Away from Her, Control, The Diving Bell and the Butterfly, 4 Months, 3 Weeks, and 2 Days, Gone Baby Gone, King of Kong: A Fistful of Quarters, Michael Clayton, The Orphanage, and Persepolis.
Only Away from Her, Gone Baby Gone, King of Kong: A Fistful of Quarters, and Michael Clayton made it to the Milwaukee market and I never got around to seeing any of them. Hopefully, I will catch Michael Clayton as it is going into a re-release for an Oscar run. As for the remaining five, they have not hit the Milwaukee market yet, but – assuredly – I will see them when they do. I have a feeling that they are all spectacular films based on their trailers, the reviews, and the award nominations they are receiving.
20. 28 Weeks Later
19. Breach
18. Juno
17. The Namesake
16. Knocked Up
15. 3:10 to Yuma
14. Into the Wild
13. Rescue Dawn
12. Ratatouille
11. The Bourne Ultimatum
I think that Breach and The Namesake could have been contenders for Best Supporting Actor if they had a campaign and a later release date. I am also not entirely blown away by Juno, though it is a very good movie. 3:10 to Yuma, Rescue Dawn, and – yes – 28 Weeks Later are all solidly crafted movies that I was unsure at first and all pleasantly surprised by.
I find the Best Picture talk for Into the Wild to be kind of crazy talk. I think the performances and cinematography are all top notch, but as an overall product, it does work that well for me.
Ratatouille and The Bourne Ultimatum are both outstanding fares for various reasons. I miss the early 1990’s because these two films would have garnered Best Picture buzz. The world has changed from the days of Beauty and the Beast and The Fugitive getting Best Picture nominations.
10. The Mist
I was initially reluctant to see this film because I know that Stephen King adaptations tend to be horrible. However, I figured the pairing of Frank Darabont and King has yielded good results in the past and I had nothing to do on a weekday afternoon.
This film’s focus is so sharp on the paranoia and power structures that arise with ordinary people in extraordinary circumstances. Though some labeled this a “B Movie,” it is nowhere near that in its portrayal of small townspeople.
Plus, the ending is surprising and still shocks me months after I first saw the film.
9. No End in Sight
Hey, look! A documentary! I rented this one a few weeks ago – on the same night that I rented The Namesake – and was entranced by it. Charles Ferguson’s film is not nearly as explosive as Michael Moore’s Fahrenheit 9/11, but the intimate interviews of people that do not support the war or have become disillusioned by it is mesmerizing. If you want to watch only one documentary on the conflict in Iraq, make it this one.
8. Eastern Promises
When I heard Cronenberg and Mortensen were re-teaming for another film, I was excited. Cronenberg’s Eastern Promises may lack the down-to-earth feel of A History of Violence, but it is still packs a powerful punch.
Mortensen’s performance was probably the most unhinged of any actor this year. The raw emotion – and body parts – that he put on display here is admirable. Supported by an outstanding supporting cast, Eastern Promises was one of the most satisfying films of the year.
7. Once
It should get nominations for Best Song, but it probably will not. It should probably merit a Best Picture nomination, but the Academy has not nominated a film for solely Best Picture since Grand Hotel.
This is the little musical that could and like Spielberg says, “This movie gave me enough hope for the rest of year.”
6. Grindhouse
Robert Rodriguez made a documentary / lecture called Film is Dead. I would like to make an addendum to that saying the cinematic experience is dead.
There are a few exceptions where going to the movies becomes an experience. Whether it is because people dress up like the characters, religiously attend midnight showings of the movie, or know every single line of the film.
However, Grindhouse was the most fun at the movies all year. It was a unique experience that allowed people to stand up and cheer, openly cringe, and laugh hysterically at things that traditional Hollywood movies would not cue you to laugh at.
5. Atonement
I was completely fascinated with this movie after I saw the trailer. The movie lives up to the incredible hype that surrounds it constructing a beautifully tragic tale.
After I had seen the film, I told a friend about it and how excellent I thought it was. He said that he did not want to bec
ause “it seems like a British movie that is created solely for the purpose of making an Academy Awards run.” I could not disagree with him more, citing the stellar performances, outstanding editing, and the overall scope of the film.4. There Will Be Blood
“Drainage! Drainage, Eli! Drained dry, you boy! If you have a milkshake and I have a milkshake and I have a straw and my straw reaches across the room and starts to drink your milkshake. I drink your milkshake! I drink it up!”
Daniel Day-Lewis sells this movie all by himself.
3. Sweeney Todd: The Demon Barber of Fleet Street
Initially, people wondered if Tim Burton’s distinct visual style would hinder the film. I think the end product has silenced anyone who ever did question that.
Burton’s delightful film cruises along with toe-tapping songs, Johnny Depp’s memorable performance, and an exquisite complimentary cast.
I wish this film would get all the Academy Award nominations it deserves. People would argue that musicals tend to get overlooked by the Academy, but they should stop and notice the excellence this film exudes.
2. Zodiac
If I had run of the Academy Awards, Zodiac would be the runaway leader in nominations. However, because the film was released in March and has had a minimal campaign, it will get entirely overlooked come Oscar time.
Remarkable performances from everyone made this the best ensemble piece in my eyes. From Gyllenhaal’s restraint to the always undervalued Anthony Edwards everybody had a genuine feel to them. Robert Downey Jr.’s performance was arguably one of the best of the year, but in a crowded field, he has almost entirely been forgotten.
The cinematography is an awesome spectacle as it is the first film to completely use the Vesper-Thomson film system. The editing, score, and attention to detail are heightened to a point that you feel like you are really in the Bay Area.
James Vanderbilt, having improved his writing skills since Basic, is at the top of his game and I hold out hope that he will be recognized for his work come January 22nd.
In the end, the person who deserves the most credit for Zodiac is David Fincher. His meticulous work and research on the film makes this film the highlight of his career. This movie – along with one other this year – left me completely breathless at the end, even though I knew what the outcome was going to be. Just like…
1. No Country for Old Men
This is movie perfection. There is no other way to describe it. I feel that no matter how many adjectives I throw out there they simply will not do this movie justice.
So much has already been said about the film that I feel I can only add one thing: Javier Bardem is not the “ultimate badass.” I would call him the ultimate car wreck. There has never been a character that is so horrific and methodical, yet I can not take my eyes off of him. I want to see what he will do next and I know that it is going to be something atrocious. That is how I know the Coen Brothers truly captured something menacing.
Most Overrated Film of the Year:
Charlie Wilson’s War – Yes, the two male leads are quite good. The script is very good for about 75 minutes. However, the more I think about this movie, the more I do not like it. I view Julia Roberts as a waste of space, Mike Nichols seems content to let his stars do what they want, and I wonder how the heck it managed a Best Picture Comedy or Musical nomination at the Golden Globes.
Best Guilty Pleasure Film of the Year:
300 – It made a gazillion dollars and has amazing visuals, but the dialogue is a tad ridiculous and – at times – it really quite cheesy. In ten years this movie may still be heralded as a visual achievement, but I do not think it will age well. Still, Snyder’s unique vision is entertaining for its slow-motion fight scenes and bombastic catchphrases.
