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]
Sunday, December 25, 2005
Sunday, November 27, 2005
2005 Movie Reviews
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.
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.
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