores most of what was established, and rides a singular note to the conclusion. The approach may have worked if the last act was trimmed down in the editing room, but the final product feels so uneven that the goodwill established early on becomes an afterthought.

G.I. Joe: The Rise of Cobra: 6/10 - When I was eight, G.I. Joe was probably my favorite TV show. If I was still eight, this probably would be my favorite movie. It would be unfair of me to claim that the film is founded in any semblance of logic, but I'm all right with that. As long as you keep the source material in mind when you view it you'll be entertained.

The Girlfriend Experience: 8/10 - A cold and unflinching examination of sex, love, and the endless landscape that lies between. Director Steven Soderbergh takes a documentary-style approach to a fictional story -- he points his camera at a high-end escort, and even though meticulously in control of the narrative, creates a voyeur-like atmosphere, allowing viewers to dissect her life from a seemingly safe distance.

Goodbye Solo: 6/10 - Souleymane Sy Savane delivers a harrowing performance as a Senegalese cab driver who befriends an old man plotting to commit suicide. The friendship seems forced though, making the film somewhat implausible; still, Savane brings a level of humanity to the film that makes it engrossing from start to finish.

The Hangover: 4/10 - The cringe-inducing moments double the humorous ones. It's an alarming state of affairs when the public rallies behind garbage like this as one of the funniest films of the year.

The Headless Woman [La Mujer Sin Cabeza]: 3/10 - Lucrecia Martel pieces the film together much like David Lynch would -- as an examination of reality -- the problem though is that she leaves out all the other vital things that Lynch is so good at...things like character development and conflict. The result is a movie experience that is painfully boring and uninspiring.

He's Just Not That Into You: 4/10 - Every character is an exaggerated stereotype of the mass misconceptions involved with the dating world. I was willing to suspend my disbelief for the filmmakers to make their point, but they went too far. Not one character in the film was even remotely believable.

The Hurt Locker: 7/10 - The direction and acting (specifically, Jeremy Renner) was very good and the set design was as close to perfect as I've ever seen in a war film. The major negative to the film was its lack of depth -- I don't think the script dug deep enough and the result was like eating a masterfully made hamburger.

I Love You, Beth Cooper: 1/10 - Intolerably bad. As hot as Hayden Panettiere is, she's not nearly hot enough to make the film watchable; hell, if she was doing a striptease in the same room the movie was playing, it wouldn't even be watchable.

I Love You, Man: 4/10 - I'm a fan of Paul Rudd, but the movie is neither funny or entertaining -- the worst kind of comedy. It's a significant commentary on the state of Hollywood big budget comedies when a 20 minute episode of Entourage provides ten-times the amount of laughs in one-fifth the amount of time.

The Informant!: 5/10 - To be completely truthful, I don't really have much of an opinion on this film. Nothing about it is particularly bad and I thought Matt Damon did a good job with the character, but I walked away feeling entirely apathetic toward the film. I'm writing this less than 24 hours after having seen it and I've all ready forgotten most of it.

Inglourious Basterds: 9/10 - Quentin Tarantino is a master of the little things -- the tiny intricacies that all film-lovers crave. He's the best writer in Hollywood and continues to prove he's worthy of the title. It's tough to imagine that a better action film -- or funnier comedy -- will be released this year.

The International: 6/10 - The rapid globalization of the world over the last few decades is a fascinating topic -- the power of international corporations in place of nations. I imagine that is precisely what screenwriter Tom Tykwer was thinking when he sat down to write the script. Unfortunately, at some point between his first sentence and the theater release, the message was jumbled. The film that resulted was mostly entertaining and intriguing, but too often ridiculous and unbelievable. To steal a line from Mr. Tykwer, "There is a difference between truth and fiction: fiction has to make sense."

In the Loop: 9/10 - "Unofficially, we can call anything whatever we want. I mean, unofficially, *this* is a shoe; but it's not, Karen, it is a glass of water!" A brilliant script with great performances from the entire cast, highlighted by Peter Capaldi's absolutely hilarious portrayal of a British political insider. This is not only the funniest film I've seen all year, but one of the best political satires I've seen in my lifetime.

Invictus: 6/10 - Clint Eastwood, while displaying moments of brilliance, was left with a film that didn't know what it wanted to be. It was two films in one and there wasn't enough time to give the necessary attention to everything that needed it. The screenplay was written from the perspective of someone looking back at the events, rather than someone who understood what it would have been like to experience them, so the unfortunate result were two incomplete characters. Morgan Freeman and Matt Damon were trapped into portraying iconic members of a historic global moment, rather than fully realized, three-dimensional characters.

It Might Get Loud: 7/10 - Director Davis Guggenheim creates a mesmerizing documentary focused on three guitarists from different generations brought together. While most of the film revolves around each man's background, the unification of their creative minds binds them in a very unique way. I'm not sure if Guggenheim found the answers he was searching for when he set out to make the film -- maybe he had no intentions -- but in letting the three guitarists keep center stage, he created an engaging experience.

It's Complicated: 8/10 - I'm not going to lie, this isn't typically the type of film I would enjoy; however, Meryl Streep is able to elevate the film above it's built in ceiling, delivering one of the best female performances of the year. In addition to her standout work, the film is consistently funny, often very smart, and has some very enjoyable performances from Baldwin and Martin, who compliment Streep very well.

Julia: 6/10 - A career-best performance from Tilda Swinton keeps this film engaging, which is no easy task considering the bloated runtime and sloppy pacing. Director Erick Zonca never seemed to have control of his project's structure or characters and the result was a very unpolished film.

Julie & Julia: 6/10 - It's amazing how good of an actress Meryl Streep is -- everything she does is brilliant, so it gets to the point that her work starts to feel commonplace. She was among the best performances by an actress last year with "Doubt" and I suspect she'll be among the best this year as well. Unfortunately, the film isn't nearly as perfect as she is: it often struggles with pacing and concludes in a manner that doesn't seem to fit the long setup.

The Killing Room: 4/10 - The film's plot revolves around a secret government organization that recruits unsuspecting Americans to unknowingly participate in a deadly experiment in an effort to identify citizens willing to die for their country. While it is a mildly intriguing premise, the film drifted aimlessly, and in retrospect, it was altogether pointless.

Knowing: 5/10 - I don't really know what to make of this one -- Nicholas Cage has made some of the most ridiculous film choices of any famous actor in history. While the film was mostly entertaining, I walked away with more negatives than positives.

The Last House on the Left: 6/10 - If Director Dennis Iliadas had treated the last act with as much care as the first two, he would have had a fully realized thriller. Instead, the film felt a little uneven, which was unfortunate, considering how well done it was in every other area of the filmmaking.

Law Abiding Citizen: 6/10 - The film is very heavy-handed and is certainly not without flaws (especially in some dialogue)...even worse, if one knew the ending beforehand, there would be nothing redeemable about the viewing experience. Of course, we don't go in knowing the ending, which makes the journey a worthy time investment. Gerard Butler is great as the likable antagonist and the film does keep you involved for the majority of the runtime by forcing you to question the morality of American justice, rather than focus on the method by which you're being manipulated.

Let the Right One In [Lat den Ratte Komma In]: 3/10 - I'm not sure why I keep watching foreign vampire movies since I think the subject matter is so idiotic (the only exception being "An Interview with a Vampire"). The screenplay for this film has all sorts of issues and there's no performance that rises even remotely above mediocre. The one bright spot comes from the great direction of Thomas Alfredson -- he creates a perfect atmosphere, keeping what could have been an unwatchable film engrossing.

The Limits of Control: 9/10 - “He who thinks he’s bigger than the rest should go to the cemetery. There he’ll find what life really is: it’s a handful of dirt.” Director Jim Jarmusch has created something I've never seen before -- a perfect metaphor for the complex society of today's world. He has taken everything -- everything that surrounds us; traps us in the world we've come to understand and comprehend -- and places it before us on a brilliantly filmed platter of simplicity. The film has no plot to discuss, it's simply a statement to all those willing to listen: everything can be controlled, except the collective imagination of mankind.

Lorna's Silence [Le silence de Lorna]: 4/10 - The Dardenne brothers tackle guilt in a very subtle and profound way. The issue, however, is that the screenplay they wrote demands a very powerful performance from the lead actress, which is something they did not receive from Arta Dobroschi. She turns the character of Lorna into an empty vessel, with which to be moved from point to point in accordance with the script.

The Lovely Bones: 4/10 - The first act is brilliant -- I was prepared to credit Peter Jackson, who I typically feel is one of the most overrated directors working in Hollywood, for his tight control, suspense, and brilliant imagery. Unfortunately, the film's concept begins to slowly wear thin, eventually dissolving into a ridiculous thriller, in which the audience knows who the killer is in the prologue. Combine the flimsy plot to the endless parade of crosscut scenes displaying the victim purposelessly dancing in pretty afterlife fields and one's left wondering how much worse Peter Jackson could have screwed up this film.

The Men Who Stare at Goats: 6/10 - A completely ridiculous satire that disconnects itself from any realm of logic very early on. Fortunately, the entire cast delivers top-notch performances and the film is often very funny, making it a worthwhile time investment.

The Messenger: 8/10 - The film chronicles a few months in the lives of two officers, portrayed brilliantly by Ben Foster and Woody Harrelson, who are responsible for informing the next of kin to soldiers killed in combat. Director Oren Moveman really nails the tone for the movie and doesn't allow the film to take any unnecessary turns. There is no time wasted on politics and hidden opinions, which usually act as major pitfalls in the genre.

Moon: 5/10 - As much as I loved director Duncan Jones' vision and as much as I wanted to love this film, I can't give it my full recommendation. Sam Rockwell gives a very brave performance and the film certainly won't be lost among the countless color-by-number films released each month, but unfortunately, the final script simply wasn't realized enough to string together a great film.

Nine: 6/10 - "8 1/2" (1963) is a great film; in all of its qualities though, nothing suggests it would be a great musical. I understand that director Rob Marshall is adapting the stage version (which is a musical), entitled "Nine," and not Fellini's film, but it's difficult to not compare the two. Marshall's finished product is simply a diluted version of Fellini's film stuffed with mediocre music. Interestingly enough though, it seems nearly impossible to make a bad version of "8 1/2," especially when you've cast Daniel Day-Lewis in the lead.

Observe and Report: 3/10 - I'm all right with a film being agonizingly idiotic, but it needs to make me laugh more than twice in an hour and a half.

Of Time and the City: 1/10 - While the footage is interesting, everything else about the documentary is empty. It's painfully boring and listless.

Precious: Based on the Novel Push by Sapphire: 2/10 - It's somewhat remarkable to create a film about child abuse that doesn't contain one character that you like or dislike. Films don't get much worse than this.

The Princess and the Frog: 7/10 - While the film isn't quite the return to the magic of the 1990s (mostly due to sub-par musical pieces), it is certainly a bold statement that Disney cartoon animation is far from dead. The film is a lot of fun and it really nails down the tone of the New Orleans culture.

The Proposal: 6/10 - The film is all together ridiculous and I'm not sure Sandra Bullock fit very well into the character, but Ryan Reynolds is excellent and has perfect comic timing in the role, making the film largely enjoyable.

Public Enemies: 4/10 - An embarrassingly weak screenplay considering all the talent involved. Add in the miscasting of Johnny Depp and the irrelevant two-dimensional character Christian Bale was left to play and I'm prepared to forgive Michael Mann -- I'm truthfully just not certain what he saw in the script.

Red Cliff [Chi Bi]: 4/10 - John Woo's over-the-top historic epic of China's Three Kingdoms period spends an astonishing amount of time on character development without accomplishing anything. At 2 1/2 hours, the film still manages to conclude with a "To Be Continued" note. Needless to state, but it's doubtful that I'll be investing any further time to see the story play out in Red Cliff: Part II [Chi Bi Xia: Jue Zhan Tian Xia].

The Road: 7/10 - I believe that without law, there is no morality; and I suspect that author Cormac McCarthy agrees with me. The issue then becomes how to film the depravity of mankind without searching for hope, which is exactly the task director John Hillcoat struggled with. It's odd that in a film so hopeless, I felt as though Hillcoat was trying to fabricate hope in every frame. Reading between the lines, I think Hillcoat missed the point: it's not a love story between a father and son, it's the painful veracity of what a post-apocalyptic world would be...even if that's a reality most of us would prefer not acknowledge.

A Serious Man: 6/10 - The Coen brothers' latest film is a black comedy with deceiving depth. It hits some slow parts, but you can feel Ethan and Joel's intimacy with the material.

Sherlock Holmes: 3/10 - Robert Downey Jr. does an admirable job as the Sherlock Holmes that Guy Ritchie has envisioned, but the film's plot is beyond idiotic.

Silent Light [Stellet licht]: 1/10 - Guilt concerning an affair is not a new concept, so when a filmmaker decides to approach the topic, adding nothing new and enlisting first time actors, it makes me question his intent. Even worse, every scene is at least three times longer than it needs to be to convey the story, creating one of the most frustrating viewing experiences I've had all year.

A Single Man: 7/10 - A great performance from Colin Firth in the lead and an arguably even better performance from Julianne Moore in a supporting role help to elevate the film above the various pitfalls laid out in the manipulative script. First-time director Tom Ford deserves a lot of credit as well for creating some moments of brilliance and allowing his actors room to maneuver.

Star Trek: 5/10 - The inherent problem with a film that reboots a famous serious is the amount of time that must be dedicated to reintroducing the audience to the characters. Few films are able to triumph over that obstacle -- Star Trek is no exception. Combine that disadvantage with an absolutely ridiculous plot and it's tough to chalk the film up as a success. However, I do recommend the film on account of my feeling that its sequels have great promise. Think of viewing it as an investment in the future.

State of Play: 6/10 - I never realized how bad of an actor Ben Affleck was until I saw him make Russell Crowe look bad in the scenes they share -- that's a frightening caliber of terribleness. As for the film, while it wasn't bad by any means, it wasn't particularly memorable either. Regardless, it's a well-constructed political thriller that will entertain you enough to keep watching.

Sugar: 6/10 - An intriguing story about a Dominican Republican pitcher on track to come to America to try and make it big in the MLB. There's nothing especially good or bad about the film -- it's color-by-numbers entertainment.

Summer Hours [L'heure D'été]: 9/10 - Writer/Director Olivier Assayas casts a perfect tone on a film about the cycle of life. The melancholy he is able to capture in his scenes is extraordinary, and it stands above the efforts of many filmmakers who have tackled the same subject matter. There is nothing meant to be easy about children dealing with their inheritance and Assayas keeps the film very real, never allowing it to decay into sappy melodrama.

Sunshine Cleaning: 5/10 - Great performances from the cast, especially Amy Adams, but the film is only superficially entertaining and filled with contrivances. Even though crime scene cleanup is an interesting and unique topic, there's really not enough meat in the script for a full length feature.

Surrogates: 6/10 - The film's premise is ridiculous and the plot-holes are immense, but director Jonathan Mostow does a great job of keeping the film entertaining and balancing the need to reiterate the moral message without ever becoming too preachy.

Taken: 7/10 - Liam Neeson is great as the vigilante dad trying to save his daughter from the European sex slave trade. The greatest movie premise in existence is the *former government trained killer unleashed on bad guys plot structure* and "Taken" does perfectly fine with the material. It's worth the viewing for all action film fans.

The Taking of Pelham 1 2 3: 4/10 - The remake of the 1974 classic just doesn't work. Screenwriter Brain Helgeland isn't nearly as witty as he thinks he is; director Tony Scott seems as though he's grasping at straws -- using every second to slip in a superfluous stylized camera movement -- and Denzel Washington, despite his uncanny ability to always elevate material, is attempting to play a character that is ridiculously incomplete and inconsistent. Though, I will add, Washington was still one step ahead of the two-dimensional character John Travolta was attempting to deal with.

Terminator Salvation: 7/10 - Yes, it was often completely illogical and yes, the ending was laughably stupid, but who cares? It was still a fun action film, with built in nostalgia, and a great performance by Sam Worthington. I'll take this over another entry into the Transformers franchise any day.

Tetro: 6/10 - The film feels more like a journey into the mind of a great director than it feels like one is watching a great film. Coppola is masterful behind the camera (as expected), but the performances are uneven and the script's setup, while leading to a strong payoff, is somewhat weak.

Thirst [Bakjwi]: 1/10 - A Korean vampire movie with heavy-handed religious symbolism and a painfully boring pace. I hate to turn a film off midway, but I was on the verge of falling asleep several times.

Transformers: Revenge of the Fallen: 4/10 - I don't think a story being unbelievable is enough to make a film bad (and believe me, I can't think of many more ridiculous plotlines); however, when the actions characters take within the context of a narrative don't make sense, it's very difficult to suspend one's disbelief. The one saving grace is the relentless action sequences and the brilliant CGI -- though I must add, with a runtime over two and a half hours, even they become tedious.

Two Lovers: 7/10 - This is a very complicated film with terrific performances from Joaquin Phoenix (in what could be his last role...) and Gwyneth Paltrow. The screenplay probably tries to address too many concepts, and it progresses at what is sometimes a painfully slow pace, but the last act makes it worth the wait. Director James Gray is able to conclude the film in a way that really forces the themes of love, infatuation, and the reality that separates them, to the forefront.

Tyson: 6/10 - While I would consider Mike Tyson to be on of the most fascinating individuals on the planet, 90 minutes of listening to his life's confession does feel burdensome at times. Filmmaker James Toback didn't do enough with the material to elevate it beyond a curiosity.

The Ugly Truth: 4/10 - Color-by-numbers crap with two-dimensional characters and terrible situational writing. Still, I find Gerard Butler always watchable and even the endlessly-annoying Katherine Heigl found a few moments, allowing for some sparse entertainment in the tight 90 minute runtime.

Up: 9/10 - The saddest and funniest movie Pixar has ever made. It was odd to spend the first 20 minutes in a theater full of crying adults at a Pixar film, but it only went to show how powerful they are as filmmakers -- they've hit a new high watermark. Even though I seem to be saying this every year, I can't wait to see what they do next.

Up in the Air: 8/10 - George Clooney is finally starting to build an acting portfolio -- for all practical purposes, this and "Michael Clayton" (2007) are the only films where he's been able to show great depth in a fully realized, three-dimensional character. While he's the best part of the film, he's not alone; Vera Farminga turns in a great supporting role as Clooney's romantic interest, matching him toe to toe in every witty exchange. The film also represents Jason Reitman's second writer/director effort and it is no less impressive than his first, "Thank You for Smoking" (2005). I sense that this is a movie I'll need to watch again to fully absorb, and while I'm confident that it has its flaws, it is still one of the best experiences I've had in a theater this year.

Watchmen: 9/10 - It is not a stereotypical superhero film -- it is a parody of one; it is a dissection of the human race; it is a perfect capture of a moment in world history, yet the image revealed is of a reality that does not exist. The film is a beautiful paradox. Despite the amount of people who I know will not enjoy the film -- or even understand it -- there is no one I would not recommend it to.

The Window [La Ventana]: 7/10 - An often beautiful film that's wonderfully acted by the entire cast. The story is a day in the life of an 80 year-old man waiting for his 40 year-old son to visit him -- it has virtually no action or conflict, simply a slow buildup without any form of tangible payoff. I suppose the film acts as a subtle representation of a human lifetime.

Without Name [Sin Nombre]: 7/10 - With the exception of one somewhat contrived plot point, the script is very well written by writer/director Cary Fukunaga. The film is as much a story of hope -- in hopeless times -- as it is a study on Mexican and Central American gangs. It's difficult to imagine undertaking a journey like the one represented, but nonetheless, a fascinating experience to behold.

Where the Wild Things Are: 1/10 - What a disaster. Spike Jonze's vision of this classic children's story is an abomination.

The White Ribbon [Das weisse Band - Eine deutsche Kindergeschichte]: 8/10 - The film's slow pace can get tiresome; not for lack of interest, but for lack of revelation. Director Michael Hanke paints us a portrait of the atmosphere in Germany just before the start of World War I -- he offers no opinion though, he simply lays the picture before us to decipher. The town depicted in the film acts as a microcosm for all of Germany, and the heartless fascism and fundamentalist religious roots are the history guide to the Nazi regime that would soon seize the country. I'm certain that I didn't enjoy the film, but I did find it to be endlessly fascinating.

World's Greatest Dad: 6/10 - A very black comedy with a satirical commentary on perspective and mankind's collective shallow nature. The movie certainly won't be for everyone, but it goes without question that director Bobcat Goldthwait pulls no punches, helping him overcome the myriad of issues with the film's tone.

X-Men Origins: Wolverine: 3/10 - What a pile of crap. Marvel took one of it's best premises and one of its best actors (Hugh Jackman) and produced arguably it's worst film (all right, that's a lie -- Ang Lee's "Hulk" was actually much worse). It felt as though the writer was playing a game of connect the dots, without knowing what the final image should resemble...or even the order with which he should move from dot to dot.

Young Victoria: 7/10 - A very well done period piece, chronicling the early years of Queen Victoria and her relationship with Price Albert. The film is tightly made with strong performances from the ensemble cast. I found myself hoping it would dig a little deeper than a straight-forward biography though.

Zombieland: 6/10 - Funny and entertaining with enjoyable performances from the entire cast. Director Ruben Fleishcher keeps his distance from any character building or thematic depth -- the film is exactly what it appears to be on the surface: escapist fun for 90 minutes.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

The Greatest Scenes

2009-02-03T10:01:00.015-05:00

This is arguably the most difficult list I've ever tried to compile; even settling on the number of scenes to mention proved difficult. I decided to select 15, each with a heavy impact on both me and the history of film.

15. Carnal Knowledge (1971) - "Try Vacuuming!"

Jack Nicholson finds his way onto my list very early with the most memorable scene from his career. This moment, for all intensive purposes, created a legend.

14. The Odd Couple (1968) - "The cooking, the cleaning, the crying."

One of the most prevalent screen duos ever share their greatest scene in the only comedy represented on my list. No two actors have ever shared such wonderful chemistry as Walter Matthau and Jack Lemon.

13. The Deer Hunter (1978) - Russian Roulette

Robert DeNiro in his prime and an upcoming Christopher Walken share one of the more universally memorable moments in cinema history. The film is unshakable for those who have seen it and this scene captures the movie's climactic moment.

12. ...And Justice for All (1979) - "You're out of order!"

The greatest courtroom moment ever (even trumping Nicholson's, "You can't handle the truth!"). Al Pacino is electric, as usual, in one of the defining moments of his illustrious career. Even more importantly, this single scene was able to elevate what would have otherwise been a mediocre film. It would be fair to state that no other scene, on this list or anywhere, had a greater impact on the movie it was in than this one.

11. Goodfellas (1990) - "You're a funny guy."

The highlighting moment to Scorsese's '90s masterpiece shouldn't need much of an introduction. It earned Joe Pesci a permanent status in the annuls of cinema history as well as an Oscar for Best Supporting Actor.

10. Silence of the Lambs (1991) - "A census-taker once tried to test me..."

The greatest character introduction ever (slightly edging out the famous Harry Lime from "A Third Man"). Anthony Hopkins delivers an epic performance, one that rivals anything Marlon Brando has done. Hopkins does an unprecedented job with the little screen time he is given (less than 20 minutes, yet he was still able to walk away with the Academy Award for Best Actor). Just note the way he is standing at attention as he creeps onto the screen in the opening moments; he is able to convey impossible amounts without even speaking his first word.

9. Amadeus (1984) - Mozart's Requiem

An intricate battle between brilliance and mediocrity. This beautiful scene captures the curse of envy in every frame. Salieri's love and contempt for Mozart is played out here in perfection.

8. Closer (2004) - "Lying is the most fun a girl can have without taking her cloths off..."

I could easily make a top-ten list of the greatest scenes from "Closer" -- it's a brilliantly written script with a collection of some of the greatest scenes any actor could hope to be involved with. This scene stands out above all the rest though as it both transcends and represents the anti-romance motif woven within the film. The line between love and lust has never been better blurred.

7. Network (1976) - "I'm mad as hell and I'm not going to take it anymore!"

Few films can claim to be more ahead of their time than "Network," but it's the scene that is really able to speak volumes for the era. The 1970s represented a massive shift in how humans all over the globe lived their lives. It was met simultaneously with an equally large shift in how the global economy was run. This scene represents the disillusionment of modern-man, and I can safely state that no film or scene since has better grasped the concept.

6. Before Sunset (2004) - "Baby, you are going to miss that plane."

My favorite final scene ever filmed. This one is tough to look at without the context of the two films it concludes though (it is the last scene of a sequel). The final moments before the credits roll were the most hollowing of any I've ever experienced while viewing a movie. The two films, and this scene, represent everything love can ever be. (I apologize for the subtitles.)

5. The Godfather, part II (1974) - "An Abortion."

I'm often asked what my favorite performance is and I usually respond with, "Marlon Brando in 'A Streetcar Named Desire,'" but if I were able to limit a performance to one scene, Pacino would take the prize for these masterful moments. He owns the scene in ways that amaze me differently every time I view it.

4. Apocalypse Now (1979) - "Gardenias."

It was only a matter of time before Brando found his way into one of the scenes on this list. A greatest scenes list without the greatest actor just wouldn't seem right. In truth, I feel that his performance in this movie is what sealed his fate as the greatest actor of all-time. He showed up to the set having not read a word of the script and a hundred pounds overweight (which was an issue since he was portraying a rogue soldier living in a jungle at 100 degree temperatures). Regardless, with the help of the great Francis Ford Coppola, he made it work. Instead of a malnourished man, he played a hulking beast draped in shadows, as he recited the philosophy of a man amid a decent into madness.

3. True Romance (1993) - "You're part eggplant."

This scene created a new era in film and a career for Quentin Tarantino...and it's probably the most entertaining scene ever filmed to top it off. Two of the greatest actors of the last generation, Dennis Hopper and Christopher Walken, go head to head with the words of the greatest screenwriter of the current generation.

2. Once Upon a Time in the West (1968) - "Keep your loving brother happy."

If I could be granted the wish of being credited with the creation of any singular moment in art history, it would be this scene. Not DaVinci's Mona Lisa, Michelangelo's Sistine Chapel or even Led Zeppelin's "Stairway to Heaven;" this one scene. Director Sergio Leone and Composer Ennio Morricone created a perfect, stand-alone moment in film history. It can be viewed separately from the entire film and surprisingly little is lost.

1. The Good, the Bad, and the Ugly (1966) - Ecstasy of Gold

It's difficult to top the previous scene, but Sergio Leone and Ennio Morricone find themselves owning the top two slots. This scene almost doesn't belong on the list because it stands above any list. It is, in all senses of the word, perfect. The beautiful cinematography combined with what is, in my opinion, the greatest piece of music ever crafted, elevates the moment to heights never reached before and doubtfully reached again. The scene doesn't have to mean anything -- the plot, the actors, everything about the film is irrelevant -- it sits atop the list because of its absolute and unquestionable greatness.

Honorable Mention

Closer (2004) - "Tastes like you, but sweeter!"

While there are many scenes I could select for an honorable mention, this is probably the only one that would find itself on the actual list if I chose to not allow a film to only be represented by one scene. The razor sharp dialogue and pitch-perfect performances echo the concepts of love, lust and life.

Looking Back at 2008 - Top 10 and More

2009-01-26T12:00:00.006-05:00

At the time of this posting, I've seen 40 films with a US release date from 2008. The following represents my favorite films and individual accomplishments from the year.

The Top 10 Films Released in 2008

1. The Reader
2. The Wrestler
3. Revolutionary Road
4. The Dark Knight
5. The Curious Case of Benjamin Button
6. Slumdog Millionaire
7. Doubt
8. Frost/Nixon
9. Body of Lies
10. Changeling

Individual Accolades

Best Director:
1. Stephen Daldry for "The Reader"
2. Sam Mendes for "Revolutionary Road"
3. Darren Aronofsky for "The Wrestler"

Best Performance by an Actor:
1. Mickey Rourke in "The Wrestler"
2. Heath Ledger in "The Dark Knight"
3. Leonardo DiCaprio in "Revolutionary Road"

Best Performance by an Actress:
1. Kate Winslet in "The Reader"
2. Meryl Streep in "Doubt"
3. Cate Blanchett in "The Curious Case of Benjamin Button"

Best Screenplay:
1. David Hare for "The Reader"
2. Simon Beaufoy for "Slumdog Millionaire"
3. Justin Haythe for "Revolutionary Road"

2008 Movie Reviews

2008-06-15T21:40:00.050-04:00

All films have a U.S. release date of 2008 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

21: 7/10 - Entertaining throughout, though it ends a little too neatly, making me question just how close to the true story the screenplay is. Regardless, most of the performances are solid and I have no reservations recommending it to anyone.

88 Minutes: 2/10 - This movie is unspeakably bad. Al Pacino's participation in it is a disgrace to the history of cinema and a blatant display of complete lack of respect for the industry he helped to form. I am thoroughly disgusted with how little Pacino seems to care about his fans and his legacy. This marks the first time that I have viewed a movie so terrible that it actually offended me as a film-lover.

Appaloosa: 7/10 - Halfway through the film, I didn't like it. I thought it was a color-by-numbers Western, placing predicable pieces of a very simple puzzle down in front of me. However, I left the film having enjoyed it. I'm not sure at exactly what moment my opinion shifted, but I can say that the film's conclusion was perfect. Ed Harris and Viggo Mortensen share wonderful chemistry and I'd be willing to state that most fans of the genre will walk away pleased.

The Bank Job: 6/10 - A very convoluted plot with many characters that are never fully realized on screen. The film works though, it's fun and filled with several solid twists -- all in a story based on true events. Sometimes fact is more surprising than fiction.

Bigger Stronger Faster*: 6/10 - Director, and host of the documentary, Chris Bell takes a subjective look at steroids from their affect on competitive sports to the affect on the lives of his two brothers. The film runs a little too long at near two hours, but it works as an education for many Americans that know far too little on a subject they all want to talk about.

Body of Lies: 8/10 - A smart, roller-coaster film lead by one of Hollywood's best actors. Leonardo DiCaprio owns this movie and director Ridley Scott lets his star carry the film along. I actually found Crowe to be somewhat out of place -- the film's gritty realism was somewhat derailed by his performance: that of an actor playing a caricature of a CIA operative. Another issue is that I'm not sure if DiCaprio's character arc met his full potential; however, if the film is only taken as a subjective -- and very simplistic -- slice of the current war in the Middle East, it works wonderfully.

Burn After Reading: 6/10 - The Coen brother's newest film is a black comedy -- along the same vein as their Oscar winning film "Fargo" -- with characters so unbelievably dumb, that the integrity of the entire plot is often in jeopardy. The film does have several funny moments and all of the performances are very entertaining; yet, for such a short film, I found the narrative to be drifting far too often.

Changeling: 8/10 - Angelina Jolie is great in her portrayal of a heartbroken mother in search of her son, but it's Clint Eastwood's direction that stars. Everything about his film felt authentic and he has an uncanny ability to weave together a story. At two hours and twenty minutes, not once did I feel restless. Also worth noting was the shockingly great performance by Jason Butler Harner -- I'd be thrilled to see him recognized with a best supporting actor nomination at this year's Academy Awards (...even if it has all ready been engraved with Hath Ledger's name).

The Counterfeiters [Die Falscher]: 4/10 - With a topic so different and engaging I was saddened to feel so much apathy for it after it ended. With the exception of maybe "Life is Beautiful," it is easily the most unique Holocaust film I've ever seen. Unfortunately, it will be filled away in my mind with the many other mediocre ones I've seen.

The Curious Case of Benjamin Button: 8/10 - It's a difficult film to review because of how unique it is. It's a tale of a man, played by Brad Pitt, who ages backwards, thus nullifying every relationship he ever has. The people we meet act as witnesses to our lives, and with every passing moment, grow older together. The film toys around with the variables in that formula and creates some very profound questions (without actually asking or answering any). Cate Blanchett delivers a wonderful performance as Pitt's love interest; in the hands of another actress I have little doubt her role would have been a two-dimensional cliché. I'm not sure if the completed film accomplished what director David Fincher ("Se7en," "Fight Club") intended, but I can state that I thoroughly enjoyed the experience of viewing it.

The Dark Knight: 8/10 - Heath Ledger's performance as The Joker deserves all the accolade it has received and director Christopher Nolan is able to elevate the film beyond the scope of any superhero movie I've ever seen. The film's script does struggle with the overwhelming material though -- it's uneven and too grand, even for a filmmaker of Nolan's ability. The mishandling of Harvey Dent and the final 30-minutes of the film stood out as glaring flaws and subtracted from what could have been a masterpiece.

Doubt: 8/10 - Two brilliant performances by Meryl Streep and Philip Seymour Hoffman give this film life. It is well crafted and never reaches too far in any direction -- it simply presents a case with no definitive conclusion...and it works very well.

Fool's Gold: 4/10 - Don't let the relatively high rating fool you, this movie is as bad as you can imagine: painfully contrived and more often than not it's completely ridiculous. However, it's also extremely light-hearted and care-free -- it manages to be entertaining on occasion.

Forgetting Sarah Marshall: 4/10 - A comedy without the laughs. When the best part of any comedy is how hot Mila Kunis looks, it's difficult to recommend it.

Frost/Nixon: 8/10 - Director Ron Howard reaches within inches of greatness with this film. There is not a dull moment to be found -- rightfully so given the topic -- yet, I felt as if something more was left on the table...as if Howard could have dug just a little bit deeper into the endlessly fascinating characters he chose to portray. Regardless, it was one of the most enjoyable trips to a movie theater I've made this year.

Get Smart: 6/10 - A hit and miss comedy with a few memorable highlights. While the film was casted perfectly, the script leaves something to be desired.

Gran Torino: 4/10 - My love for Clint Eastwood led me to rate this film far more favorably than it deserves. It contains one of the worst acting ensembles I've ever seen in a Hollywood film. Combine that with a pathetically predicable script and you're left with one of the bigger busts of 2008.

In Bruges: 4/10 - It's mostly entertaining and filled with wonderfully witty dialogue; unfortunately, the simple plot is not supported and writer/director Martin McDonagh struggles with the film's themes all the way until the end.

The Incredible Hulk: 8/10 - The best film to emerge from the Marvel Universe. It acted as the perfect palette cleanser to Ang Lee's disastrous attempt at the franchise -- "Hulk" (2003) -- and I sincerely hope that the direction the powers-that-be seem to be heading pans out as well as it potentially can. The film is can't-miss for comic book fans and those looking to see cutting-edge special effects.

Indiana Jones and the Kingdom of the Crystal Skull: 2/10 - The Worst film I've seen in theaters since Pearl Harbor (2001). I imagine much of my disgust stems from disappointment, considering the talent of the people involved and the material used. At best, I am fortunate enough to wake up one morning having forgotten I ever viewed it; at worst, it forever ruins one of my favorite franchises.

Iron Man: 3/10 - Superhero films normally are able to play out with more than modest suspension of disbelief; however, what director Jon Favreau and writers Mark Fergus and Hawk Ostby crafted is an exercise in lunacy. I spent a large portion of the overlong running time feeling embarrassed for them.

Kung Fu Panda: 6/10 - An entertaining animation with solid voice-acting. The one thing that separates it from many of the Pixar classics was the overwhelming melancholy I felt throughout -- I was never able to reach the emotional highs that always accompany the latest Pixar installment.

Milk: 6/10 - The film is fairly sloppy and most of the supporting characters act as little more than set-pieces; however, it would be criminal of me to not recommend the film -- Sean Penn's performance alone merits the viewing.

The Other Boleyn Girl: 4/10 - The adaptation falls somewhat flat, though I will fully admit if I had read the book, I would have more than likely been equally unimpressed. Novelist Philippa Gregory takes such excessive liberties with world history that it left me feeling no connection with the historical figures being portrayed on screen.

The Promotion: 4/10 - Funny concept, but it falls flat. There was no chemistry between Seann William Scott and John C. Reilly and far too many opportunities went wasted due to poor writing.

Quantum of Solace: 7/10 - While the film completes the story arc created for Bond in Casino Royale, it barely makes a dent in the overall story arc of the villainous organization we've been introduced to. Daniel Craig is still great as the Bond 2.0 that has been created to satisfy those lusting for more action, though I will say, I hope the next Bond brings back some more of the aura that surrounded the originals.

Rachel Getting Married: 1/10 - I haven't walked out on a film in theaters since "Pearl Harbor" (2001). Nor have I ever viewed a film where I hated every single character on screen as much as this one.

Rambo: 6/10 - I'd happily make the argument that "First Blood" (1982) should not land clumsily in the category of action flicks -- it was a definitive statement for a hugely important moment in time and it created a character that represented more than blood-for-sport and over-the-top explosions. I would also happily watch that character read a phone book, so giving a negative review to any film Sylvester Stallone portrayed John Rambo in would be nearly impossible. Unfortunately, while I did enjoy the newest edition -- and do recommend it to fans of the series -- it failed to capture the magic of the first three films.

The Reader: 10/10 - Never before have I seen a film that is able to explore adolescent sexuality or the Holocaust so well...and this film covers both of them at the same time. Director Stephen Daldry ("The Hours") has created a masterpiece and the definitive best film of 2008. In addition, Kate Winslet delivers a mesmerizing -- and Oscar-worthy -- performance.

Recount: 7/10 - The narrative structure of the film mostly follows a democratic perspective, causing a certain level of bias throughout. Regardless, it is fascinating to witness a closer view of the dramatic 2000 presidential election. Few fictional tales have been told with more twists than that historical month in U.S. history. This film is worth viewing regardless of one's political affiliation for both its relentless storytelling and high quality performances.

Revolutionary Road: 9/10 - Sam Mendes has done it again. He has quickly put himself up with the best directors alive today. Every film he has made (four total) has been perfect. He is also able to draw out what is probably Leonardo DiCaprio's greatest performance, which is far from a trivial statement. The film focuses on a couple from the 1950's: both trapped in the life they've created for each other. It's a chilling and thought-provoking subject matter supported by top-notch acting and brilliant direction.

Righteous Kill: 3/10 - I thought it'd be a challenge to make a film that cast both Al Pacino and Robert DeNiro -- two of the greatest actors of all-time -- this bad. It seems that director Jon Avent was up for the challenge though. I am still wondering if he even watched it.

Slumdog Millionaire: 8/10 - A wonderful, heart-warming film that slowly crept up on me while I was watching it. Director Danny Boyle ("Trainspotting," "28 Days Later...") poured his heart and soul into this film; and despite some slightly contrived moments, I left the theater truly touched.

Southland Tales: 7/10 - Where do I begin...well, I will say that the film is inarguably one of the sloppiest messes to ever grace the big screen...and then, I'll follow that up with stating that there's not a person I know that I'd recommend it to; however, it would be dishonest of me to suggest that I did not enjoy it. Director Richard Kelly ("Donnie Darko") is fearless in ways that might even impress David Lynch ("Mulholland Dr.;" "Inland Empire") -- he went out and made his movie, and he did it against the grain of everything Hollywood has established over the last century. It would be silly for me to suggest that a comedy about an actor's (Dwayne Johnson) screenplay -- based on his recent time travel, the upcoming apocalypse and his encounters with Neo-Marxists, a porn star (Sarah Michelle Gellar) and two versions of the same cop (Seann William Scott) -- would be for everyone (or anyone), but oddly enough, I think it was for me.

Standard Operating Procedure: 3/10 - Errol Morris' documentary is a shallow look at the events of Abu Ghraib prison during the beginning of the Iraq war through photographs and eye witness testimonials. I'd like to think everyone is aware of the mess in Iraq in 2003 (and for a good documentary on the subject, I'd suggest "No End in Sight"), but this film takes one small aspect of the disastrous leadership and doesn't do very much with it. I don't know what caused military personal at Abu-G to photograph their acts of insanity and it seemed Errol Morris had no desire to find out.

Tropic Thunder: 5/10 - An over-the-top ridiculous comedy that is saved by Ben Stiller cashing in on several favors to bring in a group of A-list actors for small roles, most notably Matthew McConaughey and Tom Cruise. Cruise delivers a performance that may rightly deserve a supporting actor nomination come award season.

Valkyrie: 6/10 - It felt as though I was watching a History Channel re-enactment, not a Hollywood film. Every character was two-dimensional and Tom Cruise is completely insane if he thinks audiences can suspend their disbelief to the extent of imagining him as a German World War II officer plotting to kill Hitler. Regardless, I cannot argue that the film was not entertaining or educational, so for those merits alone it is worth the rental.

WALL-E: 6/10 - Beautiful animation (as we've come to expect from Pixar) and a surprisingly good job at personifying robots -- something I thought would be far more difficult than the usual focus on animals. What hurt the film most unfortunately was the depressing and silently preachy plot. If the script had half the heart that the featured robots did, the film would have been a glorious success, rather than the definitive worst film that Pixar has produced.

Wanted: 3/10 - As beautiful as Angelina Jolie's ass is, and as entertaining as it was to watch the great Morgan Freeman channel Samuel L. Jackson in an effort to play Lawrence Fishbourne, I still feel confident in stating that viewing this film was one of the dumbest experiences I've had in my lifetime.

The Wrestler: 9/10 - The film is gritty, harrowing and unforgiving...and it is not for the squeamish. Director Darren Aronofsky ("Requiem for a Dream") puts together a devastatingly realistic portrayal of a washed up wrestler and is able to include some of the most beautiful moments I've seen on film. Even more impressive was Mickey Rourke's ability to elevate the project to an instant classic with a frighteningly good performance. The best analogy I could give -- and something that I was thinking about at several times during the film -- is to what Charlize Theron accomplished with her character in "Monster" (2003): a complete transformation into another person.

Yes Man: 4/10 - One of the worst screenplays I've seen produced this year and it never felt like Jim Carrey was able to get any rhythm in the role. It does have a fair share of laughs, though unfortunately many of them were awkward chuckles from viewing all the various things that just didn't work.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

Looking Back on 2007 -- Top 10 and More

2008-01-02T12:15:00.000-05:00

As of New Year's Day I have seen 87 films released in the U.S. during 2007. The following represents my favorite films as well as individual accomplishments during the year.

The Top 10 Films Released in 2007

1. There Will Be Blood: There is no question as to what the best film of the year is -- it's not even close. Director Paul Thomas Anderson and actor Daniel Day-Lewis have collaborated to create one of the greatest triumphs in the history of cinema. Not since the release of "Apocalypse Now" in 1979 has a comparably important film been released. Much like what "Citizen Kane" (1941) and "The Godfather" (1972) did for film when they were made, I expect "There Will Be Blood" to do now. Daniel Day-Lewis' role as Daniel Plainview, a soulless oil man consumed with greed, ranks among the best performances I've ever seen; and is probably most directly comparable to DeNiro's career-best performance in "Raging Bull" (1980). We have entered a new era in cinema.

2. Away From Her: Writer/director Sarah Polley was able to craft one of the most powerful films I've ever seen. While it may make little sense on the surface, my mind keeps drawing the comparison to "Rosemary's Baby" (1968) by Roman Polanski. Both films are masterpieces because of their ability to create visceral connections with the audience. What Polanski did with fear, Polley has done with loss.

3. The Assassination of Jesse James by the Coward Robert Ford: It's a difficult task to wrap one's mind around this film; and further, to offer some semblance of comment. For starters, I will say that it is absolutely beautiful. Director of Photography Roger Deakins does wonders behind the camera -- the film plays like a harrowing poem. Accompanying the gorgeous imagery is a flawlessly complementing score by Nick Cave and Warren Ellis. For both those that admire the film, and those that dislike it, I am certain that no one was able to dismiss it quickly.

4. Into the Wild: The most important thing to emerge from this film is the aspiring promise of actor Emile Hirsch. While he is among several very good young performers, his roles in "Into the Wild" and "Alpha Dog" this year separate him slightly from the pack. The supporting performances in the film are equally as good; highlighted by Hal Holbrook and Catherine Keener. The movie represents a loneliness that both scares and impresses me -- it was able to tap into my innermost self and force me to confront feelings that most people would find both foreign and unfeeling.

5. American Gangster: This marked my most anticipated movie of 2007. Director Ridley Scott and actors Denzel Washington and Russell Crowe are in top form (as they also were in "The Great Debaters" and "3:10 to Yuma" respectively). However, I will say the film is slightly too neat. Nothing is out of the ordinary or in place to shock the viewer. It is what it is: one of the best color-by-numbers films Hollywood has ever produced.

6. Grindhouse: One of the first films I saw in 2007 and I knew it would find a way to land on my top 10 at the end of the year. The movie is great fun -- directors Robert Rodriguez and Quentin Tarantino (plus the several directors who created the mock-trailers) were able to tap into the spirit of the very lackluster Grindhouse genre. The best analogy I could make would be of a great artist sculpting a masterwork out of dog feces; and thus, it does not work in the terms of good or bad.

7. Inland Empire: Director David Lynch has added another very weird chapter to his filmography. Along the same vein as "Lost Highway" (1997) and Mulholland Dr. (2001), "Inland Empire" overlaps past, present and dream (and maybe even alternate realities). It is not a viewing experience that I would recommend to inpatient recipients; it requires deep thought and the devotion of revisiting the film in the future. I make no claims to understand what Lynch has created -- or to even assume the position of attaining an understanding later on -- I do, however, respect his fearless filmmaking and desire to question the constructs of basic narrative story telling. I also applaud actress Laura Dern, who helms the lead role, in what is one of the strongest performances of the year.

8. No Country for Old Men: The Coen brothers (Ethan and Joel) are unique in every project they choose. They have been able to brand a type of filmmaking on their work that can never be confused with anyone else -- even the short they created for the project "Paris, I love You" ["Paris, Je T'Aime"] early this year can be identified as theirs from the opening frame. "No Country for Old Men" is a testament to pitch-perfect direction and very strong acting. Its one pitfall, however, is its non-cinematic structure; highlighted by the disjointed third act. Make no mistake though; this film represents some of the Coen's best work and a performance by Javier Bardem that won't soon be forgotten.

9. Ratatouille: Pixar is brilliant. It's shocking just how consistently good they are. While I love every film they've done, I feel that "Ratatouille" might be their strongest work -- it contains a level of humanism that some of the other pieces may lack. Also of note, actor Peter O'Toole's speaking role as Anton Ego, the top critic in Paris, is probably the most notable animated performance since Robin Williams in "Aladdin" (1992).

10. Black Book [Zwartboek]: Carice Van Houten delivers an amazing performance as a war-torn Jewish woman in the Nazi-occupied Netherlands -- she is able to elevate the film from good to great. Director Paul Verhoeven finds just the right pace to play out this story and in doing so has successfully crafted his life's best work. The film is a crowning achievement and the best foreign film to be released this year.

Individual Accolades:

Best Director:
1. Paul Thomas Anderson for "There Will Be Blood"
2. Ethan and Joel Coen for "No Country for Old Men"
3. David Lynch for "Inland Empire"

Best Performance by an Actor:
1. Daniel Day-Lewis in "There Will Be Blood"
2. Javier Bardem in "No Country for Old Men"
3. Philip Seymour Hoffman in "Before the Devil Knows You’re Dead"

Best Performance by an Actress:
1. Carice van Houten in "Black Book"
2. Laura Dern in "Inland Empire"
3. Cate Blanchett in "I’m Not There"

Best Screenplay:
1. Paul Thomas Anderson for "There Will Be Blood"
2. Aaron Sorkin for "Charlie Wilson’s War"
3. Kelly Masterson for "Before the Devil Knows You’re Dead"

2007 Movie Reviews

2008-01-01T17:05:00.001-05:00

All films have a U.S. release date of 2007 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

3:10 to Yuma: 8/10 - Possibly the best remake I've ever seen: almost everything the original lacked, was richly filled-in with director James Mangold's re-imagining. Christian Bale plays the protagonist, Dan Evens, about as straight as he can, and it works -- once again, Bale displays his endless versatility. Ben Foster, portrays the sharpshooting outlaw Charlie Prince, and gives a supporting performances that steals every scene he's in. Lastly, and far and away the most intriguing, is Russell Crowe's performances as the wanted -- and very deadly -- Ben Wade. The character is not believable in the original film and Crowe changes that by playing him as the smartest guy on the screen in every scene, which allows the audience to think more about the character, than what the character chooses to do.

300: 5/10 – The major difference “300” has with other comic book adaptations is that director Zack Snyder makes no attempt to adapt it. It never felt like a movie, just an exercise involving excessive gore and a paper-thin plot for the MTV generation to be mesmerized by while they wait for the next cool thing to come along.

1408: 3/10 - John Cusack's character, Mike Enslin, after his stay in the infamous room says, "Sometimes you just can't forget bad memories; you have to live with them." Mr. Enslin is absolutely correct.

Across the Universe: 4/10 - An absolute mess: it is shocking to view strings of brilliance submerged in such an abundance of trash. Director Julie Taymor ("Titus," "Frida") is a failure as a filmmaker, and while I would certainly concede that The Beatles were indeed brilliant, she is anything but.

After the Wedding [Efter Brylluppet]: 5/10 - Director Susanne Bier ("Brothers") is able to tackle tough drama very well; and while she does a formidable job with this film, the contrivances, and soap-opera-like plot, created too strong of a divide. Overall, the film is vapid just as often as it is engaging.

Alpha Dog: 8/10 - Writer/director Nick Cassavetes helms this true story of one of the youngest men to ever appear on the FBI’s Most Wanted List. It’s humorous at first to see teenage, wanna-bee mobsters live their lives with a self-sustained value of importance. It quickly becomes frightening, however, as the situation spirals out of control. The acting is shockingly absorbing and Cassavetes is relentless in his filming.

American Gangster: 9/10 - "The Untouchables" (1987) meets "Scarface" (1983) -- director Ridley Scott ("Blade Runner," "Gladiator") has created a perfectly cast, top-notch thriller. Denzel Washington and Russell Crowe are on the top of their game and it is an absolute pleasure to watch them take command of such demanding characters. The film's slow-paced exposition, while probably unnecessary, is never dull; and the film is likely to keep you on the edge of your seat throughout the final act.

The Assassination of Jesse James by the Coward Robert Ford: 9/10 - This is a very difficult film to comment on because I feel it demands a second viewing; even as it was ending I felt a strong desire to start from the beginning again. The narrative doesn't move forth as much so as it drifts along -- it's a surreal movie-going experience with a haunting score that kept me mesmerized. It is as sensationalized as it is poetic and as harrowing as it is human.

Atonement: 4/10 - The film's final 20 minutes saved this from being one of the worst moviegoing experiences of the year. The contrivances of the exposition, coupled with the complete lack of a cohesive narrative in the second act, have me questioning where all the Oscar buzz is coming from.

Away From Her: 10/10 - The most devastating aspect of Alzheimer's disease is the affect it has on the lives of loved ones: all of the experiences one shares with another become meaningless if that other cannot remember them -- the perception of the ailing dilutes one's own life experience. Alzheimer's is a difficult topic for any filmmaker to approach and director Sarah Polley has created a heart-wrenching masterpiece with this film. The performances are controlled and flawlessly in-tune -- the film plays like a beautiful requiem, with each note more harrowing than the last. I have never been more affected by a film experience.

Before the Devil Knows You're Dead: 8/10 - Director Sidney Lumet ("12 Angry Men," "Dog Day Afternoon," "Network"), at the age of 83, and with the help of a brilliant script (written by newcomer Kelly Masterson), has created his best work in decades. The film is a visceral powerhouse with a great cast led by Philip Seymour Hoffman. I found myself smiling very often throughout the movie, and not because any scene offered humor -- or even anything other than horrific characters committing terrible acts -- but because I had the hunch it was all pieced together with a devilish smile.

Beowulf: 7/10 - A wonderful retelling of the famous story. The CGI is stunning -- easily the best I've ever seen -- and even though the enlisted actors never actually appear on screen, the performances are powerful and engaging.

Black Book [Zwartboek]: 8/10 - A brilliant script -- with enough smart twists to keep viewers sucked in for the ride -- and a wonderful performance by Carice van Houten let this WWII espionage thriller shine. Houten's brave turn as a beautiful Jewish woman fighting for her life in the Nazi-occupied Netherlands is probably the best I've seen from any actress this year.

Black Snake Moan: 6/10 - A strange film that works on account of a strong performance from Samuel L. Jackson and a wonderful -- and very brave -- performance from Christina Ricci.

Blades of Glory: 4/10 - Marginally funny with hit and miss jokes throughout. Will Ferrell's charisma is the only thing that keeps this film moving along.

The Bourne Ultimatum: 8/10 - Along the same lines as the last installment of the franchise -- “The Bourne Supremacy” (2004) -- ‘Ultimatum’ is a solid and often breathtaking action film. Matt Damon is great as Jason Bourne and I sincerely hope he decides to team back up with director Paul Greengrass and continue on with the franchise.

Breach: 8/10 - I wasn't expecting much, but don't let the February release fool you -- this is a great film. Cooper and Phillippe do well in their respective rolls and the plot to capture the most infamous spy in U.S. history plays out with genuine intrigue.

The Bucket List: 7/10 - While I feel the film stumbles slightly in the second act -- the plot becomes a series of set pieces rather than a progression of director Rob Reiner's theme -- the performances by Jack Nicholson and Morgan Freeman elevate the work to something I feel confident in recommending to everyone.

Charlie Wilson's War: 8/10 - A smart, witty script directed with just the right tone by Mike Nichols ("The Graduate," "Closer"). The performances work too -- Tom Hanks and Philip Seymour Hoffman play off each other with great chemistry. The film's best asset, however, is its ability to be both entertaining while you watch it and thought-provoking once it's over.

The Condemned: 4/10 - The script is a mess and most of the cast does an awful job of playing their poorly written, one-dimensional characters. Steve Austin does play it straight -- even through some laughably terrible scenes -- and keeps the film mostly entertaining.

Disturbia: 3/10 – A boring reinvention of Hitchcock’s “Rear Window” (1954). Shia LaBeouf’s performance is noteworthy, however, and I do expect him to move on to have a very strong career as a leading man.

Eastern Promises: 6/10 - I would classify the film as a moderate failure: it had all the right pieces in place, but the final product is not a reflection of the film's potential. The entire experience felt cold and uninviting and the characters are not nearly as compelling as they should have been. Viggo Mortensen's performance is the only thing worth recommending, and more than likely, the only thing I'll have remembered when I look back on the work.

Elizabeth: The Golden Age: 7/10 - Much like the film's predecessor, "Elizabeth" (1998), the film works as an engaging retelling of a segment in the life of one of history's greatest leaders. Cate Blanchett and Geoffrey Rush reprise their roles perfectly and Clive Owen works as a solid addition. If you enjoyed the first film, it is definitely worth continuing the saga with this entry.

Fantastic Four: Rise of the Silver Surfer: 4/10 - Campy and contrived, however, the Silver Surfer is easily the most intriguing and entertaining Marvel character to appear in a film thus far.

Fracture: 7/10 – Films that revolve around revolutionary twists face unbelievable scrutiny – deservingly so. It's unfortunate, however, that the bigger picture is so often lost. The film is well acted and written and largely very enjoyable. The issue comes with two very large twists at the end – one of which a legal quandary (which apparently checks out) and the other a case of sheer contrivance. So, I'm left to ask myself: If a film is molded around one very stupid plot-point, is the rest of the film to be discounted? I'm not sure, but I can say I thoroughly enjoyed the film until I left the theater and began to analyze its possible faults.

Ghost Rider: 2/10 - Unintentionally hilarious at moments, but mostly it’s filled with awful writing and unbearably putrid direction. Writer/director Mark Steven Johnson (who’s last film was the terrible “Daredevil”) is so talentless that I am at a loss for words. I pitied the actors and am almost able to forgive the horrific performances due to just how bad of a job Johnson does with the film.

Gone Baby Gone: 7/10 - Ben Affleck's feature film directorial debut is easily the most impressive work he's done in the film industry thus far -- everything he is not as an actor, he is as a director. His brother, Casey Affleck, turns in another strong performance this year (the other was in 'Assassination of Jesse James') in a film that is uncompromising in the questions it asks. In addition, Ed Harris shines in an award worthy supporting actor role.

The Great Debaters: 7/10 - The sensationalized retelling of a debating team from an all black college on a path to facing off against Harvard in the 1930s. Denzel Washington both stars and directs the film and is supported by a wonderful cast, including the great Forest Whitaker.

Grindhouse: 9/10 – Directors Quentin Tarantino and Robert Rodriguez have created two films that prove even movies with awful content from the worst genre in American history can be great. It’s just plain cool, and very possibly, the most fun you’ll have at a theater all year.

Halloween: 3/10 - I've never understood the appeal of the horror film genre: illogical plotlines littered with inept acting. I have also never understood the acclaim many throw at the original "Halloween" (1978); while it may be the father of modern-day horror films, I wonder if that is really an accomplishment worth praising. Regardless, director Rob Zombie's remake makes no effort towards breaking new ground in the genre and is equally as terrible as the original.

The Hoax: 7/0 - A great story and strong acting from the entire cast make the film very entertaining. Director Lasse Hallstrom ("What's Eating Gilbert Grape," The Cider House Rules") trusts the film to Richard Gere and Alfred Molina and neither disappoint.

I Am Legend: 6/10 - Will Smith delivers a strong performance in a film that isn't quite sure what it wants to be. It is filled with some great moments -- some horror, some sentimental, some thought-provoking -- but on the whole, it didn't leave a lasting impression with me.

I'm Not There: 3/10 - Most of the performances, highlighted by Cate Blanchett, are well done and the concept is somewhat intriguing; however, director Todd Haynes fails to bring it all together into one, cohesive structure.

I Now Pronounce You Chuck and Larry: 5/10 - An entertaining film with hit and miss laughs from start to end. While it's mostly a fun watch, it's also fairly forgettable.

In the Shadow of the Moon: 5/10 – A color-by-numbers documentary on the United States’ Apollo program in the 1960’s. The pacing is awkward at times and the film never extends past something one would find on the History channel. It is also severely hindered by the absence of comments from the most important astronaut of the era (and of all-time), Neil Armstrong.

In the Valley of Elah: 6/10 - I'm not certain what message director Paul Haggis ("Crash") was attempting to convey with this film -- which may seem like an odd thing to write considering the heavy-handed nature of the filmmaking -- the obvious anti-Iraq war sentiment is trumped by a very generic examination of a soldier's psychological post-war wounds. At issue is not Haggis' theme, but rather the mediocrity with which he goes about expressing it. Oppositely, and far more pleasantly, Tommy Lee Jones delivers the best performance of his career as a grieve-stricken father; not since "JFK" (1991) has he created a more memorable character.

Inland Empire: 9/10 - David Lynch is probably the most fascinating filmmaker working today. "Inland Empire" is from the same mold as his masterpiece, "Mulholland Dr." (2001) -- it merges reality with dream effortlessly and vanquishes all hope of discerning any form of a coherent narrative. To add further complications, Lynch revolves the film around the making of another film: one with an equally outrages plot. I won't pretend to understand every moment of the movie, but then again, that's the joy in viewing one of Lynch's films...one doesn't have to.

Into the Wild: 9/10 - The film is shrouded in an overwhelming melancholy and I found myself on the verge of tears several times, each moment proceeded with a small smile. I often joke about the desire to move out to the middle of nowhere, build a small cabin and hunt the local game with a shotgun; but it's a thought without an ounce of conviction -- for Christopher McCandless, my joke became his reality. The cast is pitch-perfect and Emile Hirsch ("Alpha Dog") resembles a young Leonardo DiCaprio, delivering a performance worthy of Oscar recognition.

The Italian [Italianetz]: 1/10 - The film, the characters in the film, and the thought process behind the film are all equally boring.

Juno: 3/10 - This is not 2007's "Little Miss Sunshine" (2006). It is a boring film from a contrived, poorly written script. Actress Ellen Page ("Hard Candy," "X-Men: The Last Stand") does an adequate job with the lead role; however, she is nowhere near the realm of the Oscar buzz she has been receiving.

The Kingdom: 5/10 - The problem with taking a FBI Investigation/action film script and setting it in Saudi Arabia is that the many contrivances that often accompany such a script seem far less forgivable. While there is nothing wrong with a mediocre action movie, something doesn't sit well with me when so much more is left to say about the state of affairs in the Middle East.

The Kite Runner: 7/10 - A touching film that analyzes one man's chance at redemption. However, without having even read the book it was adapted from, I was able to see what was lost in translation. While it is often true that a picture is worth a thousand words, there is no picture that can ever take us within a man's heart and mind. The film has enough plot for a mini-series, but it seems to bypass the character depth required for any tale of soul-cleansing.

Knocked Up: 6/10 - While the film is filled with multiple hilarious moments, it’s overlong running time and loose editing lead me to look back on it somewhat unfavorably. Still worth the rental for the many solid laughs.

Lake of Fire: 3/10 - Director Tony Kaye ("American History X") wants this to be the definitive film on abortion -- and to his credit, it might be exactly that -- however, the structureless stretch of celluloid he has created brings nothing new to a very old discussion. We know the sides, and we know what they each represent, which makes the 2 1/2 we spend getting bombarded with an endless series of talking heads seem extremely excessive and unnecessary.

Lions for Lambs: 4/10 - Once the film was fully digested, it would be difficult for me to label it anything other than a train-wreck. The reasoning for rating it higher than it probably deserves -- much like "Across the Universe" -- is because it does have some strong moments; most of which occur in the first half of the film, when the themes seem to be tackled objectively. The failures of the second half, unfortunately, overtake the possible track towards success laid out in the first half. In the end, director Robert Redford created a muddled, liberally biased, contrived disaster, which is so illogical, it felt as though he personally slapped me in the face.

Live Free or Die Hard: 4/10 - An R-rated film forced into a PG-13 glove coupled with a lead villain too cartoonish to find a role in the Bond series lead to one of the bigger disappointments I've had to face in recent memory.

The Lives of Others [Das Leben der Anderen]: 5/10 - Hidden within this overlong, poorly paced film lies a work of brilliance. I was saddened to watch so many strong performances and such a solid screenplay base go wasted due to the lack of vision of director Donnersmarck.

Lonely Hearts: 4/10 - A fairly poor effort by director Todd Robinson -- he never seemed to grasp control of the project and the movie never comes together. While the performances aren’t terrible, they come off mediocre due to the film’s sloppy misdirection.

The Lookout: 6/10 - Joseph Gordon-Levitt delivers a very strong performance as the high school hotshot, turned handicapped bank janitor. The performance is made all the more impressive by the complexity of his role: a young man struggling to feel alive and in control once again. Writer/director Scott Frank does well with his directorial debut and what could have been just another cliché bank heist film is anything but.

Lust, Caution [Se, Jie]: 7/10 - Director Ang Lee creates a wonderful World War II atmosphere and crafts a perfect first half of film. Lee molds very cold characters, which works in the application of the film's major theme: lust; however, the film's second half blurs emotions and leaves the viewer somewhat lost. In reaching too far, Lee allowed me to lose sight of his point...along with what could have been another masterpiece to accompany "Brokeback Mountain," his last work of brilliance.

Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders: 4/10 - James Scurlock has created a documentary that examines the lives of those stricken with uncontrolled debt, while crosscutting to a very shallow examination of the national debt crisis. The problem is that I had no reason to feel compassion for a grouping of people that chose to spend more money than they had -- if you don't have a job, don't buy things you can't afford; if you're borderline bankrupt, don't have a child; if you're living on a very fixed income, don't gamble away thousands of dollars.

Michael Clayton: 6/10 - The performances are all strong and the film is more often than not engaging; however, I felt as if the characters had more to accomplish on screen. There is an abundance of good dialog throughout the script, there’s just not enough substance.

A Mighty Heart: 5/10 - Angelina Jolie gives a strong performance in a very hollow film. The sad truth is, if the film was not based on true events, it would have been awful. There is a fine line between sensationalism and irrelevance -– a line filmmakers must live on in movies such as this one -- and director Michael Winterbottom is unable to ever elevate from the latter. It is a perfect example of a good story without storytelling.

Mr. Brooks: 7/10 – Wonderfully twisted. Costner and Hurt have great chemistry and the film is worth a viewing just to see them. The major flaws come with the many tangent plotlines -- especially ones involving Mr. Brook's daughter.

National Treasure: Book of Secrets: 4/10 - The sequel actually finds ways to make "National Treasure" (2004) play like a documentary. If the insanely ludicrous plot wasn't bad enough, the horribly miscast Ed Harris and the excessively long running-time would have put it over the edge.

Next: 3/10 - The script is astonishingly bad -- that's not even an adequate enough description -- I'm talking epic awfulness; worse than anything I thought anyone was ever capable of producing. The writing is so terrible, you may actually spend time during the movie -- much like I did -- in deep thought, noting the monumental failure of screenwriters Gary Goldman and Jonathan Hensleigh. Also shocking, is the performance by Nicholas Cage; how he managed to keep much of the film entertaining is almost as revolutionary.

No Country for Old Men: 8/10 - The Coen brothers deliberately broke some basic storytelling rules when structuring this film in an effort to divert attention away from the plot and onto the theme. While the approach does not fail, it doesn't exactly succeed either, and the result lends an uneven feel to the final product. The film works because of the three principle characters; and further, the film is great because of the performances by Tommy Lee Jones, Javier Bardem and Josh Brolin.

No End in Sight: 7/10 - The stated goal of the United States Government was to establish an effective and efficient post-war environment in Iraq. Everything they did, however, was in contradiction to that objective. Charles Ferguson's documentary explores those missteps and analyzes the seeming incompetence of the Bush administration during the vital months that followed the collapse of Bagdad. The questions I have -- and the questions Mr. Ferguson should have been asking -- is not why the U.S. Government is so incompetent, but rather, were the Government’s stated goals actually their intention? Did the Bush administration really want to establish an effective and efficient post-war democratic Iraq? If not, who benefits from chaotic anarchy in Iraq?

The Number 23: 2/10 - I watched this movie with three friends -- two of the three were from college with me (23) -- two of them were from the same hometown as me (23) -- hell, one of them was 23 days (23) from his 23rd birthday (23) and he was wearing a Don Mattingly t-shirt (23). Get the idea? If you found that opening sentence to be wildly fascinating, this movie is just for you.

Oceans Thirteen: 4/10 - The second one was awful because it made absolutely no sense and was completely riddled with plot holes; this one is terrible because the plot is so ludicrous one must question the sanity of the people involved. What bothers me the most is the pretentious aura that surrounds these films -- as if I should be grateful I paid $8 to watch A-list stars incoherently prance around on screen for two hours...they get me every time.

The Painted Veil: 6/10 - The film suffers from what feels like an abbreviated first act. Director John Curran doesn’t allow his characters a chance to develop and the decision prevents the viewer from establishing a connection with the protagonists. Edward Norton and Naomi Watts give wonderful performances in a film that very easily could have been great under different direction.

Paris, I Love You [Paris, Je T'aime]: 5/10 - Many great actors and directors came together to create 20 short-films about love in Paris. Unfortunately, many of the stories misfire and drag down a well-intentioned concept.

Pirates of the Caribbean: At World’s End: 3/10 - What ‘Dead Man’s Chest’ took away from the first film’s freshness, this installment takes away from the fun. Compound that by the saddening fact that the film makes absolutely zero sense and one ends up with a disastrous waste of time.

Ratatouille: 8/10 - A near perfect and undeniably adorable film; the slightly overlong exposition does little to deter this from being one of the great films released this year. Just as I said with Pixar's last release, "Cars," Pixar can do no wrong.

Red Road: 1/10 - Much like "The Italian," earlier this year, this film offers characters that I was unable to relate to or care about. It isn't all together bad, just not engaging enough for me to sit through.

Rendition: 5/10 - Director Gavin Hood ("Tsotsi") attempts a very surprising plot device, however, its setup had me questioning the purpose of certain scenes throughout the entire film, all for a payoff that is an irrelevant realization about the film's structure. While I did enjoy Jake Gyllenhaal’s performance, the movie is largely forgettable.

Rescue Dawn: 6/10 - Director Werner Herzog ("Aguirre: The Wrath of God," "Little Dieter Needs to Fly") never escalates the film past the color-by-numbers plot-outline laid out in the screenplay. I could tell, that deep down, he was trying to make a movie about the overcoming of the human spirit in a hellish environment; however, the result falls just short of his target.

The Savages: 7/10 - It would be difficult to craft a bad film once Laura Linney and Philip Seymour Hoffman have been cast in the leads. Their strong performances allow this introspective family drama to surpass what could have been tedious mediocrity.

Serephim Falls: 6/10 - A beautifully photographed and well acted old-fashion revenge Western...kinda. The heavy-handed surrealism that takes the film over in the latter half doesn't mix with the gritty realism that brings the viewer through the first half. The film could best be described as a John Ford Western that David Lynch takes over at some-point in the middle. While both are great filmmakers in their own right, director David Von Ancken would be better served blending their concepts, rather than switching drastically between them.

Shoot 'Em Up: 7/10 - An action film spoof that is so far over-the-top it's laugh-out-loud funny how ridiculous the endless scenes of gratuitous violence are. The film is entertaining throughout and never takes itself too serious -- and best of all, Clive Owen and Paul Giamatti give two of the most enjoyable performances of the year.

Shooter: 8/10 - A throw back to the 80's Schwarzenegger and Stallone action films that delivers with shocking success. Wahlberg does very well in the role and director Antoine Fuqua's stylized work lends the perfect touch to what an action film should be.

Shrek the Third: 3/10 - While I was a fan of the first two Shrek films, this one lacked the magical, fun-filled feel normally instilled into the franchise. I have a feeling that the characters have run their course and the series needs to be put to sleep -- unfortunately, there is a fourth film on its way.

The Simpsons Movie: 6/10 - The movie is as entertaining as the TV show, so long-time fans will have very little to complain about; however, it just doesn't have enough big laughs to justify it as a full length feature comedy.

Smokin’ Aces: 4/10 - The brilliant filmmaking in the first act quickly shifts to a testosterone-fueled bloodbath of irrelevance in the second act...and well, the third act -- accompanied by its laughably obvious and ridiculous twist -- is just plain silly.

Spider-man 3: 7/10 – I hated the first film and I thought the second was mediocre at best…the third installment, however, ironically manages to find entertainment through its many faults. I found the first two, for the most part, to be poorly written, pathetically acted messes; and while it would be hard to argue much has changed, in adding enough plot to fill three movies, I never had a bored moment. The acting additions of Topher Grace and Thomas Haden Church only helped, but the film’s greatest success comes through its terrible screenplay.

Starter for 10: 8/10 - The film meanders, and doesn't really have a unifying point, yet I was able to relate to every single moment. The script is unique: sometimes charming, sometimes awkward; but always engaging. And as for the performances, they all work, and James McAvoy ("The Last King of Scotland") is perfect in the role. The bottom-line is that I really can’t envision a person I wouldn’t recommend the film to.

Superbad: 4/10 - Laughs are not what make a good comedy: smart humor, solid characters, and memorable scenes are what separate the great comedies from the summer trash consumers are thrown each year. While I did laugh often during "Superbad," each chuckle was separated by moments filled with me waiting for the movie to end.

Sweeney Todd: The Demon Barber of Fleet Street: 3/10 - While Johnny Depp continuously impresses me, his seemingly unending allegiance to director Tim Burton does not. Burton's projects are usually hit or miss, but the truth is, this musical was gimped before he ever touched it. The music was largely awful and the plot was just about as silly as one could imagine.

There Will Be Blood: 10/10 - One of the most unique and amazing films I've seen produced in my lifetime. Writer/director Paul Thomas Anderson ("Boogie Nights," "Magnolia") has created a revolutionary masterpiece -- a film that has changed my outlook on modern-day cinema. Daniel Day-Lewis ("My Left Foot," "Gangs of New York") fills the shoes of one of the most memorable characters ever penned and delivers one of the greatest performances ever put on film; rivaling Brando in his prime. The film is visceral; the film is volatile; the film is masterful poetry -- and it will be revered and discussed forever.

Transformers: 6/10 - The inherent problem with the film is the concept of alien robots attacking America; however, if you're able to look past the laughable plot -- something I was unable to do -- you will find that at its core, the film supplies solid entertainment. Young actor, Shia LaBeouff, is shockingly believable considering the screenplay and Megan Fox is absolutely stunning, which will keep even the most uninterested viewers glued to the screen.

Triad Election [Hak se wui yi wo wai kwai]: 7/10 - Much like the predecessor, "Election" (2005), the film isn't always easy to follow; however, director Johnny To has a firm grasp on the crime genre and is always able to keep the characters interesting and the story engaging.

An Unreasonable Man: 8/10 - "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man." That quote, by George Bernard Shaw, precedes the film: a profound and captivating documentary on the life of Ralph Nader. The first half of the film is very good; it deals with Nader's life as an activist for the people -- namely in the automobile safety industry -- however, the second half of the film is brilliant. Nader's persistence, as an unreasonable man, is poetically laced in among the inherent flaws of the current political system in the United States by directors Mantel and Skrovan. The film is worth the viewing for anyone and is one of the better documentaries I've ever seen.

Waitress: 7/10 - The movie works on a light, comedy level -- the characters are all fun and the movie never takes itself too seriously. In addition, Keri Russell does well carrying the lead.

We Own the Night: 3/10 - Disappointing acting performances combined with a terrible script made this movie extremely difficult to watch. Don't go see this film.

Wild Hogs: 5/10 - The all-star cast is able to keep the film moving along fairly well up until the last act; at which point the screenplay completely collapses and director Walt Becker's inexperience becomes overwhelmingly apparent. It still receives my extremely mild recommendation for those who are looking for some easy laughs from a very fun ensemble.

Zodiac: 6/10 – Jake Gyllenhaal long ago proved himself as one of Hollywood’s top actors and he does a valiant job in moving this film along. Unfortunately, the film suffers from poor perspective – the screenplay was written from an awkward vantage point, causing all kinds of disconnect throughout the film. It’s a great subject with some wonderful acting, but it is handicapped right out of the box and never reaches its potential.

Zoo: 1/10 - "I wouldn't always have sex with the animal, sometimes I would just hold the horse's balls to see how they felt -- they were always warm." That was said by a 'zoo' (a person who enjoys sex with animals) about 14 minutes into the movie. That was as far as I got. The film was done with cheesy re-enactments (think back to the TV show "Unsolved Mysteries") and was created to chronicle the story of a man who died during sexual intercourse with a horse. I am no where near as desensitized as I thought I was.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

I'll continue to update this page as I see more movies released this year.

2007 Academy Award Predictions

2007-02-23T12:37:00.000-05:00

Hey guys, sorry this post is coming so late. It'll be the same deal as usual: I'll bold the projected winner and if it is different from who I think deserves it (from the choices), I'll use an asterisk (*). This is your chance to impress all your new co-workers in the plethora of office Oscar pools out there. :P

Best Motion Picture of the Year:
Babel
The Departed*
Letters from Iwo Jima
Little Miss Sunshine
The Queen

Best Performance by an Actor in a Leading Role:
Leonardo DiCaprio (Blood diamond)
Ryan Gosling (Half Nelson)
Peter O'Toole (Venus)
Will Smith (The Pursuit of Happyness)
Forest Whitaker (The Last King of Scotland)

Best Performance by an Actress in a Leading Role:
Penelope Cruz (Volver)
Judi Dench (Notes on a Scandel)
Helen Mirren (The Queen)
Meryl Streep (The Devil Wears Prada)
Kate Winslet (Little Children)

Best Performance by an Actor in a Supporting Role:
Alan Arkin (Little Miss Sunshine)*
Jackie Earle Haley (Little Children)
Djimon Hounsou (Blood Diamond)
Eddie Murphy (Dream Girls)
Mark Wahlberg (The Departed)

Best Performance by an Actress in a Supporting Role:
Adriana Barraza (Babel)
Cate Blanchett (Notes on a Scandal)
Abigail Breslin (Little Miss Sunshine)
Jennifer Hudson (Dreamgirls)
Rinko Kikuchi (Babel)*

Best Achievement in Directing:
Clint Eastwood (Letters from Iwo Jima)
Stephen Frears (The Queen)
Paul Greengrass (United 93)
Alejandro Gonzalez Inarritu (Babel)
Martin Scorsese (The Departed)

Best Writing, Screenplay Written Directly for the Screen:
Babel
Letters from Iwo Jima
Little Miss Sunshine*
Pans Labyrinth
The Queen

Best Writing, Screenplay Based on Material Previously Produced or Published:
'Borat'
Children of Men
The Departed
Little Children
Notes on a Scandal

I'm going to stop there since I imagine most people don't care about the other categories. All in all I'm mostly disappointed with the list of nominees anyway: Jack Nicholson and Forest Whitaker gave the definitive performances of the year and it's sad that only one of them is being represented at the year's biggest award show; and even worse, is the blatant slap to Mel Gibson and Apocalypto.

It seems that every year the Academy gets more political in their choices...or maybe they always have been and I've just been naïve -- either way, the luster is gone. I'll probably end up watching a recorded version of the show so I can skip around to the few moments I want to see (namely, Marty getting his long-overdue Oscar).

Looking Back on 2006 - Top Ten and More

2006-12-30T11:02:00.002-05:00

As of today I have only seen 52 films released in 2006 (a staggering drop from last year's 79). That is largely due to the massive decrease in free time I’ve had since leaving college. Overall 2006 was one of the weaker cinematic year's in recent memory; however, it was relatively saved by some strong films released during the last few months. As usual, the following lists are only reflections of my personal feelings on the year and have nothing to do with any Award Season predictions.

1. The Good Shepherd
2. Apocalypto
3. The Departed
4. Little Miss Sunshine
5. Babel
6. Casino Royale
7. V for Vendetta
8. Lucky Number Slevin
9. Thank You for Smoking
10. Cars

Best Director: Robert DeNiro (The Good Shepherd)
Runner Up: Mel Gibson (Apocalypto)

Best Actor: Jack Nicholson (The Departed)
Runner Up: Forest Whitaker (The Last King of Scotland)

Best Actress: Helen Mirren (The Queen)
Runner Up: Maggie Smith (Keeping Mum)

Best Screenplay: Eric Roth (The Good Shepherd)
Runner Up: Michael Arndt (Little Miss Sunshine)

2006 Movie Reviews

2006-05-05T17:21:00.001-04:00

All films have a U.S. release date of 2006 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

16 Blocks: 6/10 - Unbearably implausible at times, but it does work as mild entertainment for the most part. The performances are also fun and director Richard Donner shows that he still has a few tricks left up his sleeve.

Akeelah and the Bee: 4/10 - The film is painfully heavy-handed and contrived. The performances are occasionally fun however, and it is conceivable that someone looking for very simple and sometimes cute entertainment could be entertained.

Apocalypto: 9/10 - The most powerful and visceral film I have seen in theaters since Mel Gibson’s last film, The Passion of the Christ (2004). While I do have some minor complaints about the film, I am currently in no mood to nit-pick on what very well may be the best movie of the year.

Babel: 8/10 - Director Alejandro Gonzalez Inarritu’s third film does not disappoint -- he has yet to make anything less than a great film. It’s a hard film to sum up briefly, in either description or thought; however, I recommend it to everyone for its uncompromised sincerity alone.

Banlieue 13 [District B13]: 5/10 - It would be impossible for the film to make less sense even if all the people involved with the project had the sole goal of making the most illogical movie ever. Having said that, I can also say I was largely entertained throughout by director Pierre Morel’s stylized action sequences.

Borat!: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan: 6/10 - Ultimately, the film is as forgettable as it is funny. Cheap laughs and toilet humor will keep most entertained; however, it by no means lives up to the insane hype.

Blood Diamond: 4/10 - Formulaic, contrived, over-long, and awkwardly handled by director Edward Zwick. However, the entire cast does a good job and is often able to keep the film entertaining.

Brick: 1/10 - It took me about four seconds to realize the movie was being made by a former film major. I hate film majors: what they have in talent, they lack in logic. The plot was far too convoluted and intricate for any high school on the planet and it’s a safe bet that even the young actors involved were lost reciting the all-to-clever words of director/writer Rian Johnson.

Bubble: 7/10 - Director Steven Soderbergh brilliantly creates the quiet desperation of a small, West Virginia town through an extremely minimalist lens. The film was cast with unknowns who all do a great job and I would venture to say that the film was the most introspective experience I’ve had this year.

Cache: 1/10 - A very, very boring French film. While it probably deserves a slightly higher rating, I simply couldn’t bring myself to sit through more than the first 70 minutes.

Cars: 8/10 - Pixar proves again that it can do no wrong. The characters are all great and even when the movie appears to be slowing down we’re shortly after reminded never to question the brilliant Disney filmmakers. I can confidently say that I was truly moved by the conclusion of the film. Also, any “Entourage” fans will be rewarded with a very crafty cameo.

Casino Royale: 8/10 - A near perfect film -- and certainly the best Bond I’ve ever seen. Daniel Craig slides into the role with relative ease and by the second act he had me completely convinced. I am only left wondering what the film could be in the hands of one of the several prominent directors that begged to do it -- namely, Quentin Tarantino.

Clerks II: 2/10 - I’ll start by saying that I loved the first film; it was funny, original, and host to several new and intriguing characters. I’ll end by saying that the sequel is unspeakably bad: poorly written, atrociously acted, and largely non-entertaining.

Click: 8/10 - This is Adam Sandler’s best film to date. You’ll laugh, you’ll cry, and if you’re even slightly less cynical than me, you might even walk away a better person. Go out and see it.

The Da Vinci Code: 6/10 - I enjoyed reading Dan Brown’s novel in part because of the fast paced and fun (and over-the-top insane) plot, but more so due to the frequent conversations and thought-processes revolving around history and the catholic church. The film counterpart does a fairly good job at reflecting the novel; so much so, that I felt as though I had already seen it. Now it would be unfair to claim the film is not good because I read the book; however, I can’t help but think of how frequently I wanted to leave the theater and instead spend my time reading or viewing something concerning the very ideals the story masks with its inconsequential plot.

The Departed: 9/10 - An overall improvement to the 2002, Hong Kong original. Unfortunately, it would have been impossible for the film to meet up to my impossible expectations; nonetheless, it stands as a triumph in both acting and direction (although it often seemed to lose the feel of a Scorsese film) and is the best film thus far this year.

The Devil Wears Prada: 3/10 - An awful, awful movie with a wonderful performance from Meryl Streep. It never escalates past poor sit-com writing and overused, trite themes -- avoid it.

Dreamgirls: 3/10 - A few solid performances amidst the sloppiest Oscar season pretender in years.

Find Me Guilty: 4/10 - The film works as lukewarm entertainment...but that’s it. Everything about the movie is misplaced from start to credits. I like Vin Diesel, but as an actor, he has still yet to prove himself -- his performance here is mediocre at best. I also love director Sidney Lument; however, he took on too grand a subject and the end result is essentially a minor failure.

Friends with Money: 6/10 - The writing is very often unbelievable, but I would recommend the film for the deeply rich characters and intriguing perception it casts on men and women. It’s a dramatic, thought-provoking version of HBO’s “Sex and the City.”

Game 6: 1/10 - Not for a moment did I ever feel that I wasn’t watching a movie. The writing just doesn’t work.

The Good Shepherd: 10/10 - Roger Ebert once said: “No good movie is too long and no bad movie is short enough.” I spent nearly three hours viewing The Good Shepherd...and I would have gladly spent three more. It was an experience that reminded me of why I grew to love movies to begin with. I have no desire to even see another movie this year for I know there could be no better ending to 2006.

Happy Feet: 1/10 - So inconceivably pathetic I sat through most of it in complete shock and disgust. I previously thought it to be impossible to make a film about such adorable creatures so unbearably bad. It is both the worst film of the year and the worst animation I have ever seen...by far.

Hard Candy: 3/10 - Extremely over-the-top and often way too clever for its own good. It’s also the most sadistic and uncomfortable movie experience I can recall...even more odd, however, was my reluctancy to turn away.

Hollywoodland: 5/10 - Director Allen Coulter’s film debut is an interesting failure. Coulter seems to make no attempt to rise past his TV roots and tells the story as bland and dry as it could be. It is never a good thing for one to leave a theater thinking Ben Affleck was the best part of the film.

The Illusionist: 4/10 - The title of the film is not only a reference to the profession of the lead character, Eisenheim (Edward Norton), but also to that of the film’s writer/director, Neil Burger. The film is an illusion -- a cheap, amateurish trick that breaks some of the most principle rules of screenwriting and leaves no one entertained.

Inside Man: 5/10 - Not only is Spike Lee a racist degenerate, but he is also a horrifically overrated, untalented director. The combination of his amateurish directing style and the grossly distracting cinematography was enough to curb what could have been a very unique attempt at the bank robbery plot. Even more upsetting is Spike Lee's constant need to involve race issues at every available turn. Clive Owen and Denzel Washington do provide moderate entertainment, yet there is no reason to think one can't wait until the DVD to view this film.

Keeping Mum: 6/10 - A quirky (and very English), black comedy with some extremely bizarre -- but amusing -- casting decisions. Unfortunately, the film doesn’t work until it begins to come together in the third act; however, Maggie Smith is wonderful as always and the film does teach us that if one ever has a problem with a person (or animal), murder is a perfectly acceptable solution.

The Last King of Scotland: 6/10 - Forest Whitaker’s brilliant performance alone is enough to warrant everyone to go and see this film. It’s unfortunate that the rest of the film is so mediocre.

Little Children: 6/10 - The film is a who’s who of some of the worst possible members of society -- a very unsettling fact that I wrestled with through much of the movie. The film is good though...kinda...it just makes too many critical mistakes: namely, the mysterious third person narrator and the neatly scripted last ten minutes.

Little Miss Sunshine: 9/10 - An absolutely adorable and hilarious film. The characters and plot devices are often over-the-top; yet, it’s impossible not to get sucked into the simple world directors Jonathan Dayton and Valerie Faris create. Steve Carell and the rest of the cast are great -- I can’t say enough about it; go out and see it.

Lucky Number Slevin: 8/10 - Pulp Fiction (1994) meets Snatch (2000) -- a film that is always cool no matter how ridiculous it ever is. All the characters are over-the-top, delivering dialog that is so pretty you can almost see it on a page; nonetheless, Paul McGuigan pulls it all together to make one of the most entertaining movies of the year.

Miami Vice: 3/10 - Writer/director Michael Mann supposedly spent endless hours in an editing suite attempting to fix what many initially considered to be unsalvageable. It seems the early boo birds were right, since I spent the majority of the film’s overlong running-time feeling embarrassed for Mr. Mann.

Mission: Impossible III: 4/10 - The most linear, plot-driven film I have ever seen. Newcomer Abrams drifts through on autopilot and the cast does what they can to keep the time spent somewhat entertaining -- but none of that really matters because the film is empty to its very core. It’s often over-the-top and always illogical -- oh, and worst of all, it’s one good moment turns out to be nothing more than a slight of hand by the screenwriters.

Pirates of the Caribbean: Dead Man’s Chest: 7/10 - Most of the fresh feeling that accompanied the original is long gone; however, the film is still good-hearted, summer entertainment. It is always difficult to rate an incomplete film(in this case, the trilogy will be resolved next May), nonetheless, I have no reservation in recommending it to anyone who enjoyed the first installment...and I imagine that’s everyone.

The Queen: 7/10 - Informative and intriguing, the film chronicles the days in the life of Queen Elizabeth surrounding the days of Princess Diane’s death. Although it does often turn somewhat dry, Helen Mirren’s performance is worthy of all the praise she is currently receiving -- including the early Oscar predictions.

Rocky Balboa: 6/10 - Despite the film’s countless mis-steps it is still a chance to see the greatest character in the history of cinema one last time. For nostalgia alone, it’s worth the trip to the theaters.

Running Scared: 7/10 - Director Wayne Kramer takes a big turn from his previous - and mediocre - film, The Cooler (2003), by creating a gritty, stylish, and unbelievably shocking action/thriller. The film’s frequent lack of coherent logic and Paul Walker’s unbridled overacting do little to slow down one of the most fast-paced, high-throttle films I’ve seen in years.

The Sentinel: 3/10 - It’s rare one gets the opportunity to watch a film unravel so quickly. While the film’s base is a promising, adult thriller, it rapidly turns into a dumb, unintentionally hilarious, debacle.

Somersault: 1/10 - The film follows the life of a very confused, sexually promiscuous Australian girl in search of what I can only assume to be some level of acceptance. I’m not sure what is more unfair, however, me reviewing a film I only saw a little more than half of or me presenting the film as one with some sort of recognizable plot.

Superman Returns: 2/10 - Don’t buy into the hype; the film is absolutely awful. Much like last year’s King Kong, the film is long, boring, and painfully unrealistic. The casting director was also a colossal failure in the creation of what was probably the least charismatic group of people assembled since the 1904 yearly Parliament meeting.

Thank You for Smoking: 8/10 - A great satire with a perfect cast. I thoroughly enjoyed the film from start to end and I’m confident it will stand as one of the best films this year.

The Three Burials of Melquiades Estrada: 4/10 - Tommy Lee Jones’ directorial debut just doesn’t work. He over-thinks the project at every turn and transforms what is essentially a very simple story of two very two-dimensional characters into a very complicated and often confusing affair.

Tristram Shandy: A Cock and Bull Story: 5/10 - A movie about the attempt at filming an unfilmable book. I’m very hesitant at leaning one way or the other on this film because at times I was able to see glimpses of brilliance matched only by Spinal Tap...and then at other times I sat in uneasy boredom.

Tsotsi: 3/10 - The greatest challenge a director has in making a film from the perspective of a “bad guy” is always one of two things: making the person likable -- Tony Montana in Scarface (1983) -- or casting a heavy social commentary over the film -- City of God (2002). Director Gavin Hood attempts both of these methods and fails miserably. The end result is a very loathsome movie experience.

United 93: 6/10 - I went into this film with a very open mind and very low expectations. I have held the belief that flight 93 was shot down by US military over Pennsylvania rather than overrun by heroic passengers since the crash -- the country needed a group of heroes that day just as strongly as they needed a villain (in Osama bin Laden); however, director Paul Greengrass’ failure does not come with vision, but rather with scope. The film is brilliantly shot and scored and possesses the feel of a documentary for most of the running time; yet, Greengrass manages to let his vision and objectivity skid into an emotional downward spiral towards the conclusion. The film felt incomplete to me -- almost as if its last 30 minutes were butchered in the studio days before the release -- and because of that I can only applaud the attempt and potential, rather than the final product.

The U.S. vs. John Lennon: 4/10 - A very basic documentary that simply doesn’t have enough intriguing or new information to warrant a feature film. The life of John Lennon was fascinating and his death very tragic, but unfortunately, even after viewing the film, I can’t claim to know anything more than that.

V for Vendetta: 8/10 - I strongly believe that terrorist is a synonym for patriot; a concept that has been clouded throughout history by naive, religious fundamentalists (…as if there were another kind). This film works more so for its ideals than its cinematic accomplishments and because of that, I suspect it will receive mixed reviews as critics attempt to weigh all of its parts equally. The filmmakers and actors are simply vessels to carry a message...and they succeed marvelously.

Winter Passing: 5/10 - A stereotypical indie film with plenty of interesting characters and not an once of depth or purpose. The film’s exposition is wonderful and it is unfortunate that newcomer, writer/director, Adam Rapp was unable to progress the film with the same grace in which he began it.

World Trade Center: 4/10 - I didn’t know it was possible for me to be so emotionally detached from a film centering on 9/11. Director Oliver Stone reaches deep down to uncover a few flickering moments of greatness; however, they sadly pass by as inconsequential within the scheme of the film as a whole.

X-Men: The Last Stand: 6/10 - On par for the franchise. It was solid entertainment all the way through and director Brett Ratner took over with no mis-steps. If you enjoyed the first sequel, you’ll enjoy this one.

You, Me and Dupree: 5/10 - An amusing opening act, an entertaining middle, and a very disappointing and ridiculous third act left me thinking that while the film had the potential of last year’s Wedding Crashers, it was never in the cards for it to quite match up.

Rating Breakdown:
10 = 4 Stars (Masterpiece)
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars (I was unable to finish viewing it)

I'll continue to update this page as I see more movies released this year.

2006 Academy Awards Commentary and Predictions

2006-01-31T16:12:00.000-05:00

Earlier this morning the nominations for this year's upcoming Academy Awards were released. Who will walk away with an Oscar come February 26th? More often than not who should win and who does win conflict, that is why I've decided to list out my projected winners in bold and mark who should win (among the nominees) with an asterisk(*). Here are both my picks and predictions - and for all those considering gambling, stay with the predictions.

Best Picture:

*Brokeback Mountain
Capote
Crash
Good Night, and Good Luck
Munich

Best Actor:

*Phillip Seymour Hoffman for Capote
Terrence Howard for Hustle and Flow
Heath Ledger for Brokeback Mountain
Joaquin Phoenix for Walk the Line
David Strathairn for Good Night, and Good Luck

Best Actress:

Judi Dench for Mrs. Henderson Presents
Felicity Huffman for Transamerica
Keira Knightly for Pride & Prejudice
*Charlize Theron for North Country
Reese Witherspoon for Walk the Line

Best Supporting Actor:

*George Clooney for Syriana
Matt Dillon for Crash
Paul Giamatti for Cinderella Man
Jake Gyllenhaal for Brokeback Mountain
William Hurt for A History of Violence

Best Supporting Actress:

Amy Adams for Junebug
Catherine Keener for Capote
Francis McDormand for North Country
*Rachel Weisz for The Constant Gardener
Michelle Williams for Brokeback Mountain

Best Director:

George Clooney for Good Night, and Good Luck
Paul Haggis for Crash
*Ang Lee for Brokeback Mountain
Bennett Miller for Capote
Steven Spielberg for Munich

Best Original Screenplay:

*Crash
Good Night, and Good Luck
Match Point
The Squid and the Whale
Syriana

Best Adapted Screenplay:

Brokeback Mountain
Capote
The Constant Gardener
*A History of Violence
Munich

Best Cinematography:

Batman Begins
*Brokeback Mountain
Good Night, and Good Luck
Memoirs of a Geisha
The New World

Best Editing:

Cinderella Man
The Constant Gardener
Crash
*Munich
Walk the Line

Best Art Direction: (I have no preference as to who wins this catagory)

Good Night, and Good Luck
Harry Potter and the Goblet of Fire
King Kong
Memoirs of a Geisha
Pride and Prejudice

Best Costume Design: (Same as above...)

Charlie and the Chocolate Factory
Memoirs of a Geisha
Mrs. Henderson Presents
Pride & Prejudice
Walk the Line

Best Original Score:

*Brokeback Mountain
The Constant Gardener
Memoirs of a Geisha
Munich
Pride & Prejudice

Best Original Song: (No idea who is going to win this category or how they decide the credentials for a best song)

*"It's Hard Out Here for a Pimp" - Hustle and Flow
"In the Deep" - Crash
"Travelin' Thru" - Transamerica

Best Makeup:

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
Cinderella Man
*Star Wars: Episode III - Revenge of the Sith

Best Sound:

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
King Kong
Memoirs of a Geisha
*Walk the Line
War of the Worlds

Best Sound Editing: (I'm tired of pretending I know what this category means so I have neither a pick nor a prediction)

King Kong
Memoirs of a Geisha
War of the Worlds

Best Visual Effects: (It is disgraceful that Sin City was not nominated)

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
*King Kong
War of the Worlds

Best Foreign Film: (Of my many favorite foreign films released this year, none were nominated)

La Bestia nel Cuore
Joyeux Noël
Paradise Now
Sophie Scholl - Die letzten Tage
Tsotsi

Best Documentary:

Darwin's Nightmare
Enron: The Smartest Guys in the Room
March of the Penguins
*Murderball
Street Fight

Looking Back on 2005 - Top 10 and More

2005-12-25T00:57:00.000-05:00

As of Christmas day I have seen 79 films released in the U.S. during 2005. While there are still several films I plan on seeing from this year, I imagine my list of top favorites will not change. Keep in mind that these selections have no bearing on the upcoming Award's season - for that I'll make a seperate post.

The Top 10 Films of 2005

1. Jarhead
2. Brokeback Mountain
3. Sin City
4. A History of Violence
5. Murderball
6. Batman Begins
7. Crash
8. Brothers
9. The Aristocrats
10. Broken Flowers

Best Director: Ang Lee (Brokeback Mountain)
Runner Up: Sam Mendes (Jarhead)

Best Actor: Philip Seymour Hoffman (Capote)
Runner Up: Joaquin Phoenix (Walk the Line)

Best Actress: Charlize Theron (North Country)
Runner Up: Joan Allen (The Upside of Anger)

Best Screenplay: Paul Haggis (Crash) [Original]
Runner Up: Josh Olsen (A History of Violence) [Adapted]

2005 Movie Reviews

2005-11-27T20:54:00.001-05:00

All films have a U.S. release date of 2005 and are listed alphabetically with a 1-10 rating. Numbers to star equivalents are listed at the bottom.

3-Iron [Bin-Jip]: 1/10 - I'll never understand how so much talent can be drawn to such a ludicrous screenplay; nor will I understand how it is possible for a man to assault someone by hitting golf balls at vital body parts.

5x2: 7/10 - The film plays as a shorter version of Bergman's Scenes from a Marriage (1973) and uses the reverse narrative with success. It is also the best French film I have seen in a very long time.

The 40 Year-Old Virgin: 4/10 - Less than half of the jokes worked; so, by my calculations, had they cut roughly 47 hours of the film, it would have been thoroughly funny.

A History of Violence: 9/10 - Director David Cronenberg has created a subtly brilliant film with very few missteps. Maria Bello delivers a great performance and Viggo Mortensen makes great strides in separating himself from the miserable trilogy that made him famous.

A Lot Like Love: 2/10 - Good premise falls well short of its potential and the film is both contrived and uninteresting through much of the second half.

The Aristocrats: 9/10 - The film works on two levels: firstly, it is the funniest documentary ever crafted - and secondly, it is an ingenious journey into the uninhibited depths of the most famous comic minds on the planet.

Assault on Precinct 13: 3/10 - Utterly ridiculous. Strong start goes awry over the course of just a few painful minutes of film. The script is completely inept in essentially every conceivable category.

Bad News Bears: 3/10 - Being a huge fan of director Richard Linklater, this film couldn't have been a bigger disappointment. It was sloppy, unfunny, and often completely incoherent. Billy Bob fans may find a few scattered laughs, but others should stay very far away.

The Ballad of Jack and Rose: 5/10 - Daniel Day-Lewis consistently selects unique roles and delivers solid performances; 'Jack and Rose' is no different. Unfortunately, despite the film's originality, the fundamental screenplay woes plague it continuously. It's worth a look for fans of Lewis and those looking for something a little out of the ordinary.

Batman Begins: 9/10 - The best comic book adaptation ever made - trumping both Superman (1978) and Batman (1989). Christian Bale and company all deliver great performances (with the exception of Katie Holmes who thankfully won't be back for the next one) and director Christopher Nolan is able to mix both Burton's talent for atmosphere and Bruckheimer’s eye for action.
Edit: After having seen Sin City, 'Batman' is no longer the greatest comic book adaptation ever made.

Be Cool: 5/10 - A film, that by design, doesn't know what it wants to be. The cast is fun to watch and some of the endless Hollywood satire will keep you entertained, but it is a long cry from its predecessor: Get Shorty (1995).

Bewitched: 6/10 - I am not certain as to why this film was so viciously panned by critics. Even though I could probably list more of the films flaws than credits, it was fairly close to what I expected: a fun, mid-summer, romantic comedy. Will and Nicole were very fun to watch and both filled in their respective roles as Darren and Samantha perfectly.

Black: 8/10 - This has been the most pleasant surprise of the year for me so far. Black is an Indian film, chronicling the lives of a deaf/blind girl and her teacher. It works mainly because it manages to do all the little things right: the direction, cinematography, score, and acting are all superb. Amitabh Bachchan gives a performance reminiscent of Pacino at the top of his game.

Brokeback Mountain: 10/10 - Masterfully directed by Ang Lee with a haunting score and probably the two bravest performances to ever come out of mainstream American cinema. Ledger and Gyllenhaal encompass the visceral understanding of impossible love in an almost magical way. I do suspect, however, that Ang Lee will be receiving all kinds of shit from both sides of the political spectrum for making this film - I also imagine he'll receive a best director Oscar.

Broken Flowers: 8/10 - Sometimes contrived - often mesmerizing - always honest. Bill Murray has become a master of silent acting and is consistently fun to watch. I am uncertain if the final 15 minutes add to the already established ambiguity, but regardless, the film is certainly one of this year's best.

Brothers [Brodre]: 9/10 - Not since 21 Grams (2003) have I seen a film portray quiet desperation so well. This Danish film follows the lives of two very different brothers and harnesses the visceral power of humanity's darkest emotions better than any other film this year.

Capote: 6/10 - Philip Seymour Hoffman delivers a sensational and unwavering performance as Truman Capote. The screenplay does not ask us to feel sympathy for the victims of the Kansas murders of 1959, nor does it ask us to feel compassion for the murderers sentenced to death; instead, it asks us to travel with one of the most eccentric writers in American history on a quest to understand society and the morality that holds it together. Unfortunately, director Bennett Miller did not see the same vision when he signed on to make this film.

Charlie and the Chocolate Factory: 2/10 - The film starts out wonderfully before an unbearably horrible turn for the worse. From the moment Johnny Depp takes command of the film, the audience is dragged along on the strangest movie experience I can recall. This film was almost as bad as Burton and Depp's last venture: the deplorable Sleepy Hollow (1999).

Cinderella Man: 7/10 - Ron Howard and Russell Crowe team up again in this above average boxing film. Had it not been for Howard's overzealous need to control viewer emotion at every turn (a complex he seems to be further developing rather than moving past), he just may have walked away with a great film.

The Constant Gardener: 7/10 - Ralph Fiennes and Rachel Weisz deliver great performances in a film that rarely knows what it wants to be, yet always remains entertaining. I never cared about the cause (pharmaceutical drug distribution in Africa) and I imagine that's the exact reason this film wasn't as good as it should have been.

Constantine: 3/10 - It is astonishing to watch a film grow so bad at such a consistent rate. The complete lack of inner logic as the film unfolded was a direct product of brutal indifference to viewer intelligence.

Crash: 9/10 - The best film I have seen to date on the topic of racism. Director Paul Haggis, screenwriter of Million Dollar Baby (2004), manages to create a very powerful film, on a very controversial topic, without being overzealous and preachy.

Dark Water: 6/10 - Slowly moves from a child custody drama to an over-the-top, supernatural horror film. Jennifer Connelly and her supporting cast are wonderful and the film does find some occasional scares.

Descent (TV): 1/10 - *twitch*

Downfall [Der Untergang]: 7/10 - The film's methodical pace often leads to stagnant drifting; however, some scenes are so powerful one cannot help but become fascinated. Hitler's final days bear no resemblance to rational thought and only through witnessing this representation have I ever felt so close to understanding something so unimaginable.

Electra: 1/10 - Terrible. I stopped watching after over an hour of pain. I don't suggest you get so far.

Fantastic Four: 6/10 - Gimmicky, forced, and poorly written…but also lots of fun. It never takes itself too seriously and barring a few exceptions (specifically Dr. Jessica Alba...), the performances are fun to watch.

Flightplan: 3/10 - The only thing more frequent than the amount of times you'll wonder what reality this film is based in, is the amount of times Alfred Hitchcock has rolled over in his grave since this script was green-lighted. Sadly, Schwentke's stylish direction is sinfully wasted since this film was doomed from the start - if you want to see this film's premise done correctly, rent The Lady Vanishes (1938).

Four Brothers: 7/10 - A modern-day Western set in the heart of Detroit with some good direction from John Singleton. It is often contrived and claims ownership to some hideously bad dialog, but overall, it was a fun action movie containing one of the best action sequences in recent memory.

Fun with Dick and Jane: 4/10 - A harmless, sit-com-like film that is marginally entertaining. Jim Carrey is on auto-pilot through most of it and the film doesn't generate many laughs.

Good Night, and Good Luck: 4/10 - This is George Clooney's second and equally bad directorial effort. The film's repetitive and boring nature say little about the time period he was attempting to reflect (1950's America amidst the McCarthy Hearings). Both the cinematography and David Strathairn's performance, however, are certainly noteworthy.

Grizzly Man: 3/10 - Timothy Treadwell is not crazy for his quirky differences with the majority of society...he's not even crazy because he chose to spend several months at a time camping amidst hundreds of grizzly bears...he is, however, crazy because he completely lost touch with his own human nature - he had no concept or understanding of his own life or the general existence of life on this planet. His death, while sentimentally unfortunate for those close to him, bears no excuse for the coverage of a 100-plus minute film.

Hide and Seek: 5/10 - Very few actors are capable of rising above their given material - DeNiro is one of them. Fanning is impressive as well and the film is surprisingly well photographed. Unfortunately, the final act is a jumbled mess of recycled horror film clichés.

Hitch: 7/10 - Very Cute. It reminded me of How to Lose a Guy in 10 Days (2003). Will Smith and Kevin James are great.

Hustle and Flow: 6/10 - This film is a stunning insight into the depraved lives of characters most people probably won't want to know - myself included. Terrence Howard's uncompromising performance, however, is most certainly noteworthy.

Inside Deep Throat: 6/10 - There is some very fascinating footage throughout this film and I would recommend it to anyone interested in the origins of mainstream pornography. Unfortunately, the film does lose focus in its second act as it attempts to stretch the material.

The Interpreter: 7/10 - A very unique political thriller that was lots of fun. Kidman is great, as usual, and Penn subtly delivers another amazing performance.

Into the Blue: 2/10 - An absolutely terrible film that stands for all that is the MTV generation's anthem: bad acting, bad direction, and bad writing compiled into a worthless pile of nearly intolerable celluloid.

The Island: 6/10 - If you're able to drastically suspend your disbelief and look past screenwriter Alex Kurtzman's many color-by-number plot devices, then you'll be treated to a fun thriller with some of the best performances thus far this year.

The Jacket: 1/10 - This film makes absolutely no sense. I felt like an idiot while watching it because I simply had no idea what was happening. At about 55 minutes in, I decided ignorance was indeed bliss and I turned it off.

Jarhead: 10/10 - "Fuck politics. We're here now; all the rest is bullshit." A war without politics has just about the same substance as a war film that avoids politics; yet, only through a lens of such apathetic emptiness can a viewer begin to comprehend Mendes' vision. He has created a more intense film through transcribing overwhelming boredom and disillusionment than he could with material covering a thousand battle sequences. This is Mendes' most ambitious and best work - it is a masterpiece.

Junebug: 3/10 - Director Phil Morrison's debut film never really goes anywhere. It lingers between obscurity and irrelevance, all the while parading some incredibly uninteresting people before the audience. Also, Alessandro Nivola, the actor who plays Pollux Troy in Face/Off (1997), has a supporting role in the film; so every time he came on screen, I was reminded of just how awesome Face/Off was...and just how boring Junebug is.

Kicking and Screaming: 4/10 - Will Ferrell owes it to both himself and his audience to choose better films than this.

Kingdom of Heaven: 4/10 - The film is both visually stunning and technically brilliant. It also possesses a very awkward lack of purpose; the character development is severely lacking and the storyline feels as though it was prematurely ripped away from something grander.

King Kong: 5/10 - Love is not in the words, it's in the subtext - a message that is enforced equally well in this modern-day remake; unfortunately, the film on a whole isn't even a shadow of the original. Much like Spielberg’s War of the Worlds earlier this year, director Peter Jackson creates a multitude of wonderful moments (along with some terrible ones) that never seem to belong to any thing bigger than themselves. Jackson's overzealous tendencies, a horribly revamped screenplay, and a running time that is excessive at the least leave me to wonder what the truly talented filmmakers of 1933's 'Kong' could have done with today's technology.

Kung Fu Hustle [Gong Fu]: 1/10 - A Chinese film that is 100% style and 0% plot. It doesn't make much sense and with exception to the various fight scenes, it is largely uninteresting.

Land of the Dead: 2/10 - Director George A. Romero is comfortably in control of his material...unfortunately, the material is horrendous.

Layer Cake: 5/10 - Poor development of the secondary characters and an extraordinarily convoluted script keep this film from rising to its potential. Matthew Vaughn's (producer of Snatch and Lock Stock and Two Smoking Barrels) directorial debut, however, is sporadically impressive and the cast is mostly fun to watch.

The Longest Yard: 5/10 - Not as good as the original (which wasn't that good to begin with). The supporting roles are filled with some fun people, but there really isn't much of a reason to watch this.

Look at Me [Comme une Image]: 1/10 - The majority of the 45 plus minutes I spent watching this film consisted of a fat, French girl whining (about being fat among other things). The remaining time was spent viewing the fat, French girl's friends crying about their own problems. I hate French cinema.

Lord of War: 8/10 - Nicholas Cage is Yuri Orlov, a gunrunner who doesn't take sides and spends most of this life rationalizing his profession. The film carries the same narrative style as Goodfellas (1990) and much like Yuri, director Andrew Niccol, keeps the material as objective as possible.

Mad Hot Ballroom: 8/10 - A captivating film that documents a six week ballroom dancing program for 4th graders in New York City. Director Marilyn Agrelo digs far deeper than simply dancing as she studies the very essence of growing up in yet another great documentary released this year.

March of the Penguins [La Marche de l'empereur]: 8/10 - I have never believed in “true love.” Cathecting or: the application of loving attributes towards something inhuman, has always seemed irreparably foolish to me. The fascinating footage shot by director Luc Jacquet has not only forced me to rethink an animal’s ability to love, but it has also raised questions concerning a genuine existence of "true love."

Match Point: 8/10 - Woody Allen is at the top of his game in this English Noir, anti-romance. I certainly hope this starts a new chapter in his life as a director considering this is far and above the best work of his career. With the exception of an inept performance from Scarlett Johannson and a rushed set-up, this film finds success in ways that can be considered anything but "lucky."

Me and You and Everyone We Know: 8/10 - I loved this movie and I'm not precisely sure why. On an objective level, the quirky characters are fun to watch and the touching direction may have been the best so far this year; yet, it is the moments in this film that make it great. Writer and director Miranda July finds ways to exemplify love, happiness, and understanding in ways I would never even think to apply them.

Millions: 4/10 - A very cute - and very strange - morality tale with a wonderful performance by nine year-old Alex Etel. The film is excessively manipulated and the plot often strains to present itself as being remotely believable. Recommended to only those who would have no reservations about sitting down and watching a made for TV movie on Nickelodeon or the Disney Channel.

Mindhunters: 2/10 - Much like Constantine, this film starts out very promising and concludes with marveling stupidity. The only thing about this film worse than the horrific acting by all involved was the ridiculous screenplay by Wayne Kramer. The best analogy to viewing this film that I can muster would be watching a 100 minute chess match between the Hilton sisters.

Mr. and Mrs. Smith: 8/10 - It's been awhile since a great action movie came out. Director Doug Liman (The Bourne Identity - 2002) gets a little carried away towards the end, but Brad and Angelina have great chemistry and are constantly fun to watch.

Munich: 7/10 - Many will claim that this film is Spielberg's penance for making War of the Worlds; I, however, feel his urge to rectify his wavering stance as the most prominent American director was slightly hasty. While many of the signature Spielberg trademarks are there, the film isn't as polished as it should be - the editing and continuity seem awkward at times. Regardless, the film does work largely because of its uncompromising script and solid performances.

Murderball: 9/10 - There is a scene in this film where a limbless quadriplegic describes a recurring dream he has in which he is flying over the trees behind his grandmother's house. The scene is cross-cut with sketches depicting his visions and was probably the most poignant cinematic moment I have ever experienced. Murderball is a genuine and fascinating look into the lives of extraordinary men and athletes.

My Summer of Love: 1/10 - I never thought lesbianism could be so boring. I'll be watching the Rambo series continuously for the next few weeks to compensate for what could be irreparable harm.

North Country: 7/10 - Blatant Oscar bait with some overall weak direction from Niki Caro (Whale Rider). The performances, however, are wonderful and it would appear that Charlize Theron is in line for her second Best Actress nomination.

Oldboy: 6/10 - A Korean film, originally released in 2003 (It just made it to the states this year), that cruelly depicts a man imprisoned for 15 years and his quest to uncover his captors. It is both violently disturbing and extremely convoluted; yet, it is also technically brilliant with some very strong performances.

Palindromes: 1/10 - The most fucked up movie I have ever seen - which is too say a lot, especially when considering Todd Solondz's other film, Happiness. Though, I suppose any film with a premise concerning a thirteen year old girl trying to become pregnant would yield a similar result.

Red Eye: 6/10 - Cillian Murphy (Batman Begins) and Rachel McAdams (Wedding Crashers) play they're roles well and master of suspense, Wes Craven, does not disappoint. The film has no dull moments and is refreshingly original.

Sahara: 6/10 - As over-the-top and contrived as any Arnold or Stallone action movie from the 80's and as complicated as any intricate, political thriller; yet, it possesses an easiness and charm that can be very rare. It's clean, escapist fun that'll have you smiling ear to ear.

Sin City: 9/10 - The film is primal, visceral, and splendidly unique. It offers up no hidden meanings – no deep philosophical quandaries. It is human sin personified by characters on film much like I would envision the imagery painted by some satanic bible. And oh yes, it is also the most visually impressive digital film ever made.

The Skeleton Key: 5/10 - Hollywood's recent obsession with twist endings has filled me with growing disdain for years; this film, however, actually pulls the technique off. Unfortunately, the rest of the film is lackluster and tedious despite what are generally, good performances.

The Squid and the Whale: 6/10 - A largely interesting and engaging independent family drama. All the characters are genuine and posses a depth that few screenplays even touch upon. In addition, Jeff Daniels and Laura Linney give top-notch performances.

Star Wars: Episode III - Revenge of the Sith: 7/10 - Despite what you may have read, this film is not as good as any of the original three. It does, however, surpass the previous two films released under the now, very worn, banner of "Star Wars." Maybe it works more so for nostalgic reasons than anything else; the film gives the audience the inevitable joy of finally piecing the entire saga together.

Stewie Griffin: The Untold Story: 5/10 - Watching this film is no different than watching three episodes of "Family Guy." Not as though that is a bad thing, just simply that I'm not certain why it qualified as a full length movie.

Syriana: 6/10 - The film is filled with several very memorable moments - most involving the undoubted future Oscar nominee, George Clooney - however, its sporadic and jagged storytelling leaves the audience playing a constant game of catch-up. Rather than create intrigue surrounding his characters, director Stephen Gaghan forces his viewers to constantly question why some of the characters are even in the film.

Two for the Money: 5/10 - Much like Hide and Seek earlier in the year, the film showcases one of the greatest actors of all-time (Al Pacino) in material that never seems to find its footing. Matthew McConaughey delivers a solid performance as well and I'd recommend the film for those interested in either of the actors or sports gambling in general.

The Upside of Anger: 7/10 – Joan Allen turns in the best performance thus far this year by an actress and Costner is back in a big way with a great performance of his own. In addition, writer and director Mike Binder shows a great talent for both character development and dialog.

Walk on Water: 7/10 - An Israeli film released originally in 2004 that depicts a hit-man, grieving after the suicide of his wife, hunting down a former Nazi war criminal. His friendship with the Nazi's grandson leads to many moving and fascinating sequences as the two men bridge the vast culture gaps between Israel and Germany.

Walk the Line: 8/10 - Joaquin Phoenix turns in a great performance as the legendary musician, Johnny Cash, struggling to fight off his drug induced demons. The film works also as a lesson on love - Cash's obsession for fellow singer, June Carter (Reese Witherspoon) leads him towards the darkest times of his life; yet, only in finally obtaining her is he ever freed to feel happiness again.

War of the Worlds: 4/10 - Despite Cruise's intensity and Spielberg's sporadic strokes of brilliance, the film falters miserably in its second act. Spielberg micromanages the "extermination" of the human race in such a way that we're forced to constantly remind ourselves that more is at stake than the well-being of Ray Ferrier, a crane operator from New Jersey, and his family.

The Weather Man: 7/10 - Nicolas Cage gives a great performance as a surprisingly unsympathetic character in Gore Verbinski's (The Ring, 'Pirates of the Caribbean') new film. The movie is funny at times and thought provoking at others, but mostly it stands as a vessel for Cage to receive another Oscar nomination.

Wedding Crashers: 7/10 - An underused Christopher Walken, an overused, sadistic antagonist, an awkwardly used vulgar grandmother, and an overlong running time don't prevent this film from being completely hilarious. It's great to see Vaughn and Wilson do films where their hands aren't tied with rating restrictions - "Yeah, well that proper girl in the hat just eye-fucked the shit out of me!"

Winter Solstice: 6/10 - Solid performances and an impressive debut for writer/director John Sternfeld. While the film strikes many of the right notes it also leaves very little with it's viewer to remember it by.

Rating Breakdown:
10 = Masterpiece
9 = 4 stars
8 = 3 1/2 stars
7 = 3 stars
6 = 2 1/2 stars
5 = 2 stars
4 = 1 1/2 stars
3 = 1 star
2 = 1/2 star
1 = No stars

I'll continue to update this page as I see more movies released this year.