Strong Opinion

The Top Directors Working Today

2008-07-26T13:56:00.000-07:00

Click for Main Menu The Top Directors Working Today

The Top Directors Working Today: Jean-Pierre Jeunet

2008-07-26T12:59:00.000-07:00

Man I love the worlds created by Jean-Pierre Jeunet. His camera floats, darts and zooms in on anything it pleases, finding merriment and magic from unlikely sources. Most every Great director has a stamp of authorship, and it only takes a few minutes to realize you're swimming in Jeunet's pool.

Looking through his filmography, I realize that I only really liked 2 of his films. (DELICATESSEN and AMELIE) I find that his storytelling could benefit with more focus, a tighter grip. But I wouldn't think of missing anything he makes... and I'm talking Big Screen, baby. His name on a film doesn't guarantee Greatness, but I have no doubt that he's a Great filmmaker.

[NOTE: It's worth mentioning that 2 of his films were co-directed with Marc Caro, but I think the films that followed continued to speak volumes about his skill.]

According to the poll I posted on Filmspotting...

25% think he's Great director but wouldn't put him in the Top 10.
20% think he's very good, not quite Great.
40% think he's worth mentioning
10% think he's good, but don't think he'll ever be Great.
5% see nothing special about his directing.

I'll never forget the first time I saw anything by Jeunet. It was the trailer for Delicatessen, which was the scene where everyone is doing everything to the same rhythm. The audience applauded after it, the first time I had seen that happen for a movie that wasn't an anticipated blockbuster.
-arcnyc

I think A Very Long Engagement was really good, probably one of the better forgotten films of this decade.
-sdedalus

I think his more recent efforts lack the edge that Marc Caro brought to his earlier films. It's a dynamic I miss and one I think would have made helped make Alien Resurrection a better film. I'm not a huge fan of his light-hearted, cuddly style.
-Tequila

The Top Directors Working Today: Spike Jonze

2008-07-24T23:00:00.000-07:00

This is a name I expect to get a lot of flack for. With just 2 features and a video resume to die for, Jonze is out to reinvent the cinematic wheel, and I believe he’ll do it some day. Just not yet. Like Todd Field, he has talent beyond compare, but still needs more maturity. His ambition is his own worst enemy, and I think both of his features collapsed while trying to do too much.

According to the poll on Filmspotting...

22% think that with only 3 features, she's already proven her Greatness.
12% think with only 2 features and a load of videos, he's already proven his Greatness.
55% think he definitely has potential for Greatness
21% think he's worth mentioning, but not as one of the Greats.
12% can take or leave his direction.

I have more respect for him after reading Charlie Kaufman's original screenplays. The fact that he got those movies out of those scripts shows an incredible directorial ability.
-m_r turnage

He's like the Alfred Hitchcock of music videos: just about any one of the videos he did in the 90s would be something that any video director would hope to have made one day and the fact that he made all of them is enough to qualify him with only 2 features. You can get a complete sense of his visual style, sense of humor, singular creativity and storytelling abilities from his videos.

I voted that he's proved his greatness because of everything he's done up to now but he has more potential to lose that greatness. Especially if he does a lesser job with non-Kaufman scripts. Also, if he's not good at picking the right balance of "weird but not too weird" projects, he could end up being the hipster Tim Burton.
-arcnyc

The Top Directors Working Today: Kim Ji-woon

2008-07-24T11:13:00.000-07:00

It's no secret that some of the most exciting cinema right now is coming from South Korea. Chan Wook-park (OLDBOY) is probably its most famous export, but Kim Ji-woon is building a career any director would envy. His storytelling ability is crisp, engrossing and often breathtaking, while his camera technique is as fluid as it is stylish.

Some of you may know of his complicated horror jigsaw puzzle, A TALE OF TWO SISTERS which was little seen but very well reviewed. He followed that with A BITTERSWEET LIFE. Michael Mann often struggles to make a crime film this emotionally dense. Kim Ji-woon makes it look easy. The film is a soft center wrapped in a crunchy, bad-ass shell.

Now Ji-woon is set to release a Western (you heard me...a Korean Western). Steeped in the style of Sergio Leone, it's even titled THE GOOD, THE BAD & THE WEIRD. It played to rave reviews at Cannes. Here's the trailer.

A Horror Film, followed by a Gangster Pic, followed by a Western. Kim Ji-woon is like a Korean Tarantino, but with much more serious ambitions. In fact, if you've seen his films, you'd be more likely to compare him to the cerebral thrills of Christopher Nolan.

In short...he's simply a Great Director. If you haven't discovered him yet, there's a cinematic gold mine in store.

I didn't post a poll because I know he's largely unknown. Copies of A BITTERSWEET LIFE are not easy to find, but I swear to you this guy's the real deal and I couldn't leave him off just because he's not well known. Fans of Bella Tarr and Tsai Ming-liang should understand.

He has a strong sense of style, but he tends to overdo it, and both these movies are variations on pretty tired formulas. I see potential (there are great moments in both), but I'm not yet entirely convinced.
-duder

The Top Directors Working Today: Jim Jarmusch

2008-07-22T22:28:00.000-07:00

The more I thought about it, the more I felt certain that nobody would say Jim Jarmusch is a filmmaker you can count on for Greatness. He's made some interesting films, and I know a couple of them have a passionate cult following. But, just because you loved DEAD MAN or GHOST DOG or NIGHT ON EARTH doesn't automatically make you a disciple of his work.

Or does it? Would you call him Great or do you just like that he's out there making quality work? I liked him more when I was first discovering art-house cinema. I never thought any of it was Great, but his minimalism was refreshing. Now, I watch with more hesitation. His films are sometimes interesting, but in desperate need of a tighter edit.

According to the poll on Filmspotting, he's liked more than I figured.

28.5% expect Greatness
28.5% hope for Greatness, but are usually satisfied.
9.5% think he's worth mentioning, but not as one of the Greats.
9.5% his name on a film doesn't do anything for them.
24% haven't seen enough of his work.

I'm always interested when he has a new movie coming out. I don't always get around to it right away but I take note and try to get to it.
-arcnyc

I might have had my intro to indie cinema through him, Down By Law, back in the day. I think he is cinematic genius (though of a different variety than Tarantino's cinematic genius, which I don't think I value quite as much), along with Catherine Breillat and Tsai Ming-liang, probably the only three filmmakers I expect greatness from each time out.
-skjerva

The Top Directors Working Today: Peter Jackson

2008-07-21T23:43:00.000-07:00

I've been a fan of Peter Jackson since BAD TASTE. I always loved the resourcefulness and ingenuity of his low-budget "splatstick" comedies. (MEET THE FEEBLES is a personal favorite.) He developed his talents well, channeling them into 2 other favorites, THE FRIGHTENERS and HEAVENLY CREATURES.

But LORD OF THE RINGS changed everything, and KING KONG proved we're looking at a completely different filmmaker now. He no longer needs to stretch his dollars and is only limited by his pretty awesome imagination. Okay, actually I think his biggest weakness is with the way he handles comedy. It hasn't matured as well as the rest of his skills.

I definitely love his entire body of work. I will miss the madness (and tighter pace) of his pre-Rings films, and I don't think he'll ever match that achievement, although I think he'll try to for the rest of his career. Right now I say he's definitely Great, and I'll see whatever he wants to show me, but I worry my enthusiasm will weaken over the years

According to the poll on Filmspotting, opinions are all over the place.

16% think he's always been Great and will watch anything he does.
4% will now watch anything he does because of LORD OF THE RINGS
20% worry that he will keep trying to top THE RINGS.
12% think RINGS will be his only brush with Greatness.
12% think he's very good, but not Great.
16% think he was better before THE RINGS made him respectable.
20% think there's never been anything special about his directing.

I think that if there's an heir apparent to Spielberg and Lucas, it's him. But he does have the potential to eventually go overboard. The fact that he's following up Kong with something small like Lovely Bones, as well as turned down the chance to direct the Halo movie, makes me think that he's got his head in the right place.
-arcnyc

I think he's definitely one of the greatest filmmakers out there today, and he has proven himself to be a master craftsman of the epic. And really I think he's only made one third of a bad film. All reservations about him I have are limited to the second half of King Kong, which I think is a classic example of film making ruined by excess and overkill. But the movie itself I think is redeemed by the brilliant third act in New York, which is a close to perfect as you can get.
-gateway

His greatness is in his drive to make movies and his love of the medium, not in execution.
-pixote

The Top Directors Working Today: Alejandro Gonzalez Inarritu

2008-07-21T00:44:00.000-07:00

With only 3 major features, Alejandro Gonzalez Inarritu has quickly risen to the top of artistic and challenging filmmakers. There's a great deal to be said about Inarritu, and he has potential coming out his ying-yang, but I really want to see what he does with a less fragmented narrative and without writer Guillermo Arriaga, who penned all 3 features as well as the BMW short "Powder Keg".

Based on what we have, I'm definitely interested in anything Inarritu chooses to make even though I've only liked AMORES PERROS. I believe he's either going to start creating a string of classics, or he'll implode in a mire of his own ambition. It's too easy to compare him to the other 2 Amigos, Alfonso Cuaron and Guillermo del Toro. I think he's the least of the three. He certainly has more artistic ambition than Guillermo, but perhaps too much so. Cuaron is that rare bird who can blend bold art with very commercial cinema.

When writing about him I thought of Baz Luhrmann. He also only has a trilogy of similar films to analyze him from. AUSTRALIA will be a real make or break on Luhrmann for a lot of you. The question is how much of Inarritu's style will stay throughout all his films (like Sofia Coppola, who hasn't made a trilogy so much as the first 3 parts in an epic tone poem?) I expected stronger support for Inarritu. I knew there'd be a "need to see more" factor, but still I thought he'd impressed a lot more of you. Even if he has yet to reach his full potential, he's still created some remarkable films.

According to the poll on Filmspotting...

5% think he's one of the Best, and he's getting better.
10% think he's Great, but wouldn't put him in the Top 10.
35% think he's solid, but only sometimes Great.
5% think he's Good, but don't think he'll ever be Great.
25% think there's nothing special about his directing.
20% need to see more first.

I think he's great though I seem to give more credit to Guillermo Arriaga, who wrote the films. 21 Grams is great though it's editing made the whole film puzzling.
-The Void99

The Top Directors Working Today: Hou Hsaio-hsien

2008-07-20T13:13:00.000-07:00

When I first asked for some names for the project, a lot of people said I should look at Hou Hsiao-hsien. I had yet to see a Hou film, but felt I needed to take a look before this post arrived. I've now seen two...MILLENNIUM MAMBO and THREE TIMES.

His mood and many dreamy shots remind me of Wong Kar Wai. In particular, the opening long shot of MILLENNIUM MAMBO and the third story in THREE TIMES (especially when Shu Qi uses the florescent light to look at the photo and the framing of the conversation at the club bathroom). There's also a strong feeling of people trying to make human connections over great emotional (and sometimes geographical) distances that reminds me of WKW.

The films I saw were also very minimalist in nature with only a few characters and long periods of silence. Everything is stripped down, like with Kim Ki-duk. That being said, Hou is not ripping off these other filmmakers. They each have their own distinct personality. He just works in the same kind of sub-genre. Some of his shots are breathtaking and he's very good at capturing the emotional tone of a story. In fact, he completely nails it. However, I don't think he's quite Great. I'd put him on the 2nd tier. Yet I'm definitely hungry for more, and with almost 20 films to his credit, I'm sure there's one I would just L-O-V-E.

According to the poll on Filmspotting...

23% think he's Great and can't wait to see more.
31% say they've seen enough to say he's really good.
8% have seen his films and think he's okay.
38% have yet to see any of his films, but are interested.

One of the two or three greatest working directors...
-spooncivicR

Pretty, pretty good. Although I'd say that it takes a bit to get used to him.
-roujin

Kim's heavy-handedness is vastly different from Hou.
-samfuller

Three Times is more a survey of both Taiwanese history and film (both Asian film in general and Hou's own previous work). I think the first section of Three Times is more reminiscent of Wong Kar-wai (it's set in the same time period as several of Wong's films as well) than anything else I've seen from Hou. Most distinctive in Hou's style, I think, is the way his camera drifts across the frame: up, down and side to side, but rarely (if ever) either tracking or zooming into space.
I don't know that Hou is necessarily actively avoiding a mass audience in favor of an international group of cinephiles. It may just be that, like Godard thinking Breathless was realistic, he's just not capable of making his films any other way. Unfortunately, for those of us who only speak English, we're pretty much limited to the last 10 years of Hou's 30 year career until some decent distributor manages to get some DVDs put together.
-sdedalus

The Top Directors Working Today: Werner Herzog

2008-07-19T00:22:00.000-07:00

How does one analyze the skills of Werner Herzog? It's near impossible to condense all the history into a paragraph, and then use it to predict his future potential. His films are always enhanced by the stories of how they were made, not just the Kinski films, but even the recent RESCUE DAWN. He was known as a maniac back in the 70's and 80's, and he's mellowed... but only a little bit.

My brain tells me that his best days are behind him, and you can't count on Herzog to still deliver Greatness. But 3 years ago, he released one of my favorite recent Documentaries, GRIZZLY MAN, and I'm extremely curious to see his take on BAD LIEUTENANT (a film whose original I actually despised and laughed at.)

One thing's certain, he's still not playing it safe. But is he Great or just occasionally daring?
According to the poll posted on Filmspotting...

53% think anytime he makes a movie, there's a good chance it'll be a masterpiece.
31% think he's a Great Director, still able to deliver something fresh.
8% think he's uneven, but well worth watching.
8% are only interested if the reviews are good.

He's an interesting personality, and his views on nature are intriguing to hear. Plus, he deserves all kudos for doing the impossible... DRAGGING A STEAMSHIP ON TOP OF A MOUNTAIN. Can Michael Bay do that without visual effects?
-The Void99

Filmmaker. Eccentric. Superhero. Knows the taste of a shoe. He also does the best DVD commentaries you're ever going to hear.
-arcnyc

With the passing of Ingmar Bergman, I actually think Werner Herzog is now the greatest living director, so I would say any movie he makes could be a masterpiece. That said, I think he's far from infallible (as Cobra Verde and the ending of Rescue Dawn are evidence of).
-gateway

The Top Directors Working Today: Todd Haynes

2008-07-17T23:37:00.000-07:00

And now let's take a trip deep into the art-house with a director whose vision is so unique, personal and experimental it's amazing he's even able to get financing. I have seen most all of Haynes work, including POISON and, yes, SUPERSTAR: THE KAREN CARPENTER STORY... in many ways his greatest achievement. What do you say about a man whose most accessible film is a tribute to Douglas Sirk melodrama. I love what he does, and even when I hate his films, I often find myself going back and basking in the sheer originality. (VELVET GOLDMINE is one of the few films I own that I don't even REALLY like.) He keeps the flame burning for all of us who argue about film being a form of art.

I admit, I'm a bit surprised by the outpouring of love for Haynes. I always saw him as more of a divider. It's probably because the internet is a site for intelligent film discussion and not just mainstream commentary. Even then, you rarely find a filmmaker with such personal tastes find so much acceptance. Just one of the reasons why I'm glad to be doing these polls. I get to see opinions outside my close circle of friends and make some real interesting discoveries.

According to the poll posted on Filmspotting...

12% think anytime he makes a movie, there's a good chance it'll be a masterpiece.
47% think he's sometimes Great, and always worth watching.
29% think he's unpredictable, but like that he's making movies.
6% tend to like his choices more than his films.
6% think he's annoying.

With the exception of the dreadful Velvet Goldmine, I think all of his films are great to super terrific great. He is probably among the 5 filmmakers I get the most excited about.
-Matt the movie watcher

No matter what, you can't say he's not interesting.
-arcnyc

After seeing I'm Not There. I became convinced that he's now one of the greatest directors ever. I'm looking forward to what he does next.
-The Void99

The Top Directors Working Today: Michael Haneke

2008-07-16T22:47:00.000-07:00

On paper, Michael Haneke is a classic European art-house director, and I know he has his supporters. I'm aware of his Greatness and I won't argue against him, but he's not a filmmaker I get excited to talk about. There's a cold formality to his work that keeps me at a distance, but I'll definitely see anything he does...if it garners a fair amount of acclaim.

He's made 21 films so far, but most people will know him for CACHE and one or both versions of FUNNY GAMES.

According to the poll posted on Filmspotting...

18% think he's a Great director and will watch whatever he makes.
18% think he's solid and sometimes Great.
13.5% get his Greatness but are not personal fans.
13.5% don't care for his filmmaking.
32% haven't seen enough of his work, but would like to.
5% have heard of him but aren't interested.

I'll watch whatever he makes. (though it's a love-hate type of thing)
-duder

Definitely need to see some others before I can vote. With that said, I have no plans to subject myself to Funny Games.
-Matt the movie watcher

Cache always gets bumped up on my queue and then bumped back down for something else. I've seen the original Funny Games, which I think is a great execution of a lesson I neither needed nor wanted, and Time of the Wolf, which is a phenomenal, intimate post-apocalyptic film guaranteed to irritate the people who disliked Children of Men because it didn't explain why the human race lost the ability to reproduce.
He's definitely a skilled filmmaker, doesn't ever pander, and knows how to manipulate his audience.
-arcnyc

The Top Directors Working Today: Paul Greengrass

2008-07-15T22:52:00.000-07:00

I'm very excited to be getting around to Paul Greengrass, who is one of the freshest talents of the last ten years. His style is immediate and very easy to identify... he takes his cameras and plunges you right into the heart of whatever he's presenting. And he gets my blood racing every time.

You could argue that he's kind of a one-trick pony, but while everyone else uses shakey-cam and quick edits to create fake excitement, Greengrass builds his shots into masterful sequences of tension and suspense. He can keep you on edge for the entire length of the film; the magician that does the trick right and makes it look easy.

Extra points for bouncing between commercial and art-house fare. He's made Jason Bourne (and Matt Damon) the most exciting action hero of this generation, and his take on 9/11 and Bloody Sunday explains historical events on the most human of terms.

The first poll I posted on Filmspotting showed that he ranked a lot higher than I thought.

65% think he's a Great director and will watch whatever he makes.
25% might like him if he held the camera still.

Since my first poll on Paul Greengrass was a bit conservative, I decided to add a 2nd poll and maybe better find out How Great people think he is.

39% think he's on of the Very Best.
17% think he's Great, but wouldn't put him in the Top 10.
33% think he's solid, but only sometimes Great.
5.5% think he's Good, but don't think he'll ever be Great.
5.5% see nothing special about his directing.

Greengrass knows exactly what to show us in those action sequences. Yes, it may be jarring at first, but an attentive viewer can easily discern what is happening. Every cut shows us clearly the essential of what is occuring in that single frame. It's expertly edited.
-edgarchaput

United 93 was the best of its year and his Bourne movies are sort of the gold standard for recent large budget mainstream action movies. If he keeps up this pace he could go anywhere.
-Dracula

The shaky cam has gotten progressively more annoying. "Please stop shaking the camera when it's just two people having a conversation".
-duder

The Top Directors Working Today: David Gordon Green

2008-07-14T21:37:00.000-07:00

David Gordon Green burst into the spotlight with his debut film, GEORGE WASHINGTON. Some critics praised Green's sensitive direction, with it's casual life-like atmosphere and the film is something of a minor art-house classic. I didn't hate GW, but I walked away thinking that Green is not the kind of filmmaker that I respond to.

That sentiment carried over to ALL THE REAL GIRLS. I didn't care for the film as a whole, but I absolutely went nuts for the love story at its center. Paul Schneider and Zooey Deschanel have never been better and some credit has to go to Green's handling of the actors. I didn't see SNOW ANGELS, but I will rent it. And I'll see PINEAPPLE EXPRESS even though right now he seems like a very, very odd choice to direct a broad stoner comedy.

I imagine at some point I'll watch one of his films and it will all fall into place for me, but right now I feel like I'm on the outside looking in, trying to figure out why some people whose opinions I respect like him so much.

According to the poll on Filmspotting.net...

17% think he's Great now and getting better.
11% think he's Great, but wouldn't put him in the Top 10.
33% think he's solid, but only sometimes Great.
6% think there's nothing special about his directing.
33% haven't seen enough of his work yet.

George Washington is one of my favorite movies. I really can't put my finger on what specifically made it so great for me but it was absolutely beautiful and broke my heart.
-jbissell

The Top Directors Working Today: Michel Gondry + Jonathan Glazer

2008-07-12T12:31:00.000-07:00

Michel Gondry, Jonathan Glazer (and Spike Jonze who's coming up later) didn't just come from a Music Video background, they pushed the format to its outer limits, creating some of the greatest Videos of all time.

Gondry's feature films include Human Nature, Eternal Sunshine of The Spotless Mind, Block Party, The Science of Sleep and Be Kind Rewind. The features all show a playful visionary, but the end results are decidedly mixed. (I don't know what to say about Block Party. It was highly praised and some may argue that it's his best film, but I was mostly bored.) I think his films are wildly uneven and his story focus seems easily distracted. He’s a whiz with in-camera trickery, but I wish he cared enough to not let his films look so grungy.

I'd say Gondry is able to create Great things and his tricks keep it interesting, but he doesn't take the care to mold his ideas into a final beautiful film.

According to the poll on Filmspotting...

13% think Gondry is a unique talent that brings Greatness to any script.
30.5% think he's a Great director most of the time.
52% think he's always interesting, but you can't count on him for Greatness.
4.5% think he's only worth watching if given the right material.

He's always interesting, but only great when given enough yarn and cardboard to work with.
-gateway

I wonder if there is a parallel between the quality of his music videos and the quality of his films? perhaps his music vids are great because somebody else came up with the content (i.e. the music) and his better films are great because somebody else came up with the content (i.e. the script).
-Think Long

I don't feel I can justify including Jonathan Glazer, but I don't want to leave him off either. Many people really dug Sexy Beast, but I stand nearly alone in thinking Birth is an incredible achievement in filmmaking. I've also watched his Videos DVD and he's completely unafraid to push the music into the background of the video, focusing more on a narrative story. Plus, his commercial showing surf waves as giant horses made my jaw hit the floor. It's visually stunning (and both pre-dates and does the job better than Fellowship of The Ring.)

I say Jonathan Glazer definitely belongs in this discussion. He is a Great Director who has already proven himself, and I will be there opening weekend for whatever he does next.

The Top Directors Working Today: Stephen Frears

2008-07-10T21:23:00.000-07:00

It's interesting that after Marc Forster, next on my list is Stephen Frears. I think Frears could be Forster 20 years later. His track record is equally erratic. On one hand we have Dangerous Liaisons, The Grifters, High Fidelity, Dirty Pretty Things and The Queen. But in between those we've gotten films like Hero, Mary Reilly and Mrs. Henderson Presents.

Frears is another director with no discernible style beyond an ability to solidly direct occasionally great material. He doesn't attempt to bend genres like Danny Boyle, and some films seem to be pure paycheck jobs. You could argue that his Great films have great scripts, but there's even some arguments about which of his films are the Great ones.

Going against the norm, I think High Fidelity is very sloppy and The Queen is a bit too dry. But I absolutely love Dirty, Pretty Things. I love the script, but I also love the casting, the performances and the tone of the piece. The direction is so Great it leaves me wondering why he isn't that good All The Time. I can only guess that sometimes he cares about a project, and sometimes he just needs to put bread on the table.

So do we forgive him for his weak films and declare him Great, or is it too difficult to discount his failures? Will you see a film just because it's Stephen Frears, or will you wait for the reviews?

According to the poll on Filmspotting.net...

37.5% think he definitely deserves recognition as a Great Director.
37.5% think he's too unpredictible, but give him the benefit of the doubt.
25% feel he's too hit or miss to be trusted.

Frears' name in the credits doesn't do much for me one way or another.
-pixote

Is he one of the greats? Maybe not but his name attached to a film guarantees a spot for it on my netflix queue... somewhere.
-arcnyc

The Top Directors Working Today: Marc Forster + Curtis Hanson

2008-07-09T22:36:00.000-07:00

I was very surprised when I posted on Filmspotting about Marc Forster and Curtis Hanson. They received some of the lowest marks I've seen so far. Guess they're not as respected as I had thought. So in the interest of time, I've decided to post them together.

I can’t put my finger on how Marc Forster directs. His lack of style genuinely bugs me, although it makes him adaptable to all kinds of projects. (Who else could go from The Kite Runner to James Bond?) His brief filmography has quickly become a decidedly mixed bag – FINDING NEVERLAND followed by STAY – and there’s no telling where he may end up.

According to the poll on Filmspotting...

4% think he's proven his Greatness.
8% think he definitely has potential for Greatness.
36% think he's Good, but don't see him doing anything Great.
28% think he's too hit-and-miss to merit consideration.
24% don't think he's ever been good, let alone Great.
Honestly, I included him in this discussion at the strong suggestion of others, but I think he's the least deserving name I've posted so far. If you'd vote in the top 2 choices, I'd love to hear what draws you to his work. Why do you trust him?

Haven't seen any of his films? You're not missing anything. It's interesting how everyone seems to love his movies when they come out, but it doesn't take long for them to slip into obscurity. I had not heard one word on Monster's Ball for years (until today), and I see Finding Neverland and Stranger Than Fiction going down the same path.
-duder

He's the kind of director who gets work because he can keep a production together, come in on time and on budget, and has directed an actress to an (overacted) Oscar-winning performance. He's not bad at it so you can't really wish he would stop getting work, but he's not interesting enough to eagerly await his next film. He can tell a story well enough but I don't know that he has the potential to be great. I have yet to see anything in his films that shows me that he wants to be better than he is. And all of this is fine. I guess not every director needs to bleed all over every single frame of every one of his films.
-arcnyc

Marc Forster is a poor man's Ron howard, who's a poor man's Robert Zemeckis, who's a poor man's Steven Spielberg. Marc Forster sucks.
-Dracu

Curtis Hanson is an interesting case. After a series of genre thrillers, Hanson reinvented himself and opened a lot of eyes with L.A. Confidential, one of the absolute greatest films of the 90's. He followed that up with Wonder Boys. In those two films, Hanson proved he can be a director of the highest caliber. Since then it's been diminishing returns, almost as if he's sliding back into being a mostly reliable hired gun. He brings a lot of respectability to his projects, but like John McTiernan, I think his time of Greatness came and went very quickly.

A lot of people suggested Hanson is only good when working with good material. While the material has a lot to do with it, I'd like to defend Hanson and say he's always elevated the material. His early genre thrillers like Hand The Rocks The Cradle and The River Wild benefitted from above-average performances. (Even Bad Influence was the first time I believed Rob Lowe could Act.

He's also gotten career Best performances from Kim Bassinger, Toby Maguire, (arguably) Michael Douglas, and yes, Steve Guttenberg. He worked really hard with Eminem to make that performance (and many of the untrained supporting cast) very credible as well.

Hanson doesn't have an identifiable visual style, but he's really good with actors, and all his films...all of them (be it L.A. Confidential or Lucky You) come out better than the final screenplay would suggest. Does that make him Great? I say, no. But he's definitely better than average.

According to the poll on Filmspotting...

4.5% think he's a Great director and will watch whatever he makes.
13.5% think he's not always Great, but he's worth watching.
36% think he was Great for a couple of films. Now he's solid at best.
23% think he's only worth watching if given the right material.
23% don't see anything special in his directing.

I think it's definitely in his power to make another great film or even a few more. But he seems to have fallen into his good films by accident, judging by the ones that are not as good.
-arcnyc

The Top Directors Working Today: David Fincher

2008-07-09T00:10:00.000-07:00

There are leaders and then there are followers. David Fincher is a leader. Visually inventive, technically perfect and able to take an audience anywhere he wants to go. Certainly the leading case for music video directors making features, Fincher is probably my personal #1.

His films are so dense with both story information and cinematic technique, they cannot be grasped on a single viewing. (PANIC ROOM - his self-proclaimed "Saturday Night Date Movie" - being an exception. David Fincher's work must be experienced first and analyzed later.

I'm not looking to pick a fight over who's the better director. Many of you stand by your Coen Bros. and P.T. Anderson. I'm wondering if you think he's almost as good. And if not what holds him back?

According to the poll on Filmspotting you also think highly of him.

45% think he's one of the 5 Best Director's working today.
14% think he makes the list, but can think of a dozen who are better.
38% think he's solid and sometimes Great.
3% think he's incredibly overrated.

My only issue with him, and it's really minor, is that occasionally, his films feel a little too clinical for my tastes. He's got a good grip on using the synthetic to create something organic, but every so often, if just for a moment, he lets it slip. But again, this is a minor gripe. He's amazing and I'm always looking forward to his next film.
-arcnyc

I actually like Fincher a lot and go out of my way to see all of his films in the theaters (which I don't for just anyone). But, with my love comes a very close scrutiny. It says something when everyone gets angry at a movie like Panic Room for just being good.
-m_rturnage

The Top Directors Working Today: Todd Field

2008-07-07T22:08:00.000-07:00

After IN THE BEDROOM and LITTLE CHILDREN, he’s close... real close. But right now I think Field is still a well of untapped potential. I like the way he handles actors, but I’m more enamored with the writing skills he brings to difficult projects. He likes to break the rules, and somehow is able to get away with it. His direction is visually very fluid and a masterpiece is in his future, but I think he’s still a couple of films away.

According to the poll on Filmspotting.net...

4% think that with only 2 features, he's already proven his Greatness.
64% think he definitely has potential for Greatness
8% think he's Good, but don't see him doing anything Great.
16% can take or leave his direction.
8% have heard of him, but are not interested in his work.

I'm incredibly close to calling him a bona fide genius. I think In the Bedroom is one of the best movies this decade, and I really liked Little Children as well, proving that his first feature wasn't a total fluke. I think he needs at least one more success to be classified as a true auteur, however.
-gateway

I see a potential for Greatness in his movies, even though I don't particularly like either.
-El Duderino

His two films to date have been "small" films. Once he makes his epic the Oscars will start rolling in. Though I'm not sure I want him to make it.
-Keith

The Top Directors Working Today: Clint Eastwood

2008-07-06T20:51:00.000-07:00

Back when I talked about Pedro Almodovar I said "there are 3 major directors that I personally feel are highly overrated." Clint Eastwood is one of those three.

Eastwood has crafted some astonishing films, but I’ve too often found myself trapped in the theatre waiting for this old man to get to his point. He's great to his leads, who require little direction, but often abandons his supporting cast. (No better example of this than the gym rats and Swank’s family in Million Dollar Baby.) And his stubborn refusal to be stylish is maddening.

I’m impressed that, at his age, he helmed 2 major Iwo Jima pictures. I was not impressed with the films themselves.

According to the poll on Filmspotting.net... he's on his way, but quite a few remain unconvinced.

11% think he's a Legend working at the top of his game.
11% think he's usually Great and certainly one of our Best Directors.
33% think he's solid and sometimes Great.
26% don't think he's bad, just a bit overrated.
19% don't understand why everyone loves his work so much.

I have a lot of respect for him, especially his Westerns, a genre in which he really is the last great director.
-sdedalus

Considering he's made two masterpieces (Unforgiven and , yes, Million Dollar Baby), even taking his misfires into account I can't consider him overrated.
-gateway

The film's he's been making from Mystic River to present have been very top-notch, solid films at their finest. He's clearly on the top of his game.
-The Void99

He is the definition of solid, but I just can't get excited about his films. But he's unlikely to make a stinker.
-Marquis Wowser of Lancashire

Unlikely to make a stinker? Did you watch ANY of his films between Unforgiven and Mystic River? Garden of Good and Evil. True Crime. Absolute Power. Bloodwork. Space freaking Cowboys. Awful, to a film.
-terroristfistjab

The Top Directors Working Today: Guillermo del Toro

2008-07-05T23:30:00.000-07:00

As a director, Guillermo del Toro makes me giddy. He's wildly creative, usually a lot of fun and knows how to capture indelible images on camera. He's a great storyteller. His artistic one-two of The Devil's Backbone and Pan's Labyrinth have garnered the respect and acclaim, but I really enjoy his more commercial fare.

Hellboy and (especially) Blade II were fairly weak in the script department, but I'm talking about directing and del Toro gave those films a lot more style, originality and creative energy than you would have expected. His visions are not timid (that also applies to Mimic and Chronos) and if you've ever listened to his audio commentary, he seems to be having just as much fun as what he puts on screen.

For some, del Toro wouldn't be worth talking about if not for Pan's Labyrinth. I wasn't as overwhelmed by his work on Pan, because I always knew he had it in him. A great director who is just beginning to get respect.

According to the poll on Filmspotting.net... he's on his way, but quite a few remain unconvinced.

31% think he's a Great director and will watch whatever he makes.
19% think he's Great, but prefer his art-house fare.
4% think he's Great, but prefer his genre films
12% only like his art-house films.
4% only like his commercial films.
31% are not impressed yet.

He has the rare skill of directing child actors, something you dont see often these days. His other rare skill is the ability to use special effects without having them overtake the movie (looking at you Lucas).
-zarodinu

This guy is the best. Good call on the commentaries, too. He is crazy smart.
-Junior

I think I like del Toro in theory more than in practice. Pan's Labyrinth and, oddly, Blade II aside, all of his movies feel like they're missing something. Devil's Backbone felt as if there was a more affecting movie in there (which he ended up making with Pan's). I just kept waiting for Hellboy to get going and it never did. As good as Pan's was, I still think that he has yet to make a masterpiece. But it's definitely on the way.
-arcnyc

I agree he has style - I disagree on his story telling abillity. Everyone of the films I've seen gets deductions for falling into a rut and becoming boring about 2/3 of the way thru. I also don't think he coaxes the best performances out of his Actors, esp the "stars" (see Blade II).
-Keith

Guillermo... you can move me to tears simply by killing a child. Truly, you are a master.
-m_rturnage

The Top Directors Working Today: The Dardenne Brothers

2008-07-03T21:44:00.000-07:00

This was going to happen eventually. While I see A LOT of movies, I haven't seen everything. When I put up my initial post on the Great Directors Working Today, I came across a few names have a passionate following whose work I have yet to experience.

Creators of intensely naturalistic films about lower class life in Belgium, brothers Luc and Jean-Pierre Dardenne have created a body of work since 1996 which places them clearly among the world’s most critically respected filmmakers. With La promesse (The Promise) (1996), Rosetta (1999), Le fils (The Son) (2002), and L’Enfant (The Child) (2005), the Dardennes’ films are stark but modest portrayals of young people at the fringes of society – immigrants, the unemployed, the inhabitants of shelters. Both Rosetta and L’enfant were awarded the Palme d’Or at the Cannes Film Festival, the only two Belgian films ever to earn the honor.

According to the poll on Filmspotting.net...

21% have seen their films and think they're definitely Great.
5% have seen their films and don't care for them
42% haven't seen enough of their work but hope to.
21% have never heard of them before.
11% have heard of them, but aren't interested.

They have a great short, "Darkness", in that shorts about cinema series. This would be an easy intro and gives a sense to their ethic, which is clearly what is important to them as film-makers.
-skjerva

The Top Directors Working Today: Alfonso Cuaron

2008-07-02T22:23:00.000-07:00

Right now, Cuaron strikes me as one of the most creative and original talents making movies. I didn’t really notice his work until Y Tu Mama Tambien, and he followed up the most artistic Harry Potter film with the highly acclaimed Children of Men. He shows great skill both with his camera movement and his unique story choices. Y Tu Mama is where he gained respectability as a director, but Children of Men may be the one that hints at an Oscar-winning masterpiece somewhere in his future.

Is he currently at the peak of his powers, or is the best still to come?

According to the poll on Filmspotting.net...

39% think he's one of the Best, and he's getting better.
25% think he's Great, but wouldn't put him in the Top 10.
25% think he's solid, but only sometimes Great.
4% think he's Good, but don't think he'll ever be Great.
7% think there's nothing special about his directing.

No Cuaron film (with the exception of Prisoner of Azakaban) is complete without the gorgeous cinematography of Emmanuel "Chivo" Lubezki. He's still the best director of the entire Harry Potter franchise.
-The Void99

He's great, but I think a good part of that is down to my love for Chivo.
-Wilson

Too early to rank him among my favs but he has potential coming out his ying-yang.
-matt the movie watcher

The Top Directors Working Today: Cameron Crowe

2008-07-01T21:51:00.000-07:00

Like Wes Anderson, he’s been great and he’ll no doubt be great again…Right? Coming off of VANILLA SKY and the fiasco ELIZABETHTOWN, you have to start wondering what’s broken and is there anything he can do to fix it?

According to the poll on Filmspotting.net... people seem to agree with me. Crowe scored some of the lowest marks of anybody on the list.

0% think there's no slump, and he's as Great as ever.
18% think he used to be Great, and he'll be Great again.
30% think he used to be Great, but don't know if he'll ever be Great again.
22% think he's Good, but don't think he'll ever make a Great film.
30% think he's always been overrated.

I thought he had it all with Almost Famous but after Elizabethtown, he needs to reinvent himself or just stop making films.
-The Void99

How are people differentiating Cameron Crowe the screenwriter from Cameron Crowe the director?
Hint: He's average at one and below average at the other.
-pixote

I like all of his films, some of them quite a bit, but I'd have trouble calling him great.
-sdedalus

The Top Directors Working Today: David Cronenberg

2008-06-30T21:27:00.000-07:00

Cronenberg’s last two films gave him the strongest critical support of his career, but I feel like I got off the bandwagon a few stops back (somewhere after NAKED LUNCH and before CRASH.) I think A HISTORY OF VIOLENCE is okay, but severely overrated, as his style seems to have evolved from shockingly violent to surprisingly flat.

Nobody seems to have much to say about his early horror film period anymore. For most Cronenberg was deserving of attention after Videodrome, The Dead Zone and The Fly. I'm a big fan of The Brood and Shivers also has quite a few good moments.

Dead Ringers was where Cronenberg really took his directing to the next level. I wasn't a big fan, but I appreciated his attempting something more artistic. Naked Lunch is Cronenberg's one true masterpiece.

I think we're all exhausted attacking or defending A History of Violence. I hope any comments focus more on the body of work in general, as well as hopes for the future.

According to the poll on Filmspotting.net...

7% think any time he makes a movie, there's a good chance it'll be a masterpiece.
33% think he is usually Great and certainly one of our Best Directors.
41% think he's solid, but only sometimes Great.
4% think he's Good, but he'll never be Great.
15% see nothing special about his filmmaking.

What you call flat, I call dry. I like the new direction.
-El Duderino

I think he's one of the great directors we have.

His early films were definitely shock films and then, he progressed into being this solid yet strange and fetishistic director. Then came Crash which I think, was the peak of his extremities. Then, he kinda restrained himself which leads to his recent crop of films. I think he's matured over the years and is getting better every time with each film on a technical level as well as storytelling. I'm anxious for what he does next.
-The Void99

Cronenberg is one of my favorite directors - his techno-fetish bent in his first wave of work (ending with Crash) established his individuality and his visual style, then he went and reinvented himself and abandoned his exploration of combining man and technology and started re-examining his own work and role violence plays in it and in society at large. For all its humdrum (I call it steady) pacing in Eastern Promises - the brutally raw bath house fight scene was inevitable and more shocking than a lot of his more violent films, the same with AHOV - I think he's trying to show that a realistic form of violence is still more jarring than the usual cinematic form that we have become so desensitized to. I like him because he has something to say w/o being "preachy" - showing, not telling.
-St. Martin The Bald

The Top Directors Working Today: Sofia Coppola

2008-06-29T23:17:00.000-07:00

The Virgin Suicides
Lost in Translation
Marie Antoinette

Loved and despised in equal measure, her films infuriate and bore her harshest critics for being Too Precious. That’s exactly why her fans are rabidly drawn to her work. I always go in expecting to hate her projects and come out surprised by how much I liked them. Still, there’s room to grow and become more agreeable without sacrificing the lush and dreamy tone of her work.

There's something about Sofia that makes her and her films hard to fully endorse. She's made as many films as Darren Aronofsky. I didn't care for Pi, and The Fountain felt compromised. (Requiem is in my Top 5 for the Decade.) I only liked the 2nd half of Virgin Suicides, but really liked the tone she set for Lost In Translation and Marie Antoinette. Yet I fully embrace Aronofsky while I never have much confidence in Sofia's abilities, and I wouldn't be surprised if she made something as monumentally bad as Boxing Helena.

According to the poll on Filmspotting.net...

22% think that with only 3 features, she's already proven her Greatness.
36% think she definitely has potential for Greatness
14% think she's Good, but don't see her doing anything Great.
17% can take or leave her films.
11% are annoyed by her filmmaking.

She has made two of my all-time favorites and a big sloppy (yet colorful) mess. Not sure if this actually equals greatness, but I think its more than potential.
-Keith

I am always struck by how emotionally I connect to her work - her skill at evoking a mood through images (especially lighting) and music draws me to whatever she does. My opinion may change over the coming yrs but for now, she is one of my favorite directors working if for no other reason than her works tends to haunt me - it stays with me for days after viewing it...
-St. Martin The Bald

Annoying!
-sdedalus

I think Sofia Coppola has more than enough potential to be one of the greatest directors ever.
-The Void99

I think she clearly has the potential for greatness but I worry about her work being so vapid and self-reflexive (and/or self-congratulatory) that it is meaningless.
-skjerva

I agree that there's definitely an autobiographical approach to the story (the anachronistic soundtrack reinforces that idea). Unlike you though, I like that. I wish all directors were self-reflexive/self-congratulatory.
Ok, not all of them
-El Duderino

Lost in Translation is a fave of mine. Just because of that film I'll always look forward to her next project. Strangely enough, she's not really a favorite of mine.
-roujin

Top Commentary: The Coen Bros.

2008-06-28T16:28:00.000-07:00

Preliminary research for this project made me believe The Coen Bros. would rank very high. So I posted a much tougher poll on Filmspotting.net...

21% think they ARE the Best Director's working today.
53% rank them towards the top of the list.
12% think they make the list, but can think of a dozen directors who are better.
12% think they can be Great, but they're more hit and miss.
3% only like a couple of their films.
0% think they're incredibly overrated.

Negativity is my specialty so here is the only negative thing I can say about them. They only make screwball comedies (Arizona, Lebowski, O Brother) and neo-noir (Blood Simple, Millers Crossing, Man Who Wasnt There) with a few mish mashes of the two genres (Fargo, Fink). NCFOM is a little different because the screenplay was adapted. Sometimes I wish they diversified a little, their adaptation of To the White Sea fell through, which is a damn shame, it could have been something. Hopefully with Oscar wins, they can try their hands at more ambitious projects instead of staying in their safety zone.
-zarodinu

I'm a big fan of the Coens, but it's hard to say if they're the best there is. It is easy to argue that someone like P.T. Anderson comes out with masterpieces every time, but I also have to commend other directors on taking chances.
-Chalupa

Top Commentary: James Cameron

2008-06-26T22:59:00.000-07:00

Opinions were all over the board on James Cameron. I think it's just hard to judge a director's current relevancy after such a long vacation. (Remember how the absence of Tarantino between Jackie Brown and Kill Bill brought up uncertainty?)
According to the poll on Filmspotting.net...

12% think anytime he makes a movie there's a good chance it'll be a masterpiece.
16% think he is usually Great and certainly one of our Best Directors.
20% think he's solid, but only sometimes Great.
12% fear after his long absence, he won't be as good as he used to be.
24% think he is Good, but don't think he'll ever be Great.
16% don't see anything special about his directing.

Cameron is one of those rare creatures that is not only an ace storyteller but also a technical genius, working with his team to craft what he needs to tell those stories. This alone makes him the single best director working in blow s**t up, popcorn munching, butts in seats blockbusters
-Keith

I like his films from the first Terminator to Titanic. Sure, Titanic had its cheesy moments but he had a lot of balls to make a film of that grand scale.
-Thevoid99

Top Commentary: Tim Burton

2008-06-25T22:43:00.000-07:00

From the feedback on Tim Burton I got a pretty even split between those who still think he's great once in a while, and those who don't trust him anymore.

According to the poll on Filmspotting.net...

0% think anytime he makes a movie there's a good chance it'll be a masterpiece.
4% think he is usually Great and certainly one of our Best Directors.
41% think he's solid, but only sometimes Great.
41% think he used to be Great, but don't trust him anymore.
14% think he's always been all flash and no substance.

It also looks like Sweeney Todd was a bit of a comeback for Burton.

Sweeney Todd was his best film in awhile (I didn't see Big Fish), but he hasn't made a great movie since Mars Attacks! over ten years ago.
-sdedalus

Sweeney Todd has somewhat renewed my faith. Planet of the Apes through Charlie and the Chocolate Factory was an ugly stretch for me.
-matt

For 10 years almost no one could touch this guy then he went off the rails. After Todd though I'm inclined to get excited for his subsequent film.
-Keith

I think I've become rather oversaturated with his style by now. I wish he'd do another Ed Wood.
-Tequila

I loved his early work from Pee-Wee to Ed Wood. Then, everything got silly and I just don't have the same enthusiasm for his films that I used to have back in the early 90s. It seems like he's either going for a big box office hit (Charlie & the Chocolate Factory, Corpse Bride, or Planet of the Apes) or going for an Oscar (Big Fish & Sweeney Todd).
-thevoid99

Top Directors To Come

2008-06-24T22:24:00.000-07:00

Just a quick post to say I'll be returning to The Top Directors Working Today very soon, but I wanted to keep my George Carlin tribute up.
Also, I'm almost caught up on my Top Commentary. Soon we'll get back to the list and starting with the next name (Sofia Coppola), I'll post the Filmspotting Commentary with my thoughts.

George Carlin

2008-06-24T08:27:00.000-07:00

"Perhaps the worst thing that can happen is to reach into the refrigerator and come out with something that you cannot identify at all. You literally do not know what it is. Could be meat, could be cake."

In the 80's, I used to perform stand-up comedy. I loved stand-up comedians, and would record Carson and Letterman before going to sleep so the next day I could watch their opening monologues and any comedian they would bring on the show. Back then, HBO would air one-hour shows, about once a month, featuring the best in the business. And every year, we'd get a new special from George Carlin.

"Here is a message from the National Institute of Pancakes: It reads, and I quote, “Fuck waffles.”

Carlin was one of my favorite comedians of all time. People who didn't like his humor often were turned off by how much he cursed. He was fearlessly profane. (Many remember his "Seven Dirty Words", but years later he updated the list with about 15 minutes of other things you're not allowed to say on television.)

"Swimming isn't a sport. Swimming is a way to keep from DROWNING."

Carlin was a master of comic timing and delivery. To make his points, he could speak fast and cranky, like a crazy old coot and suddenly raise his voice, as if shouting out a moment of realization. The best example of this may be his legendary bit "A Place For My Stuff" (This is a good time to mention that many great bits from Carlin can be found on Youtube.)

Way before Jim Carrey, Carlin could stretch, twist and pinch his face into all sorts of expressions. He'd come off like a kindly uncle or an intuitive scholar one moment, and instantly transform into an angry New Yorker or a dangerously crazed homeless man. He was loose limbed, energetic and dominated the stage. (One HBO special was done in theatre-in-the-round and he kept the whole room going.)

"About this time, someone is telling you to get on the plane. "Get on the plane. Get on the plane." I say, "fuck you, I'm getting IN the plane! IN the plane! Let Evil Knievel get ON the plane! I'll be in here with you folks in uniform! There seems to be less WIND in here!"

His biggest influence on me (and many other comedians and screenwriters) was his love of language, and the way we've chosen to mangle it. When going through my favorite George Carlin bits in my mind, I think of "A Place for My stuff" and "Baseball vs. Football", but I keep coming back to "The Airline Safety Announcement" from Jammin in New York.

"In the unlikely event..." This is a very suspect phrase, especially coming, as it does, from an industry that is willing to lie about arrival and departure times. "In the unlikely event of a sudden change in cabin pressure..." ROOF FLIES OFF! "An oxygen mask will drop down in front of you. Place the mask over your face and breathe normally." Well, I have no problem with that. I always breathe normally when I'm in a 600 mile-an-hour uncontrolled vertical dive."

"When two planes almost collide, they call it a near miss. It's a near hit. A collision is a near miss."

Carlin could tear apart the English language and look at it from angles I couldn't imagine. Every time I write, I hope for one moment of insight, a new way of looking at the everyday. Carlin wrote new material all the time, producing stand-up albums, DVD's and books. Even when he appeared on the talk shows he'd have all fresh stuff. His mind was always questioning and creating. George Carlin is my hero, and he will be deeply missed.

Top Commentary: Danny Boyle

2008-06-21T22:46:00.000-07:00

From the feedback, it seems that most of you agree that hit or miss Danny Boyle deserves a lot of respect.

According to the poll on Filmspotting.net...

6% think anytime he makes a movie there's a good chance it'll be a masterpiece.
36.5% think he is usually Great and certainly one of our Best Directors.
39.5% think he's solid, but too uneven and only sometimes Great.
9% think he's Good, but don't think he'll ever be Great.
9% don't think there's anything special about his directing.

The range of criticism and praise ranged from...

I don't always like how the movies come out... but I'll always go watch them.
-lise

Poor director. Last acts are a mess, Trainspotting was great because of the source material.
-Wilson

Sunshine is one of the best sci-fi movies ever. And 28 Days Later is crazy good. Trainspotting was pretty good.
-Junior

I think Boyle is a great director - even what some people perceive as being uneven in his output I would attribute to someone comfortable working outside of others expectations - he takes chances and for that I respect him and put him at the top of his class. He not only changes genres but he plays within them as well and still succeeds to put his own stamp on each film much like Tarantino.
-Martin

The Beach wasn't a popular movie, but I thought it was kind of interesting. It was a bit schizophrenic with the visuals, but overall pretty good. Sunshine was a fine example of how sci-fi movies should be made (with the exception of the final third) and 28 Days Later had me pretty stressed out. Stressed out in the good sense of course.
-edgarchaput

If a person can make some of the finest examples of Family, Horror, Sci-Fi and whatever genre Trainspotting is he is a true master of his craft. Boyle is my desert island director.
-Keith

What I think is awesome about the guy is the diversity of subject matter and genres that he tackles. I dig his work and hope he keeps trying new things, even if he fails.
-roner

What he does well though, is take all these stolen elements and combine them into something new with his own twist. He is a genre filmaker that has no loyalty to any particular genre. Can't think of any other such filmaker.
-zarodinu

I think Boyle's films tend to be more genre centric and when you make those films you deal with trends and motifs. I think Boyle does his best to defy and transcend the standard motifs and make good movies, more importantly good movies in the UK. Which, that might not seem a big deal, but in these times it is.

Boyle has only made a few films I'm not crazy about, but I find that most of his films get better the more I watch them. And I really like that he's all over the place, just makes him more intresting to follow. I bought The Beach to study the photography and found that while I really hate all the stuff of Leo going crazy I love everything before that point. It's a really well made movie until Leo's turn. I think that tends to be Boyle's problem, he crams so much into his films they kinda derail, like Sunshine did with the whole Fire Guy stuff, but they are still really good movies.
-CSSCHNEIDER

Top Commentary: Brad Bird

2008-06-21T10:43:00.000-07:00

After some of the comments about Aronofsky, I was uncertain about putting in another director with only 3 features. (I'm presenting these in more or less alphabetical order.)

Unlike Aronofsky, I think all of Brad Bird's films show him completely in control of the project. Even Ratatouille, which he took over from someone else, has a very personal stamp of authorship about it. The film's themes of friendship, family and being special are pure Bird.

Plus his episode of Amazing Stories (Family Dog) is just as terrific as his features. He's possibly the only animation director I want to see stretch into live action. And I think after his earthquake movie, but maybe not right away, he'll bounce between the 2 styles.

According to the poll on Filmspotting.net...

40% think anytime he makes a movie there's a good chance it'll be a masterpiece.
32% think he is usually Great and certainly one of our Best Directors.
16% think he's solid, but only sometimes Great.
8% think he's Good, but don't think he'll ever be Great.
4% don't think there's anything special about his directing.

Top Commentary: Darren Aronofsky

2008-06-20T17:16:00.000-07:00

A surprisingly low-key response to Darren Aronofsky. It seems too many of you feel he's still an unproven newbie. This is a response I didn't get later on when discussing Sofia Coppola and Todd Field. (Both coming soon to this site.)

According to the poll on Filmspotting.net...

13% think anytime he makes a movie there's a good chance it'll be a masterpiece.
45% think he is usually Great and certainly one of our Best Directors.
14% think him and his films are simply okay.
14% admire his talent a lot more than his films.
14% think he's annoyingly pretentious.

He should basically continue doing his own thing. He's given us some very intriguing and sometimes very high quality movies, such as Pi and Requiem for a Dream. He may not be Hollywood's favorite director, but he knows what he's doing and usually delivers us good material. What's more is that his movies are often challenging, either visually or morally or both. A winner in my book.
-edgarchap

I haven't really made up my mind about him. He tends to make movies I don't want to revisit.
-Tequila

I think his direction is alot of style and little substance. He makes good movies for sure, but I wonder how good he would be if you rob him of camera tricks and special effects. He is aslo suffering from an acute case of pretension. I wish he would go back to the drawing board and try to create something small and unambitious, you got to create a small masterpiece like Winter Light before you can create an epic like Seventh Seal.
-zarodinu

Top Commentary: Wes Anderson

2008-06-19T22:23:00.000-07:00

It seems people are pretty split on the current state of Wes Anderson. According to the poll on Filmspotting.net...

29% think he used to be Great and he'll be Great again.
26% say "What slump? He's as Great as ever."
13% think he used to be Great, but are not sure if he'll be Great again.
13% think he's Good, but he's never been Great.
19% feel he's Always been overrated.

I haven't liked a single Wes Anderson movie. I like the music and they look pretty good, but I don't like the characters or the stories.
-Junior

I think all of his films are at least very good, if not great. They certainly get better with repeated viewing.
-sdedalus

I can appreciate how good his films look, and the color and framing choices he makes, but it's hard for me to get into the stories or care about the shallow characters.
-StarCarly

I unfortunately have trouble digesting his style. It's all a bit too detached for me.
-edgarchaput

Darjeeling may have been his weakest film but it hardly constitutes a slump. He's still making great films and will continue to.
-Ronan

This time I'll get the last word...
I think you'd have to count the big disappointment that is Life Aquatic as well. When Darjeeling comes after Life Aquatic you have to wonder what's going on. Ever since Owen stopped co-writing, the scripts have felt like 1st drafts with underdeveloped characters and tacked on emotions.

The Top Directors Working Today: The Coen Brothers

2008-06-09T21:36:00.001-07:00

When I originally brought up this project, one thing that quickly came to light was it seems the younger generation look at the Coens with the same regard the older generation has for Scorsese. So (being of the older generation) I want to know...are the Coens the best in the business?

I don't think many of you will say 'yes' because you probably have a personal pick that you rank slightly higher. (P.T. Anderson is a likely candidate.)

Of course the Coens are coming off of a film that had long stretches of directorial perfection. They are masters of mood, sound and music, sets, costumes and even haircuts. They've also proven that they can pull out performances that are Oscar worthy and/or very surprising career definers. (Jeff Bridges will Always be The Dude.)

Unfortunately if you look at the entire body of work I see a handful of interesting failures mixed in with the masterpieces. I would have to say for me, they definitely make the list, but I can think of a dozen of directors who are better.

Top Commentary: Paul Thomas Anderson

2008-06-08T18:16:00.001-07:00

P.T.A. is one of those directors who's so interesting that even when I don't like one of his films (like I am with Punch Drunk Love) I still watch it more than once because I figure the problem is with me. When one of my favorite directors makes a film, I'll see it, even if I think I'm not going to like it because it's not what I expect from that director. Case in point, James Cameron's Titanic. No interest in the story, but I went because of Cameron.

Not too surprisingly, P.T.A. earned some of the highest marks of any director so far. According to the poll on Filmspotting.net...

44% think anytime he makes a movie, there's a good chance it'll be a masterpiece.
37% think he is usually great and certainly one of our best directors.
14% think he's solid, but only sometimes great.
2.5% think he's good, but not one of our best.
2.5% think he's simply not one of the Best Directors working today

Definitely a winner in my book. I'm happy whenever he comes out with something.
--Edgar Chaput

I think he has potential, and certainly a unique and independent vision. I just dont think he has reached his prime yet. If he lives another 20 years, people will refer to his current stuff as his "early films".
--zarodinu

That's exactly how I would rank them. I'm hoping he does something smaller with his next film. Just because it's epic doesn't make it a masterpiece
--roujin
Just because it's small doesn't make it more lovable
--Tequila
...but PT does indeed make epic masterpieces and smaller lovable films.
--Keith

I'll end with our good friend Humby...

PT Anderson is probably my favorite working director and while in my opinion he has directed some of the finest films of the last 10 years, I still hope and believe that the best is still to come.

The Top Directors Working Today: James Cameron

2008-06-05T00:15:00.000-07:00

My first thought has to be is there anybody here who isn’t interested in what he’s up to after such a long hiatus? Cameron likes to raise the bar each time out, not just on his directing but on the way images are put to film. He’s a pioneer; I don’t think you can argue that. But is he still relevant?

I think it's just hard to judge a director's current relevancy after such a long vacation. (Remember how the absence of Tarantino between Jackie Brown and Kill Bill brought up uncertainty?) Luc Besson (who you'll notice I passed over) took a similar long absence from directing before releasing Arthur and The Invisibles and Angel-A. There's a similar situation with Robert Zemeckis, who I wish would abandon his digital animation fetish and get back to flesh and blood filmmaking.

That being said, Cameron has one of the strongest records of excellence of anybody out there, and while he’ll always be the guy who gave us Titanic, his 3-hour cut of The Abyss is what I think proves he is always capable of creating, not only a masterpiece but a technical marvel of emotionally shattering impact.

The Top Directors Working Today: Tim Burton

2008-06-01T20:50:00.000-07:00

A polarizing figure, who enjoys the ghoulish and grotesque with a childish fascination. His films are only occasionally mature, and he hardly ever is. I loved his early work, but the road from MARS ATTACKS to THE CORPSE BRIDE is full of misplaced wackiness. Many liked BIG FISH, but it’s the recent SWEENEY TODD that put him back on my good side. He has brilliance in him, but it depends on who shows up to direct, the adult or the kid.

The Top Directors Working Today: Danny Boyle

2008-05-31T12:40:00.001-07:00

Most may see Danny Boyle as hit and miss, but I think even when he misses, there’s still a lot of interesting storytelling going on. I’ll admit that I like The Beach, but A Life Less Ordinary is one of those films so bad that, to quote Ebert, “Only a talented director could create something so awful.”

While it’s not a sure bet that a random Boyle will be a great film, the ones that score (Trainspotting, 28 Days Later…) score big. Boyle never plays it safe, but I admire his experimentation and will see his films, with fingers crossed, the week they open.

The Top Directors Working Today: Brad Bird

2008-05-29T23:00:00.001-07:00

Dave Poland described Brad Bird as “a Lifetime Achievement Award in the making.” He’s a Mozart in this business, with talent effortlessly flowing from every pore. I know some think he’s overrated, with films that are too long and not as emotionally deep as they seem. I couldn’t disagree more, and the more I learn about Bird’s artistic approach, the more I like what he’s doing. If not for his upcoming switch to live action, he could challenge Miazaki for the animation crown.

So, yeah, he’ll be on my final list. Anytime Brad Bird makes a movie, there’s a good chance it’ll be a masterpiece.

Top Commentary: Pedro Almodovar

2008-05-29T10:14:00.000-07:00

On The Poll over at Filmspotting.net

73% think he is one of our best directors, with 1/3 feeling that everytime he makes a film, there's a good chance it'll be a Masterpiece.

He slowly won me over one movie at a time. None of his movies are so amazing that they could convert you by themselves, but his overall body of work is impressive. His entire career is essentially one long movie.
--Zarodinu

From what I've seen so far. He's made four masterpieces. Women on the Verge of a Nervous Breakdown, All About My Mother, Talk to Her, and Volver. He's also has made a few solid films like Live Flesh and Bad Education. I think he's Spain's top auteur.
--the void99

The Top Directors Working Today: Darren Aronofsky

2008-05-28T22:03:00.000-07:00

Like Terry Gilliam a generation ago, Aronofsky’s a visionary who’s had great difficulty fitting in with the Studio machinery. After only 3 features, nobody questions his originality, but his level of success is certainly up for debate. Some think he’s too pretentious to produce a masterpiece. I think REQUIEM FOR A DREAM already is one, and producing another only requires a high amount of passion and a low amount of studio interference.

Top Commentary: J.J. Abrams & Joss Whedon

2008-05-28T10:17:00.000-07:00

First of all on a poll I posted over at Filmspotting.net...

38% think J.J. Abrams has Greatness in him.
43% think Abrams is good but don't see him achieving greatness.
29% think Abrams should stick to television.

51% think Joss Whedon has Greatness in him.
17% think Whedon is good but don't see him achieving greatness.
32% think Whedon should stick to television.

Abrams is the one I find most promising, though both still have a lot to prove.
--El Duderino

I'm definitely biased in favor of Joss. He's got some great moments, and the nearly silent Buffy episode "Hush" shows he's got some talent. His strength lies in his writing, and this can lead to greatness.

Abrams seems to have one flaw that I feel holds him back from being great. On the human level, everyone is so serious, except for the designated comic relief guy. In the Jossverse, everyone gets to be funny, which allows me to feel much more for them and helps me accept them when they have to be serious.
--choatime

I'll give Tequila the last word...
"I think Abrams might be a good director and Whedon is a good writer. They should work together."

The Top Directors Working Today: Wes Anderson

2008-05-27T20:36:00.000-07:00

Wes Anderson may be the most discussed director of the new generation, due to his unmistakable signature style. Many new films have tried to imitate that style. Unfortunately, following Tananbaums, I feel Wes has been repeating himself to diminishing effect. The style feels more hollow as it plows over some flimsy writing.

Is he done? Hardly. One great script and I guarantee he'll direct the hell out of it. Who knows how many half-baked films he'll make first.

I love hearing what everyone has to say, but I'm most curious to hear from...

...those who feel he peaked with Bottle Rocket.
...those who think his last two films are his best.
...those who never liked his directing style.

Top Commentary: Allen, Coppola & Polanski

2008-05-27T13:38:00.000-07:00

On Woody Allen:
If Woody can quite his Scarlett Johansson obsession, and maybe work with actors his own age (or there abouts), we may see some more good Woody.
-- Marquis Wowser of Lancashire

I added that he might also improve if he took a little more time crafting his scripts.

On Francis Ford Coppola:
Youth Without Youth was his last chance.
--faceboy

Francis Ford Coppola I feel, has one more great film in him. The problem is that it's not very likely we'll ever see it. I'm talking about of course, Megalopolis.
--the void99

On Roman Polanski:
I think The Pianist showed us all that Polanksi still had it in him. It took him a few years and a lot of dreck, but he eventually found a way to create a masterpiece. I think he still has that magic, although it may require another few years before we witness it again.
-- Edgar Chaput

For the last word, here's a comment about all 3:
Many a great director has a bit of a renaissance at the end of their careers, often creating some of their best work (Ran, Seven Women, Limelight, El Dorado, Late Autumn, F For Fake, etc). I don't see any reason why these guys couldn't.
--sdedalus

The Top Directors Working Today: Paul Thomas Anderson

2008-05-26T04:27:00.000-07:00

Paul Thomas Anderson has demonstrated a mastery of the styles forged by Altman, Scorsese and Kubrick, but his creations stand on their own two legs and each film attempts to be nothing less than defining cinematic statements. If the last movie ever made was a P. T. Anderson film, than cinema itself would go out on a very high note. This is a discussion of directors whose next film MIGHT be a masterpiece, and with Anderson, I’d say your odds are very good.

The Top Directors Working Today: Pedro Almodovar

2008-05-23T18:21:00.000-07:00

We all have personal likes and dislikes. Later on I’ll bring up a mostly unpopular director with a small but rabid cult that I am a member of. There are 3 major directors that I personally feel are highly overrated. The first one I want to bring up is Pedro Almodovar.

I concede being in the minority. My favorites from Pedro are the period between MATADOR and LIVE FLESH. In the films that followed, I think he spins his narrative into too many side trips, and the melodramatic flourishes (both narrative and visual) I used to find playful, now distract me.

To give a comparison, I love the films of Wong Kar-Wai who is also no stranger to wandering narratives and melodrama. However, WKW’s images I find to be delicately romantic and lush in a dreamy way. Almodovar’s paints with more of a lurid brush, opting for self-consciously loud and wacky patterns on his characters and interior design.

Tell me I'm wrong and defend this Top Director.

The Top Directors Working Today: J.J. Abrams & Joss Whedon

2008-05-22T19:35:00.000-07:00

Today I want to go the opposite end from my last post and talk about two film newbies who are giants in Television.

Known primarily for their groundbreaking T.V. work (each has only one feature under them at this date), they will both definitely make my final list because they’re the most Cinematic directors in television, and both crafted really fun films with great ensemble character dynamics. If they continue to up their game, either one could become a Howard Hawks’ for this generation. I say they’re both legends in the making.

Don't forget to comment back with your opinions.

The Top Directors Working Today: Parts 1-3

2008-05-21T22:21:00.000-07:00

My current plan is to briefly discuss one director (or a similar group) at a time, hopefully generate some interest/feedback/debate, and then present the next one. At the end you will have about 100 directors to weigh in on and I will reveal my personal picks (probably a Top 40 or 50).

This discussion will take a while. I want that. I don’t just want to present an easily disregarded list. Understandably, it’ll be like trying to paint ocean waves in that new films will be shifting opinions while this discussion continues.

The names will be presented more or less in alphabetical order, but I may skip around from time to time. I’m going to start out with 3 very well known names.

Woody Allen, Roman Polanski & Francis Ford Coppola
This is why I originally stipulated it had to be a filmmaker who was on top At This Moment. If it was just a list of great Living Directors, then you have to factor in the accomplishments of these giants. How do you compare a neophyte like Fernando Meirelles to Coppola? You simply can’t. But if you just wrote an epic saga, which filmmaker would you trust to bring it to the screen? That being said, respect should always be paid to these living legends that changed the way we look at movies.

I received a comment suggesting that Martin Scorsese belongs here as well, that like Coppola “the creative well has dried up.” It’s easy to quickly dismiss this person (who in full disclosure, is in his early 20’s), but his comment made me realize we shouldn’t bury a good career until we know it’s dead. After all, Allen recently had a brief comeback with MATCH POINT, Polanski’s Oscar for THE PIANIST is only 5 years old, and while Coppola’s YOUTH WITHOUT YOUTH was terrible, it showed the director’s imagination was far from dried up.

What do you think, living legends whose best work is behind them, or like Mike Nichols, still capable of many great works?

The Top Directors Working Today: Prologue

2008-05-20T21:55:00.000-07:00

I want to discuss Film Directors. Who are the best of the best, right now, at this very moment? Without considering what they're actually working on, who are the ones most likely to create a masterpiece with their next picture? In the coming days/weeks I hope to write about and discuss the best in the business.

I’ll post your responses in separate posts so they don’t get lost in the comments. My list will certainly contain debatable choices, and you might even convince me to move a few around.
I’d like to mention this was inspired by the recent passing of Anthony Minghella. His films and filmmaking were loved by many, but he was far from universally beloved. His talent is the perfect example of why a list like this will never be definitive, but I think it can be a whole lot of fun.

Filmmakers Espresso

2008-03-31T23:57:00.000-07:00

Stumbled upon an guy who's making some "Best of..." compilation videos that are simply amazing. While sometimes long, this guy really knows how to edit. Watching his montages makes me hungry to create. As a sample I'll include my 2 favorites, Quinten Tarantino and Films of the 1990's. Others include The Coen Bros., Paul Thomas Anderson, Michael Mann and Films of the 70's.

Watch this, and then let's go out and make some classic cinema. I'm ready...now.

At 1:50 this one really sizzles. (Kinda peters out towards the end, sadly.)

2007: At Year's End

2008-01-28T22:04:00.000-08:00

Top 10 Films of The Year
Top 11-25
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Adapted Screenplay
Best Original Screenplay
Best Art Direction & Costume Design
Best Editing & Cinematography
Best Makeup
Best Original Song
Best Score & Sound
Best Special Effects
The Year In Quotes
Top 10 Dumbest Moments
Biggest Trend
Apologies To Films I Missed

2007: Best Actor

2008-01-19T12:05:00.000-08:00

1. Daniel Day-Lewis – THERE WILL BE BLOOD
I’m writing this at a very interesting time because right now the backlash against Day-Lewis’ performance is matched only by the increased quotability of dialogue from the portion of the film fueling the backlash. Admittedly, this kind of acting is not for everyone. Those who believe acting should be subtle, invisible are going to have a problem here. I like a good theatrical performance. One that goes for broke and risks looking like a fool. Day-Lewis hinted at this type of behavior while tapping his glass eye with a knife in GANGS OF NEW YORK, but here it’s like all that down time not acting just unleashed something inside. Besides, he already got an Oscar doing the subtle realism thing in MY LEFT FOOT.

2. Emile Hirsch – INTO THE WILD
The performance for those who don’t like what Daniel Day-Lewis did. Hirsch’s work feels so real, so natural it’s difficult to believe he didn’t write the dialogue himself. While filming the movie he opted to stay on location rather than in his trailer, and I believe it actually did help.

McCandless is a very difficult person to play. As foolish and naïve as he is likable, it’s difficult to not make a judgment on how he lived his life. Hirsch always stays in the now, never hinting at the bigger story arc of McCandless’ ultimately epic experience.

3. Johnny Depp – SWEENEY TODD
While I hated his Willy Wonka, I tend to love the flamboyant excess of a meaty Johnny Depp performance. Strip away the hair and the costumes and the fact that most of the dialogue is sung, and you’re still left with a risky, hypnotic portrait of a tortured soul. He doesn’t just hit the notes, he makes them his own, allowing the songs to express the broken heart inside this unhappy monster. A friend commented that some of Depp’s expressions he wouldn’t be able to make if he was actually singing the notes live. That only makes me like what he did more.

4. Simon Pegg – HOT FUZZ
Anyone remember “Sledge Hammer” the TV show that made fun of Dirty Harry tough cops? That was a spoof…this is so much more. Pegg, a slight man with thinning hair, was very convincing as Sgt. Nicholas Angel, the toughest and smartest cop in England. Pegg didn’t go for laughs based on the fact that he doesn’t look like a tough guy. In this film, you totally believe him as a tough guy. But he always finds a way within his humorless character to be very, very funny.

5. Ulrich Muhe – THE LIVES OF OTHERS
Muhe’s character starts out as a cold, and empty spy and for a stretch it look like he’s the villain of the film. But Muhe brings so much depth to the part that you quickly see his government spy as a lonely man in need of a good wake up call. Without spoiling things so, his character makes some tremendous changes. By the end, it’s almost as if Muhe is playing a different man.

6. Thomas Turgoose – THIS IS ENGLAND
Turgoose has no shot at a real nomination. He’s too young. Not enough people saw the film. THIS IS WHY I DO THESE LISTS! Turgoose plays a young kid growing up without a dad, who falls in first with some friendly skinheads, and then with some very dangerous ones. Trying to find the proper values and grow up to be a good lad, the performance is empathetic and heartbreaking.

7. Phillip Seymour Hoffman – THE SAVAGES
Hoffman is starting to become an American Peter O’Toole. There’s just something about the gravel in his voice that makes every line interesting. He can take any material and find an interesting angle in which to play it. And his scenes with other actors become great tennis matches, each one making the other look better.

8. Terrance Howard – PRIDE
I wrote about this performance before. Click Here.

9. Glen Hansard – ONCE
When he’s not singing, Hansard is quiet and unassuming in ONCE. His character wears the fresh wound of recent heartbreak and he doesn’t want to be hurt again, but can’t lock his heart away. There’s a moment early in the relationship where he oversteps his bounds. She’s polite about it, but you see him get down on himself and it’s very powerful. Speaking of powerful, some of his vocal performances howl with the pain he keeps locked up inside.

10. Gerard Butler – 300
Even behind a heavy beard and usually a helmet, Butler became a movie star as the commanding leader of the 300 Spartans. He’s remembered for the yelling, but he shines just as much in the film’s few quiet moments.

2007: Best Actress

2008-01-17T21:04:00.000-08:00

This is where we get the annual complaint about how they don’t write great parts for women. Lesser performances are given Oscar consideration cause some big names are considered to be always good enough. This year, nobody will be terribly shocked if Cate Blanchett is picked for ELIZABETH: THE GOLDEN AGE or Jodie Foster for THE BRAVE ONE because they need to make a list of five.

Well I have a list of 10, count ‘em, 10 Oscar worthy performances. And they don’t include Blanchett or Foster. They don’t even include Keira Knightly (ATONEMENT) or Amy Adams (ENCHANTED) who also gave very good performances.

I should give Special Mention to Marion Cotillard, since she’s considered a virtual lock for a nomination for LA VIE EN ROSE. It’s an occasionally stellar piece of acting. Unfortunately, the movie is all over the map, sometimes brilliant sometimes just a lot of noise. Cotillard matches the tone of the picture. If she were consistently at her best, she would have made my Top 3, but taken in full she just missed the cut.

1. Julie Christie – AWAY FROM HER
When writing my lists I always ask myself, what is it that puts this one above all the others. To be honest, I don’t have an easy answer here. In fact, my Top 5 choices are all amazing from top to bottom. No particular scene, moment or character choice makes Christie’s performance better than Angela Jolie or Ellen Page.

That being said, Christie’s work is remarkable in a part that requires an almost mathematical precision. She has to decide scene by scene, how much her character is aware, all the while keeping secrets from others. Sometimes she’s required to be confused but happy while other moments are both clear and frustrated. She must keep her own counsel, yet lets us in so that we think we know exactly what she’s thinking, even if she doesn’t know herself.

2. Angelina Jolie – A MIGHTY HEART
After years of great promise squandered on bad vehicles, Jolie made me forget completely about the tabloid subject she’s become and recreated herself. Playing the pregnant wife of a kidnapped journalist, you’re all ready for an anguished star turn from Jolie. Instead she buries herself inside this woman, reacting to unfolding events rather than grabbing for the spotlight. Even her big moment is the emotional release the FILM has been building to. Great acting as great Reacting.

3. Ellen Page – JUNO
Following an equally brilliant turn in HARD CANDY, Page brings to life one of recent cinema’s most original characters. She perfectly captures that age when kids think they know everything one moment and realize they know nothing the next. Juno the character is still very rough around the edges, and Page doesn’t tone down her unlikable traits, but she also hints at the wonderful woman Juno will someday become.

4. Tilda Swinton – STEPHANIE DALEY
A flawless piece of professionalism from Swinton, and leagues beyond anything she was asked to do in MICHAEL CLAYTON. She plays a pregnant psychologist who must figure out of a 16-year-old had a miscarriage or murdered her newborn baby. The psychologist is also pregnant and is nervous about it because her attempt to have a child ended in a miscarriage. Oh…and her husband may be cheating one her. And go! Swinton takes all of that a bottles it up inside, looking for answers both from the girl and from herself.

5. Laura Linney – THE SAVAGES
THE SAVAGES is an 80min script padded out to 2+ hours with pointless montages that way too much time in the company of an uncomfortable, cranky old man. After 90min, I wanted an editor and I wanted out. You see the great film that might have been when there’s an actual scene…with dialogue, and whenever the focus is on Philip Seymour Hoffman (more on him tomorrow) or Laura Linney.

Linney plays Hoffman’s younger sister and what immediately caught my attention was the way Linney’s character immediately relapsed into the younger sister dynamic while in her brother’s presence. Her behavior becomes more childish and helpless even though we’ve already seen her be strong and independent. Linney also shows no vanity as this once striking, blonde, beauty queen movie star has settled comfortably into the pale, dark hair, and rough skin great actress of recent films.

6. Luisa Williams – DAY NIGHT DAY NIGHT
The film is extremely minimal. For much of the running time she’s the only person we even have to look at and for a lot of the story the camera is aimed squarely at her face. She’s a completely mystery, from her plans to her motivations to even her ethnicity. With no artificial gestures, Williams holds your attention.

7. Ashley Judd – BUG
This was a tough one to place. Throughout the course of the film, Judd’s character descends completely from lonely, bar gal into deep madness. She’s fine in the beginning, nothing special. And she goes too far at the end, her peak craziness is actually kind of bad. However, the descent that makes up the bulk of the movie, that stuff’s not just the best I’ve ever seen from Judd, but possibly the best acting I’ve seen all year.

8. Marketa Irglova – ONCE
Some actors do it with big scenes or grand moments, and some have an intangible quality you can’t put into words. That’s Irglova, a real presence that says so much while hardly saying anything at all. Her character is full of surprises, because she doesn’t want to TELL you anything, she wants you to learn for yourself. Her character would much rather listen than talk. (Her songs convey so much more than she ever speaks.). I don’t know if Irglova could ever have an acting career, and I don’t think she’s interested

9. Carice van Houten – BLACK BOOK
The polar opposite of Irglova, this performance is a showcase for a brand new movie star. Houten plays a Jewish singer who infiltrates the Nazis on a mission of personal revenge. This is the kind of part I’ve referred to before as an actors’ decathlon, and one hell of a talent reel as Houten must play all the emotional beats big and small, happy and sad. And she looks great doing it too.

10. Helena Bonham Carter – SWEENEY TODD
Some critics have complained that her singing voice is too thin, and I think there’s more comedy in her songs than she was able to bring out. However, it’s still a great performance. Carter may be soft selling some of the jokes, but she completely understands the darkly comic tone. You feel the story could be told strictly from her side with no loss in quality.

2007: Best Supporting Actor

2008-01-16T19:39:00.001-08:00

1. Javier Bardim – NO COUNTRY FOR OLD MEN
Yep, I’m picking him too. I wish there was some good competition this year, but nobody else comes close to the force of evil that is Bardim’s killer on a mission. The interesting thing here is Bardim doesn’t just personify the ultimate badass, he’s a mythic presence…a Boogeyman. But, aside from the haircut, there’s nothing about him that sticks out. You can’t do an impression and expect people do get what you’re doing. He just IS, and there’s not a damn thing you can do about it.

2. Ben Foster – ALPHA DOG
I’ve never cared for Ben Foster, but I like characters who live a few steps beyond reason so this was the perfect part for Foster to win me over. His character starts out with loose screws and crossed wires, but after his brother is kidnapped, all bets are off. The performance isn’t as smoothly polished as the next two pros on my list, but the rawness makes him all the more electric. Foster played a similar emotional wreck in 3:10 TO YUMA, but this was by far the better performance of the two.

3. Russell Crowe – AMERICAN GANGSTER
We’ve seen these kinds of cops before, where the need to crack the big case balances the shamble of a personal life. But you’ve never seen the part played by Crowe, and Pacino is possibly the only actor who’s ever done it better. I love how, as the case goes on, Crowe’s character doesn’t even try to make his personal life amount to something as well. He just gives up, and his determination to catch Denzel’s kingpin BECOMES his personal life. There’s a realization moment in a courtroom that just floored me, and after that you see Crowe become twice as good, twice as driven as before. In his big scene with Denzel, Washington shouts and points and works himself up. Crowe just sits back and confidently steals the scene.

4. John Carroll Lynch – ZODIAC
Lynch plays Zodiac suspect Arthur Leigh Allen, and while he has very little screen time, he completely dominates the scenes he’s in. The standout is his questioning, which is a master class in saying so much more than the dialogue. His shifts in tone and body posture convey so much. He feels that he’s under the microscope and he just might be enjoying it…but he’ll never tell. His final moment is one of the most memorable and haunting of the year. I’m still wondering if I’ve deciphered what he’s doing. Like the entire film, it’s a mystery I’ll never completely solve.

5. Nick Frost – HOT FUZZ
In a buddy cop movie there’s your tough guy, and then there’s his less ambitious partner. Nick Frost seems about as likable a bloke as you’d ever meet, and he’s the perfect foil. He’s given great dialogue, but it’s the little extras that you just feel HE brought to the part that make it so special. The way he sprays deodorant in one straight-line blast. The way he acts along with Keanu in POINT BREAK. He also gets great emotional mileage when he learns the truth about what’s going on, but comes back in the end for the best line delivery of the word “Motherf**ker” ever spoken by a Brit.

6. Justin Timberlake – ALPHA DOG
I’ve mentioned ALPHA DOG a few times, and I should stress that I was very surprised by how good I think it is. Nothing was more surprising than the performance by Justin Timberlake (although Ben Foster comes close). Timberlake carries the film’s moral weight and at first he just plays the cool friend, easy enough. But as things go bad, J.T. becomes more conflicted. I like how you can see Timberlake trying to come with a solution as things become bleaker. He’s the guy who realizes that if he doesn’t stop this train, a lot of people will get hurt. The anguish feels very real.

7. Robert Downey Jr. – ZODIAC
Downey’s been on a real comeback recently. This doesn’t have the live wire energy of his work in KISS KISS, BANG BANG, but it shows how he can effectively dial down the manic to suit the nature of the piece. There’s a real jackrabbit quality to Downey’s work. He draws from his past to create characters who are super-intelligent to the point of professional and personal destruction, yet they never feel like Downey doing his shtick. A couple of more roles like this and he could become one of the very best actors we have.

8. Kurt Russell – DEATH PROOF
Kurt’s the kind of guy you feel you could sit back and have a beer with, and I loved that he kept that friendly everyman attitude while playing psycho killer Stuntman Mike. Out of touch with the times (and reality), Russell strikes such a nice balance between earnest and scary that he can give you the creeps while saying nothing but kind words. Even before he gets his, there’s a real emotional hurt. You feel sorry for him as he tries to talk a woman into giving him a dance.

9. Armin Mueller-Stahl – EASTERN PROMISES
I was watching EASTERN PROMISES for Cronenberg and Viggo, but it was Mueller-Stahl who impressed me the most. He was very convincing as both a kindly old man and the leader of a powerful group. Usually, it’s meant to be surprising when a sweet person is revealed to be a monster, but Mueller-Stahl played this patriarch in so you understand his soft demeanor is exactly how he approaches the rotten things he does.

10. Mark Ruffalo – ZODIAC
Since I’ve awarded ZODIAC in nearly every category, including 3 mentions here, I should probably explain why it didn’t make my Top 25. This could be a post unto itself, but the short answer is Jake Gyllenhaal. Think of the movie as a doughnut…Jake is the hole. An empty center surrounded by greatness. The film unfortunately focuses more and more on Gyllenhaal’s character as it goes on, and he just isn’t up to the level of everyone else.
But enough with the negative. Let’s talk about how good Mark Ruffalo is. He plays celebrity detective David Toschi who loses his credibility and career trying to catch the Zodiac Killer. Unlike Spacey’s more flashy celebrity detective in L.A. CONFIDENTIAL, Toschi is a humble man who finds the reward in a job well done. He knows he’s great at his job, and the frustration just eats away at him. It all builds to a scene where he watches Dirty Harry catch the fictional version of his killer. Great moment.

2007: Best Supporting Actress

2008-01-15T21:49:00.000-08:00

1. Cate Blanchett – I’M NOT THERE
I read a humorous article on how to air an Oscar telecast if the Writers' Strike prevents the use of clips. One suggestion was to have Cate Blanchett perform all the acting nominees, both male and female. That one sticks with me not so much because it’s funny, but because I’d really like to see it. I think she’d be up to the challenge…and she’d probably be amazing at all of them.

While everyone else who attempted a Dylan impression in I’M NOT THERE lost their character somewhere in the cadence and gestures, Blanchett took the look, the tics, the attitude and used it. She wore the part, the part didn’t wear her. Like Jamie Foxx in RAY, the performance is both an uncanny impression and a rich piece of acting.

2. Saoirse Ronan – ATONEMENT

3. Romola Garai – ATONEMENT
[*SPOILER WARNING: DO NOT READ THIS IF YOU HAVEN’T SEEN THE MOVIE!*]
There are three great performances in ATONEMENT’S key role of Briony Tallis. Vanessa Redgrave fell just outside my list mainly because her performance consists more of great storytelling than great acting. Romola Garai is receiving the least attention, but I liked the way her performance carries the guilt for the events that happened in her youth. Her climactic scene at the sister’s flat is masterful.

However, the grandest performance in the entire movie belongs to then 12-year-old Saoirse Ronan. The events she goes through on that long opening day and night, how they affect her and how different she is by the end of it outshine anything else in the film. What Briony does is evil and she can be seen as a villain, but Ronan displays a child’s confusion and remains sympathetic. You want to see her punished, but you also hope she finds redemption.

4. Jennifer Garner – JUNO
I saw through the action and costumes of “Alias” to believe Jennifer Garner was one of the best actresses in the business. On the big screen, she was getting pigeonholed into tough-chick roles, and fem-dreck. (CATCH & RELEASE…one of the year’s worst.)

JUNO marks the first time, others have seen what I’ve always known, Garner can be an intuitively emotional actress who can connect with the subtlest line delivery. It can all be boiled down to 3 scenes…her introduction, the mall scene, and her last scene. The mall scene in particular is key, since it marks the shift in both her character and our feelings towards her.

5. Michelle Pfeiffer – STARDUST
I watched this again to make sure I wasn’t throwing away my credibility. While Pfeiffer was merely okay in HAIRSPRAY, she brought her 'A' game to STARDUST. This isn’t a rich, subtle or thoroughly researched performance, just one where you can see the actor is having one hell of a fun time.

6. Amber Tamblyn – SEPHANIE DALEY
This performance is a good argument against Top 10 lists. Tamblyn is a decent actress who is still working hard at becoming much better. Her scenes here are at the right emotional pitch and feel very honest, nothing bad but nothing too exceptional. In DALEY, she plays a teenager who suffers a miscarriage, even though she didn’t know she was pregnant. For the climactic scene the camera stays on her face. Difficult to watch, seemingly impossible to perform, nobody on this list had a more difficult task. Tamblyn was anguished without ever going too big like many actors tend to do.

7. Amy Ryan – GONE BABY, GONE
Ryan’s character prefers being a barfly to being a good mom. When her child is kidnapped, she becomes hardened with anger and grief. As the hunt goes on, her hardness cracks to reveal moments of real pain, but Ryan makes her character impossible to like and you question whether this woman could ever be a fit mother. Not just a performance, but a transformation. Watching the film, I was certain she was a local discovery.

8. Martina Gedeck – THE LIVES OF OTHERS

When discussing the screenplay I talked about the choices the men in the film make, but those choices center around the woman played by Martina Gedeck. Won’t say much here because it’s Gedeck’s character who holds most of the film’s secrets. I’ll just say that as her deception unravels, she shows the pressure of a master juggler trying to keep too many balls in the air. All the while, her outward appearance is strong and in control.

9. Kelly MacDonald – NO COUNTRY FOR OLD MEN
MacDonald is one of our most underappreciated talents, and she isn’t on screen much in NO COUNTRY. However, she gets a great scene towards the end of the film…which is all I can safely say.

10. Imelda Staunton – HARRY POTTER & THE ORDER OF THE PHOENIX
In spite of her pink wardrobe and childish giggle, this is not a cartoonish villain like we’ve seen in previous Potter films. There’s real fire and menace as Staunton fearlessly takes on and takes down characters we care about. Her torture is somewhat unpleasant, but the moment when she slaps Harry is downright shocking.

2007: Best Original Screenplay

2008-01-14T21:23:00.000-08:00

1. THE LIVES OF OTHERS by Florian Henckel von Donnersmarck
The script’s talkiness defines the characters as much as the words they say. The subject under surveillance is a playwright. Words are the tools of his trade. The man spying on him, by contrast, has relatively few lines. Most of what we learn about him we learn by watching. Both men (and those around them) are tainted by fear and self-interest. The script challenges these men to see if they have the courage to make the right decision when it counts, which allows the story to work on both a moral and emotional level.

Watching the weak, insecure everyman at the center of this film make choices that change lives (including his own) is a study in human behavior. While acquiring the breathless momentum of a thriller, the focus is not a monumental struggle, although it may have very serious consequences, but the struggle for one ordinary human soul.

The complexity and intelligence of the screenplay, offers multiple valid interpretations for certain actions but never insults us by insisting on one. We understand this spy as we accompany him on a journey that leads to unexpected destinations. The final turns of the screw offers the most rewarding ending of the year.

2. HOT FUZZ by Edgar Wright & Simon Pegg
Murder mystery, buddy action, spoof, horror comedy...any way you look at it, this film satisfies. Try writing all those elements at once with memorable characters, jokes both silly and complex, inspired murders and a genuine respect for overdone action films.

3. RATATOUILLE by Brad Bird
Perhaps the trickiest tightrope walk of the year, a sophisticated family film that presents something that could never happen on very realistic terms. (How many of you were delightfully surprised by the decision to not have the rats speak human?) The honest approach offers some emotional surprises, such as the climactic final decision by the fellow cooks or Remy and his dad outside the pest control store. I wanted to memorize Ego’s review the moment I heard it.

4. BEHIND THE MASK: THE RISE OF LESLIE VERNON by Scott Glosserman and David J. Stieve
Never heard of it, you say? While the end result is merely a buried treasure, an inspired idea hampered by obvious budget constraints, the screenplay is the most inspired horror concept since SCREAM. (Yeah, I went there.)

The story is a pseudo-documentary following Leslie Vernon as he prepares to join the ranks of slashers like Jason and Mike Myers. (Maybe you heard of them?) The conceit is these guys are real, and Leslie explains how they perform their illogical tricks. These iconic killers are presented as a sort of brotherhood. (The inspired script includes a mentor who retired when he fell in love with his prey.)

Like SCREAM, the script gets to have it both ways. For the first two-thirds, BEHIND THE MASK is a humorous satire with scattered scares. Then in the final section it throws in some great twists evolving into a true slasher film. Vernon is one of the year’s most original and inspired characters.

5. JUNO by Diablo Cody
The script you either love or hate. Attackers acknowledge the strong characters while slamming the hipper than hip dialogue while defenders apologize for the opening scenes while praising its refreshing attitude and big heart. If not for the opening bits, this would be much higher on my list, but I admire how the script breaks the rules (such as not leaving when the main character leaves), and manages to make it work. Plus, there are some really well written situations.

6. THIS IS ENGLAND by Shane Meadows
THIS IS ENGLAND is a personal story. However, the opening and closing images reveal that the film is also a very political story, marking an important shift in the mindset of dissatisfied Brits. And that’s all the context you need. The film can be seen as allegory, but much like DO THE RIGHT THING, it plays on a grounded, real level. The writer makes his points through behavior rather than speeches.

7. DEATH PROOF by Quinten Tarantino
Ah, Quinten…even when you’re love for your words hurts the overall film, you still write one heck of a script. He’s an American original, and while this is one of his lesser scripts, it still contains scenes and moments that just make me want to uninstall my Final Draft.

8. BEFORE THE DEVIL KNOWS YOU’RE DEAD by Kelly Masterson
Pulp sleaze noir told with Greek tragedy style characters. I enjoyed how the script is told in information order rather than chronological. Like MEMENTO, each scene reveals something we didn’t know about a past scene.

9. ALPHA DOG by Nick Cassavetes
Interesting docu-drama script that manages to play it both ways. The film mixes regular drama with police evidence, documentary style recreation of scenes. The teens here are real characters and not just all of a type, and the script finds a moral center for an event that was sorely lacking one.

10. STEPHANIE DALEY by Hilary Brougher
Overlooked, difficult film about two women, a 16-year-old girl accused of murdering her premature baby and a pregnant psychologist trying to get to the truth of what happened. Each gets her own story while making a deep emotional impact on the other.

2007: Best Adapted Screenplay

2008-01-13T18:43:00.000-08:00

1. THERE WILL BE BLOOD by Paul Thomas Anderson
This is not your typical screenplay and only a mad genius with writing skills stronger than most could have pulled this off. Paul Thomas Anderson has basically written a symphony. The overture is page after page of setting things up without dialogue. This section also includes the biggest moment of sympathy for our main character.

Having proved that he can tell a story without dialogue he then launches into a soliloquy. Conversational dialogue is sparse and to the point. The overall structure isn’t plot and character based, but musical with movements and crescendos.

The grand finale is a bombastic explosion of fireworks, the opposite of where things started. (The final line even announces that there’s nothing left to say, effectively bringing down the curtain.) For many, it would be the great screenplay of their life, as if they will never compose another. For PT Anderson, this is just where his muse took him this time.

2. AWAY FROM HER by Sarah Polley
Most films take a subject like Alzheimer’s Disease and make it into a plot point, filled with sentiment and moralizing discussion. Sarah Polley’s adaptation treats her characters with intelligence and respect. Rather than harp on the medical effects, she deals with the social dynamics. You come to understand both the person afflicted and the ones who can only stand by and watch it happen. The script shows research that didn’t come from a news article, and the humanity leaves you with a lot more to discuss.

3. NO COUNTRY FOR OLD MEN by Joel & Ethan Coen
This could have been done as a great action thriller. Three men, a bag of money and a relentless pursuit. The Coen Bros. Stay faithful to the source novel, creating something much more mythic. (The title indicates what the film is really about.) The key to its being more than just a good ride is the Tommy Lee Jones character, who on the surface has very little to do but we feel the sad bewilderment in his words. There’s also great dialogue mixed with wonderfully constructed wordless confrontations.

4. ATONEMENT by Christopher Hampton
I hear from people who read the book that it was unfilmable, so what does that say about Joe Wright’s Oscar worthy adaptation? The script is structured like a great novel, with changing points of view and surprise revelations at every chapter. Yet, everything it expressed in the language of cinema.

5. ZODIAC by James Vanderbilt
I’d like to take a moment to mention how I really didn’t like I’M NOT THERE. -- this connects -- which took the many interesting stories of Dylan’s life, the many flavors and made a gloppy stew. It was so busy being complex it forgot to be a movie.

Writing ZODIAC required pouring through pages of documents. Books and articles, interviews and police reports. Plus, since it’s an unsolved case you have to consider ALL the possible suspects. On top of that, you don’t want the unsolved nature to end the film with a hollow thud. There has to be an ending.

ZODIAC compresses an epic amount of information into a tightly structured investigation thriller. There’s a lot to take in (more than you can absorb in one sitting), and the script wisely focuses on the frustrating obsession, not the crime details. As for a satisfying ending…that’s one of the best moments of the year.

6. INTO THE WILD by Sean Penn
Sean Penn’s script neither praises nor pities McCandless. He’s not looking to pass judgment, but to capture the reality of each situation and let you come up with your own final conclusion. It was smart to intercut the lengthy bus sequence with the rest of the film. It would have been murder to put it all in one spot. Now the bus section makes a nice comment on the rest of the film.

7. SWEENEY TODD by John Logan

This one isn’t very different from the source material, but the source doesn’t call for much re-imagining. The play stretches the confines of the stage, so it wasn’t difficult to open things up for the cinema. The songs were subjected to minor nips and tucks bringing the running time to a more movie-friendly length.

8. HARRY POTTER & THE ORDER OF THE PHOENIX by Michael Goldenberg
Don’t need to say much to justify this one. It’s the worst book and all the fat was removed, reshaping the story into one of the best Potter films.

9. HAIRSPRAY by Leslie Dixon
I saw the original film, but not the Broadway stage production. The adaptation is not only better than the first film, it completely captures why this must’ve worked so well on Broadway. Everything here is written with great fun in mind, and the jokes don’t try to be too hip or edgy. They work because of their commitment to a more old-fashioned sense of play.

10. 300 by Zack Snyder & Kurt Johnstad and Michael B. Gordon
It was close for me between this and GONE BABY GONE. I give the edge to 300 because of some half-baked revelations built into the original story of GBG. There’s a fair amount of cliché and oversimplification in the 300 script, but there’s also the highly quotable dialogue.

2007: Best Editing & Best Cinematography

2008-01-12T22:24:00.000-08:00

BEST EDITING

1. HOT FUZZ

Of all the tech categories, picking from my Top 2 here was the toughest decision. I ultimately went with FUZZ because what they attempt, and succeed at is really difficult. The rapid cutting on display here had to work not just as an affectionate tribute, but as a superior example of overcaffinated storytelling. The opening montage sets the pace and hilariously enough, things only get too overheated during the typically dull booking sequences. The final beat is an editing joke that puts over 30 shots into a 10sec space.

2. THE BOURNE ULTIMATUM

Easily the best edited of the Bourne pictures. While the previous films sometimes sacrificed geographical coherence for editing excitement, ULTIMATUM always made sure you knew where all the different teams were. Cutting an action sequence is hard enough, but with Bourne you always have to include the Government officials watching everything from computer monitors. Handheld running also cut nicely with what I call ‘information shots’, like Bourne’s wrapped hands grabbing broken glass on a ledge or a foot that lands next to a smashed cell phone.

3. NO COUNTRY FOR OLD MEN

The film is so perfectly timed, with great tension generated from conversation as well as standoffs. Also, an excellent job keeping Tommy Lee Jones’ character tied to the narrative.

4. DEATH PROOF

Of course the car chase gets this one on the Top 10. But I put it so high because of the sustained tension during the 1st half of DEATH PROOF. Throughout Jungle Julia’s night out, there a constant feeling of danger. Reminiscent of the opening section of the original HALLOWEEN, you feel the film building towards something terrible.

5. RATATOUILLE

I don’t believe animation makes editing easier. You still need to find the right pace and tone. RATATOUILLE captures the excitement of a working restaurant. Highlights include Remy falling into the kitchen, escaping with the will, and the big night with Anton Ego.

6. 300

With every shot a painting and most of the film in slow motion, it’s to their credit that the final product is so rousing.

7. DAY WATCH

Tricky blend of fantasy storytelling and richer, more personal character struggles that you usually find in these kinds of films. There are probably as many characters with plotlines as in PIRATES 3, but the editing is more streamlined, and maintains a much better balance of epic and personal.

8. ONCE

The cutting doesn’t draw attention to itself, and it’s nice. However, the “Lies” scene really knocked me out. Almost like a great music video, we see the entire history of the guy’s last relationship played out while he sings about its demise.

9. ATONEMENT

Could be used to teach how editing makes you feel about what you are seeing. Scenes replay, offering new perspectives about certain events.

10. 28 WEEKS LATER

Like BOUNRE ULTIMATUM, the jittery camerawork is complimented by an equally nervous editing style that (unlike say…TRANSFORMERS) doesn’t become incoherent.

BEST CINEMATOGRAPHY

As I mentioned on my Apologies page, I didn’t see THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD. From all I’ve heard about and seen, it most certainly would have made an appearance here.

1. ZODIAC
Other films have been shot digitally, but I believe this is the first one so advanced it completely bypassed ever going onto film. (Prints were made directly from the computer chip.) Whatever the truth, this is the best looking digital movie ever. Crisp and beautiful, but also moody, with many atmospherically tense nighttime scenes.

2. 300
A new age in film images. There isn’t much to say about the ‘lighting’, but the compositions and use of colors is astounding. Nearly every frame could be mounted on a wall. Kim Morgan said in her review of this film, “severed heads are beautiful,” and in this case she’s right.

3. SUNSHINE
I couldn’t find a still image that best exemplified why SUNSHINE ranks so high on my list. The photography is unique and occasionally experimental. I remember a conversation towards the start of the film and the way the light cuts across the two people talking, I’d never seen anything like it.

4. NO COUNTRY FOR OLD MEN
This captures heat and dust with the same intensity that FARGO did for cold and snow. While not a fantasy, the images transport you to a unique time and place.

5. SWEENEY TODD
Dariusz Wolski previously shot THE CROW, DARK CITY and the 3 PIRATES films so I thought I knew what to expect, but this is moodier and much darker than any of his (or Tim Burton’s) previous films. The whites look chalk grey, and the blacks are impenetrable.

6. THERE WILL BE BLOOD
The images find great detail in vast spaces as well as the many intense close ups of Daniel Day-Lewis. The look has been compared to both Malick’s DAYS OF HEAVEN and Stanley Kubrick’s work.

7. DAY WATCH
Bold and flashy (in a good way) with a lot of unusual compositions. And it all looks very crisp.

8. AWAY FROM HER
There’s an interesting approach going on here. At first, the wintery vistas seem cozy and inviting. Once the focus shifts to the Retirement Center, the outside light is overexposed, creating a harsh intrusion. Don’t know how many people picked up on that.

9. ATONEMENT
This camera never met a field of flowers it didn’t like. Other scenes, the images are much more impressionistic. Even the ugly settings have a delicate beauty. Also worth a mention, the library discovery scene, and the way light shines off a desk lamp.

10. INTO THE WILD
The images find both the harshness and the beauty in the great outdoors.

2007: Best Art Direction & Costume Design

2008-01-11T16:32:00.000-08:00

BEST ART DIRECTION

1. 300
Every year, there’s one film that pushes the boundaries of film as a visual medium. Frank Miller’s graphic novel Sin City was the basis for Robert Rodriguez’s groundbreaking work in 2005, and now Miller’s 300 was transferred into this year’s yummiest eye candy.

Every shot was Art Directed to within an inch of its life. From the skies to the sand, from Xerxes’ mighty throne to the endless fields of tall wheat, everything got a thorough run through the computer and the artistic end result is breathtaking.

2. ZODIAC
The film feels so authentic you'd be shocked to learn how much was filmed on sets. And it’s so seeped in the geography of San Francisco, you’d be even more amazed to learn how much was filmed in L.A. Heck, the period is so authentic, it’s hard to believe ZODIAC wasn’t filmed over 30 years ago.

3. SWEENEY TODD
Like a great theatre stage, everything not only looks great, but the geography (from Todd’s slanted window to Judge Turpin’s 2-story estate) serves at the pleasure of the director.

4. HARRY POTTER & THE ORDER OF THE PHOENIX
New editions this year include the spacious Room of Requirement and the Gigantic Ministry of Magic. You can admire PHOENIX for the endless shelves of glass balls or for the kitten plates that adorn Umbridge’s room.

5. SUNSHINE
The sun room, the plant-filled oxygen chamber, even the design of the ship itself is very unique yet ingeniously practical.

6. THERE WILL BE BLOOD
Everything is minimal, and extremely spacious, even the final section, but it supports the mood of the film perfectly. My favorite touch is probably the cross cut out of the wall of the church.

7. LUST, CAUTION
The interesting sets are finely detailed, yet deliberately feel like a Hollywood backlot. Like SWEENEY TODD, proof that great Art Direction doesn’t just come from being ultra-realistic. Sometimes it helps the melodrama to feel like a soundstage.

8. BLACK BOOK
I’ve been talking about realistic sets and theatrical sets and BLACK BOOK actually qualifies as both. What’s interesting is that it works here too. As long as the Art Direction is consistent with the tone of the piece, you can do whatever you want. BLACK BOOK is realistic when it needs to be and artificial when the situations are more pulpy.

9. ATONEMENT
Some nice details here and there, but it breaks into the Top 10 mostly on the Dunkirk evacuation. I especially loved the Ferris Wheel and the cars getting their radiators smashed in.

10. SMOKIN’ ACES
Reno is represented with Las Vegas glitz, but much sleazier. Aces’ penthouse apartment including the outside lobby was a shiny-surfaced marvel.

BEST COSTUME DESIGN

1. 300
The first image in your head when you read this might be bare-chested Spartans, but think about their outfits, especially the capes and helmets. Then there’s the various Persians, like the masked Immortals and chain faced Magicians. Even the Queen’s outfits were more memorable than Keira Knightly’s green dress. This was some original stuff, and while it may have been inspired by the graphic novel, that hardly ever guarantees a smooth transition onto flesh and blood actors.

2. ZODIAC
Again, getting the details right, many costumes were taken from actual case photos.

3. HAIRSPRAY
The costumes start in the pastel-colored 50’s, but as some of the characters progress their clothing style also moves forward into looks that would eventually define the pre-hippie 60’s.

4. PIRATES OF THE CARIBBEAN: AT WORLD’S END

Adding to their usual shabby, but extremely detailed costumes are some really great Asian influences.

5. SWEENEY TODD
The leads are wonderfully theatrical, the “By The Sea” number changes the style while remaining consistent with the dark streets of London and the masquerade ball is an orgy of great costuming.

6. LUST, CAUTION
Ang Lee’s camera scrutinizes every detail of the lovely period costumes.

7. DEATH PROOF
Tarantino films usually make my list (and not the Academy) because the outfits aren’t complex, but they are iconic. In DEATH PROOF, the outfits of Stuntman Mike, Jungle Julia, ‘Butterfly’ Arlene, Pam, Kim and Zoe Bell become forever linked with their characters.

8. ALPHA DOG
B-boy and valley culture outfits. The subtle differences between the characters said a lot about their class and level of street cred. Kind of like if AMERICAN GANGSTER didn’t dress their people in such broad strokes, but made a more lived-in look.

9. THERE WILL BE BLOOD
It wouldn’t fit to go for a flashier look. The clothes needed to be simple, with a muted color palette. But within those limitations, the level of authenticity is peerless.

10. BLACK BOOK
Set towards the end of WW2, the costumes here cover a wide array of character types. The decadent parties must have been a particular challenge.

2007: Best Sound & Best Score

2008-01-10T20:42:00.000-08:00

BEST SOUND

1. HOT FUZZ
One of the key ingredients to the success of HOT FUZZ is the sound design. Everything’s a bit loud and over the top which is comedic, but also true of an American action film. It’s quite a feat for the film to want to draw attention to what it’s doing, without becoming too obnoxious to play as funny.

2. NO COUNTRY FOR OLD MEN
The Coens are masters of detail, both visual and aural. The love to draw your attention to the little sounds, like the police shoes scuffing the linoleum in the beginning, or the sound of a tossing coin.

3. RATATOUILLE
Pixar films always, always spend the time creating an amazing sound design. Their work really brings Gusteau’s kitchen to life.

4. THE BOURNE ULTIMATUM
The sound design understands the value of contrast, moments of quiet introspection are heightened by the loud bursts of action. Like Bourne, the sound mix is constantly on the move -- even when the bullets aren't flying fast and furious, cell phones and computers keep things humming along.

5. ATONEMENT
Starting with the buzzing fly I realized part of the directing strategy was in the sound, which blended with the score and Wanted to call attention to itself. The sound became its own character.

6. PLANET TERROR
Robert Rodriguez films almost always have good sound. Since his movies exist in a fantasy movie world and not the real world, the sound is allowed to go extreme. Loud and gloppy.

7. 300

Speaking of loud, this is absolute bombast. The knobs are set to ‘11’, which is also annoying at times, but mostly it’s very effective.

8. DAY NIGHT DAY NIGHT
Like the trailer, this little seen film utilizes silence punctuated by these ruptures. A street corner sequence uses sound to build a tremendous amount of suspense.

9. DEATH PROOF
Tarantino loves his 70’s cars and he gives them as much love as his movie stars. Also many talking scenes use a nice undercurrent of rain to keep everyone close and tight.

10.ZODIAC
David Fincher is a perfectionist and his use of sound here is as clean and crisp as you will ever hear. The standout has to be the woman on the road having tire trouble.

BEST SCORE

1. RATATOUILLE

Of all the technical categories, this is the one I’m most hoping gets an Oscar nomination. I don’t see how it can’t. Michael Giacchino is nothing less than the finest composer working in films today, and this is his finest score to date.

2. OCEAN’S 13

Composer David Holmes is highly experimental and I’ve always liked him before, but this is his first great score. It captures that upbeat Vegas vibe and is the best thing in the movie.

3. ATONEMENT

Atonement ranks so high for me for a very obvious reason…the score often utilizes a typewriter as an instrument. The rest of the score is fine, but the typewriter is so inspired, blending perfectly into the soundscape of the film. THERE WILL BE BLOOD, does something similar, but only once and they use it in place of regular instruments. Here it compliments the score.

4. THE BOURNE ULTIMATUM

John Powell has scored all three Bourne movies. While the rhythmic music doesn’t play so well on its own, it does wonders to keep the tension flowing in the movie.

5. PLANET TERROR

After a terrible start, Robert Rodriguez keeps getting better with his scoring work. PLANET TERROR really only has one major theme, but it kicks major ass.

6. INTO THE WILD

Eddie Vedder is the male Lisa Gerrard. Like her work on films such as GLADIATOR, Vedder uses his voice as an instrument, blending with the score and evoking primal emotions.

7. HARRY POTTER AND THE ORDER OF THE PHOENIX

Some of the score is on the obvious side, but there’s also a lot of good stuff here, like Dolores Umbridge’s bouncy theme.

8. THE LIVES OF OTHERS

The trailer uses the main theme. Listen to the way it builds layers, sucking you in and then adds some uneasy, abrupt strings.

9. 300

Someone got the idea of taking great trailer music, you know the kind with a choir singing like it’s life or death, and making a film score out of it.

10. ENCHANTED

Like the film, the score evokes some Disney classics, slipping comfortably into their glass slippers.

2007: Best Makeup

2008-01-09T22:12:00.000-08:00

I decided to split Best Make Up this year into 2 categories so more natural Makeup can be listed separately from CGI or effects Makeup.
The one movie that fits snugly in both categories is PIRATES OF THE CARIBBEAN: AT WORLDS END, where everyone’s got some layer or layers of hair and makeup going, be it Chow Yun-Fat’s Asian Warlord or the digital nautical bits that encrust Davy Jones’ crew.
I should give a special mention to NORBIT. I didn’t see the film, but Rick Baker’s full body fat suit looked very impressive in the trailer.

BEST MAKE UP

1. HAIRSPRAY
No this isn’t for turning Mr. Travolta into a woman (although it’s not as bad as it looks in still photos.) I’m giving top honors to HAIRSPRAY for the way it transports the very modern cast back in time, and then adding a slightly overdone theatrical touch that compliments the film’s musical aspect. Many of the cast members are sporting looks we’ve never seen on them before, but (except for Travolta) none of it is jarring.

2. BUG
Trying to remove the bugs lurking just beneath their skin, our two leads use everything from brushes to sharp objects. The makeup work on their bodies is disturbingly realistic.

3. SWEENEY TODD
In one year Depp goes from looking like a burnt hot dog (PIRATES 3) to a pale corpse. Lots of creative black and white plus some bold hairstyles.

4. DAY WATCH
Fantasy in the modern world, plus lots of bruises, and the kind of imaginative touches like a female witch who curls her hair into horns.

5. INTO THE WILD
A good job depicting faces exposed to the elements. Plus a real good beat up face, and Hal Holbrook looking younger than he has in years.

BEST EFFECTS MAKE UP
1. 300
For the malformed creatures including a giant with some wicked lumps.

2. PLANET TERROR
For the deliberately cheesy zombie effects including bubbling faces and Quinten Tarantino’s complete (literal) meltdown.

3. DEATH PROOF
For the single most impressive makeup effect this year, the tire that runs over a victim’s face.

4. STARDUST
For Michelle Pfeiffer’s age makeup. Also liked the goat men.

5. NO COUNTRY FOR OLD MEN
For the scene where a guy sews up his wounds in extreme close up.

2007: Best Special Effects

2008-01-08T23:50:00.000-08:00

10. PLANET TERROR
In a world of giant special effects companies, Robert Rodriguez is a real scrapper. His films are overly ambitious when it comes the effects and he loves cheap and easy solutions he can brag about on the DVD. Terror featured zombie effects where the skin would bubble, and complicated action sequences including Rose McGowen’s machine gun leg. He also used effects to degrade the film, changing grain and color. (Some hated this process, but I thought it was ingenious.)

9. ZODIAC
You always hear that the best effects are the ones you DON’T see, and I never got a finer example of this then when a bootleg video hit the web (now pulled down) highlighting some remarkable effects used to bring period San Francisco to life. Of course there’s also the great effects you do see like the one-shot cab ride through the city streets.

8. I AM LEGEND
The creatures in I AM LEGEND are so bad (and uninspired looking) that the film doesn’t even deserve mention. However, the creation of a desolated New York City is so awesome, how can you not mention it?

7. SUNSHINE
This effects employed for this trip to the sun perfectly captures not only the intense heat and light, but also the desolation and extreme cold of outer space.

6. DAYWATCH
The film is a showcase for highly creative effects. Standout sequences include horses charging through solid walls and the complete destruction of a large city. However, they pale in comparison to the car that drives across the side of a building.

5. PIRATES OF THE CARIBBEAN: AT WORLD’S END
With the budget, there’s no effect this film couldn’t do well. (Okay, except for a giant Calypso sea goddess.) Still, with effects as simple as crabs that look like rocks and as complex as the typhoon finale, you almost overlook how impressive Davy Jones still is.

4. SPIDER-MAN 3
Again, almost anything is possible if you spend enough money. While it never looked right every time Venom revealed Topher Grace, the effects wizards captured the elusive nature of sand really well. The “Birth of Sandman” sequence was amazing.

3. HARRY POTTER & THE ORDER OF THE PHOENIX
Of course where there’s wizard magic, there’s movie magic, so rather than list the numerous great effects just watch the Voldemort battle at the end and imagine how empty it must have looked during filming. Now remember how when you were watching it, you didn’t even think about the effects, just the magic.

2. TRANSFORMERS
TRANSFORMERS is a tough call for me. I hated how the robots were filmed too close and the transformations often happened too fast to see how it all came together. It seemed unnecessarily complex. However that’s more the fault of director Michael Bay, who didn’t make it easy for the effects team. Still, the transforming and destruction blended seamlessly with the real environment.

1. 300
A debatable choice, but each year the chasm between live action and animation gets smaller and smaller. Photorealistic animation like BEOWULF still doesn’t sit right, but with SIN CITY and now 300, animated photography is gaining larger acceptance. You can’t even list the many effects here since it’s ALL an effect in some way. But I think 300 is a step forward, showing (to the extreme) how technology can create a completely original film experience.

Top 10 Films of 2007

2008-01-07T21:07:00.000-08:00

I’ll be mentioning more Top 10 accolades in a series of future posts and I don’t want to repeat myself too much. (The following 10 films make over 65 appearances in 16 categories.) I tried to focus my comments here on the overall elements that shaped my decisions. So, if I don’t name an actor or (say) a score that you feel deserves mention, I’m probably getting to it later.

10. INTO THE WILD
Perhaps the years’ biggest surprise. I’ve never been bowled over by Sean Penn’s directing and the story sounded dull and preachy. INTO THE WILD is not the type of story I’m drawn too, and I resisted it for a really long time. I ended up liking it so much it made my Top 10 during a very tough year.

This wisely isn’t about shaking off the shackles of responsibility, and it doesn’t fully support Chris McCandless’ desire to drop out of society and get back to nature. (His goals are constantly questioned.) Penn focuses on the journey, and he presents a fascinating odyssey full of adventure, both dangerous and exhilarating. The camera technique is edgy and daring, and the performances have a wonderful spontaneous quality. The film is long and slow, but I don’t think it would have been successful any other way.

9. JUNO
People quickly mention Ellen Page is great, then move on because they anxiously want to discuss the characters played by Jason Bateman and Jennifer Garner. The dynamic between the two are like two pitchers who throw intersecting fastballs and then simultaneously knock it out of the park.

After Bateman and Garner, praise usually spreads out to the rich supporting cast, followed by the unique script. (Some feel the dialogue is too mannered and it is, but it’s also rich and highly quotable.) Finally it all comes back to Page, lovable without ever asking to be liked. The battle between her and Julie Christie for Best Actress is going to be one of the toughest to decide.

8. SICKO
People tend to either love or hate Michael Moore. His documentaries bare such a forceful agenda that the truths of his talking points are always called into question. I love him mostly because he’s a great entertainer, and while some of his stunts are just hot air, he gets you to think and he does effect a small amount of change.

If the film had been nothing but him throwing his weight around to help people get medical attention, that would be enough for me. (Those scenes are the emotional high points of the movie). Moore also wisely played down the finger pointing, simply asking over and over, “Why is it like this?”

7. THE LIVES OF OTHERS
I am reminded of films by the great Billy Wilder. On one hand, THE LIVES OF OTHERS is a taut thriller about surveillance and betrayal. However, the stakes immediately become personal and the twists flow out of character instead of the gears of the plot.

Everything is carefully constructed and some unexpected encounters took my breath away. This is one of those thrillers that build slowly, surely to an emotionally epic climax. Many acclaimed films this year make strange detours at the finish. The final scenes in this one improve the already high quality.

6. HARRY POTTER & THE ORDER OF THE PHOENIX
I think POTTER films don’t get more ‘end of the year’ respect, because by now you’re not surprised by how good they are. You expect a certain level of quality. Yet this one was based on the worst book, with a new screenwriter and a mostly unproven director. While a bit rushed in the middle, the film is a remarkable accomplishment with some of the best moments of any film this year.

I have to start by mentioning the battle at the Ministry of Magic, a spectacular match that only hints at some great magical duels to come. The training of Dumbledore’s Army was also skillfully constructed, and marked an important turning point in the overall arc. PHOENIX also featured Dolores Umbridge, one of the most hated characters in the series. Imelda Staunton’s performance rightly garnered early Oscar buzz.

5. GRINDHOUSE
Want to know the difference between a film critic and a film geek? Look at their Top 10 list and see if they mention GRINDHOUSE. I’m a geek, so I’ll repeat what my fellow ilk all said…GRINDHOUSE, for all its faults, was the most enjoyable movie going experience all year. This double shot of self-conscious cool exhibited a pure love of filmmaking and style, with inside jokes galore and many over the top thrills.

First up was Robert Rodriguez’s PLANET TERROR, which I thought was critic proof since it was homage to movies that were so bad you couldn’t look away. It wasn’t as artistic as Tarantino’s DEATH PROOF, but it was a hell of a lot more fun. PROOF, while overly talky, featured one of Kurt Russell’s best performances, an unforgettable car crash, and a dangerous chase featuring stunt woman Zoe Bell hanging on for life OUTSIDE the car.

Then there are the trailers. I own both DVD’s, but the wonderful, hilarious trailers are what really tied the whole experience up with a big bloody bow. It was a wonderful night at the movies. Too bad, it’ll never happen again in my lifetime.

4. NO COUNTRY FOR OLD MEN
The film was absolutely perfect for so long, and the Coen Brothers were making perfection look so easy. Then it makes a sudden left turn at the end, going mythic and leaving many a dissatisfied audience in its wake. I complained too. I get what they’re going for and I really like what the film has to say, but I can’t help wondering if there was a better way to get there.

Setting that aside, I reflect back on moments like the scuff marks of the struggling policeman, keys jingling in a truck ignition, an uncrimping wrapper (“Call it…Frend-o”), many great hotel confrontations, and that damn persistent dog. To think, this modern classic involves little more than two men and a bag of money. Yet within that framework much is said about the desperate and harsh world we live in. FARGO with a pitch-black heart.

3. THERE WILL BE BLOOD
Unlike most modern movies, the style isn’t a tribute to films of a bygone era. Writer/Director PT Anderson has crafted a bold, grand epic that’s right in line with similar classics. His partnership with Daniel Day-Lewis is a grand tango, with partners free to exhibit their full potential. The gonzo finale redefines swinging for the fences, but while it clashes with the rest of the film, it’s marvelous by itself.

Since BOOGIE NIGHTS, Anderson’s originality has been an uncomfortable fit with me. MAGNOLIA is 2 parts Masterpiece, 1 part overcooked ham, and PUNCH DRUNK LOVE annoyed the hell out of me. While not as warmly embraceable as BOOGIE NIGHTS, this is definitely his best film. Like the classics of Stanley Kubrick, the film is slow, but mesmerizing and tense from the first frame to the final line.

2. RATATOUILLE
Having finished THE INCREDIBLES, Brad Bird was on his way out the Pixar door for a long overdue vacation. John Lasseter, however, was in trouble. Their film RATS was set to come out in only 18 months (computer animation takes 4-5 years), and they haven’t been able to solve numerous story problems. Lasseter convinced Bird to take over. He rewrote the script and crafted this wonderful, wonderful film that’s both popular entertainment and an artistic triumph.

Brad Bird is a creative genius.

On the list of classic Pixar characters, Remy the Rat (wonderfully voiced by Patton Oswalt) is the most expressive to date, and one of the films greatest strengths is the looks given by the characters both rat and human. Like previous Pixar films, RATATOUILLE selects voices over stars, and artistry over jokes. There are some tough sells in the story, but it’s handled with grace and the proper care. Everything looks dreamy, from the food to the wide views of Paris at night, and while there’s an abundance of cartoon humor (“Stop that health inspector!”), this is a film adults will probably enjoy even more. I don’t know if there’s ever been a more sophisticated animated film made in this country. Special mention to that first bite of ratatouille, a great moment in cinema history.

1. HOT FUZZ
I was all ready to move HOT FUZZ out of my #1 slot. I thought there just had to be a more respectable selection. Then I watched it again and decided I had to go with what felt right. HOT FUZZ isn’t as well directed or acted or written as other films in my Top 10, but it is the most satisfying. Other films this year hit the bulls eye, but HOT FUZZ pulls a Robin Hood and splits the arrow.

As a film watcher, HOT FUZZ is both a very entertaining take on American action movies as well as a terrific action movie of its own with a solid plot and some great twists. The revelation of the killer took me completely by surprise (along with a slight giggle over what was going to happen next). As a film geek, I love the skill at work. The editing and sound are some of the best this year, and the film moves effortlessly between genres, incorporating humor both silly and sophisticated and horror, both scary and grandly grotesque.
Everything this film set out to do just worked, and the cast masterfully bounced with glee from jokey scenes to moments of real menace. They’re obviously having a ball making a kind of balls out American action film, while still maintaining their British reserve. So while other films this year are more important or more ambitious, HOT FUZZ is a cinematic multi-vitamin, delivering all the essentials. The Best Film of 2007.

2007: Runners Up (Top 11-25)

2008-01-06T21:07:00.000-08:00

Check back Tuesday for my Top 10.

Before I get into my 11-20, I wanted to give special mention to the films that just missed the cut. They’re all hidden gems for the more adventurous movie watcher.

25. DAY WATCH
This big, loud, visual stunner contains many entertaining set pieces, plus it accomplishes the rare feat of being a sequel (in this case to NIGHT WATCH) that makes the original better.

24. STARDUST
Engaging PRINCESS BRIDE style comedic fantasy with a delightful performance by Michelle Pfeiffer, and a story that often goes where you don’t expect.

23. PAPRIKA
Japanese animation brimming with creativity, intrigue and intelligence. A Miyazaki for grown ups.

22. BEFORE THE DEVIL KNOWS YOU’RE DEAD
A smart script that turns on itself in exciting ways, raising the moral ante with each revelation.

21. THE WIND THAT SHAKES THE BARLEY
Irish political drama…three words that usually keep me away. However, this one comes from the heart, was made with passion and guts, and it quickly burrows right into you.

20. GONE, BABY, GONE
Extremely promising directorial debut from Ben Affleck, this classic style detective thriller crackles with great dialogue and performances. The ultimate dilemma is carefully handled without giving pat, easy answers. You walk out conflicted over who made the right decision.

19. ONCE
For some ONCE may seem slight and a bit overpraised. The story is little more than two people who share some time and make some great music. But like BEFORE SUNRISE, this isn’t a film about story so much as time spent with two really likable people. It never tries to push your buttons and it never steers from its delicate tone.

18. AWAY FROM HER
The achievement of AWAY FROM HER is that it’s not about the disease of Alzheimer’s, but about how the condition changes social dynamics. The story could have been mishandled so many different ways. Like JUNO, the characters’ actions of are not what you expect, but feel absolutely real.

17. HAIRSPRAY
Don’t be put off that this is from the director of THE PACIFER and BRINGING DOWN THE HOUSE, and that it stars John Travolta in drag. The cast put on a great show, and the film is full of energy, humor and catchy tunes. ENCHANTED is fun…this is even better.

16. THIS IS ENGLAND
British film about skinheads in the 80’s, when the movement was transformed from being punk and outcast by the politics of hate. The script easily melds a personal story with a more socio-political angle and 14yr-old Thomas Turgoose is remarkable in the difficult lead role.

15. ALPHA DOG
Opening to mixed reviews and no box office, I thought ALPHA DOG was a very compelling true life look at the sliding morality of some of today’s youth. The performances are outstanding, and help get you through as you watch a terrible situation move towards its only possible outcome. The Larry Clark film for people who can’t stomach Larry Clark.

14. ATONEMENT
Closer to MEMENTO than ENGLISH PATIENT, this film isn’t about a young couple torn apart by war and misunderstanding, but about the sister, whose imagination and confusion attempts to separate and unite our lovers. The pieces fall into place with exceptional skill and artistic flair by director Joe Wright.

13. THE SIMPSONS MOVIE
While very successful, I was surprised how many fans were unsatisfied by this long-awaited trip to the big screen. It’s like they were hoping for something better, but how much better could it be? That being said, I’ve never felt the emotional jeopardy more than when Marge was ready to leave Homer. Plus Bart Simpson’s naked skateboarding (a classic take on the Austin Powers gag.)

12. THE BOURNE ULTIMATUM
Picking up right on the heels of the last Bourne outing, I think this one contains the series greatest set-pieces. Waterloo Station and the chase in Tangier are two of the greatest cat and mouse sequences ever filmed. If the film added up to something, and wasn’t hampered by a weak emotional climax, this would be much, much higher on my list.

11. SWEENEY TODD
Tim Burton stays surprisingly serious and delivers his best work since ED WOOD. Depp wisely eschews belting it to the back of the theatre and creates a Sweeney whose singing often quietly aches. Production Values are all top notch, and the sung dialogue and abundant blood add to the flavor of this very original enterprise.

2007: My Apologies To...

2008-01-04T20:11:00.000-08:00

When asked how many films he sees a year, Richard Roeper replied “all of them.” Over 600 films were released in US theatres in 2007, and I’m betting Richard missed more than a few. I’ve seen just around 100 (so far). I’d love to wait until I’ve seen them all, but Oscar nominations are coming soon. These are important films I missed. Apologies to the following…

4 MONTHS, 3 WEEKS & 2 DAYS
This same problem happened to THE LIVES OF OTHERS last year. It’s made over 40 Top 10 lists even though it doesn’t open until Jan. 25th of this year.

ACROSS THE UNIVERSE
Fascinated by the trailer, but turned off by a swarm of bad reviews. I’m still intrigued thanks to a handful of passionate supporters.

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
I don’t like slow, moody films. I’m only interested in this for the Cinematography and Casey Afflick’s performance. If you can give me both in under 2 hours, I’m there.

THE DARJEELING LIMITED
Word is this is much more LIFE AQUATIC than ROYAL TANANBAUMS.

THE KITE RUNNER
I was surprised when Marc Forster’s vision of this acclaimed book opened to lukewarm reviews.

THE KING OF KONG & MY KID COULD PAINT THAT
I hear both of these documentaries are a lot of fun, but I tend to enjoy docs better on the small screen. (I’m quirky like that.) I’ll definitely rent them both.

LAKE OF FIRE & NO END IN SIGHT
I hear both of these documentaries are great…but no fun at all. Again, I’ll rent them.

LARS AND THE REAL GIRL
Maybe my biggest regret. The trailer turned me off, it looked to cutsey. And while I think Ryan Gosling has oodles of talent, I’m not as big a fan as many others are.

PERSEPOLIS
I plan to see this soon. I hear it’s great, but can it topple RATATOUILLE and take the animation Oscar?

I also try and see the popular films. The most successful of 2007 I didn’t see are, ALVIN & THE CHIPMUNKS ($190+million), NATIONAL TREASURE 2 ($190+), WILD HOGS ($168), BEE MOVIE ($125), I NOW PRONOUNCE YOU CHUCK & LARRY ($120), EVAN ALMIGHTY ($100) and NORBIT ($95)

Taken together it reads like Hell’s film festival.

2007: Top 10 Original Songs

2008-01-04T08:44:00.000-08:00

10. "Little Wonders" - Rob Thomas (from MEET THE ROBINSONS)

I wouldn't call myself a Rob Thomas fan - few of us would - but every now he then he makes a song that really gets inside your head. Pleasently catchy.

9. "No Ceiling" - Eddie Vedder (from INTO THE WILD)

Short and to the point. Vedder's contribution to the film was considerable, with some of his best songs since "Vs."

8. "Come So Far (Got So Far To Go)" - Cast (from HAIRSPRAY)

Usually when a musical hits the big screen they throw on an extra song in an attempt to snag an Oscar. The song is usually weak, but will often win because a vote for one song is like a vote for all of them. This is the rare exception.

7. "If You Want Me" - Marketa Irglova & Glen Hansard (From ONCE)

This was one of the most magical moments in a movie full of low-key, unexpected magic. The song is just beautiful, but it's forever linked in my mind by the unbroken shot of Irglova walking down the street, singing to herself.

6. "Long Nights" - Eddie Vedder (from INTO THE WILD)

Another beauty from Vedder that really gets inside the mind of the film's main character.

5. "Le Festin" - Camille (from RATATOUILLE)

If you're a fan of RATATOUILLE, you'll recognize this one. It plays in the movie a couple of times. I don't know French, but I know great and this is great.

4. "Happy Working Song" - Amy Adams (From ENCHANTED)

This very funny take on "Whistle While You Work" is a Disney Classic.

3. "Ladies Choice" - Zac Efron (from HAIRSPRAY)

The other original song from HAIRSPRAY is a classic "get up and move" sock-hopper.

2. "Falling Slowly" - Marketa Irglova & Glen Hansard (From ONCE)

Anyone who wonders "what's so special about this film ONCE?", your answer starts right here. Our couple sits down in a music shop and creates instant, intense chemistry, pure movie magic and a great song all in one shot. I ache to hear them perform this at the Oscars.

1. "That's How You Know" - Amy Adams (from ENCHANTED)

I think this is the song to beat at the Oscars. Possibly the high point of the film, and one of the year's best scenes. This song will get in your head and (unless others are around who haven't seen the movie) you won't mind one bit.

2007: The Year In Quotes

2008-01-02T22:25:00.000-08:00

I kept it to one quote per movie (which made it really hard for 300 and JUNO.)

One-liners
“He’s playing fetch with my kids.” – KNOCKED UP
“I've won a lot of radio contests because I refused to get off the line.” – BLADES OF GLORY
“If we get any more white people in here, this is gonna be a suburb.” – HAIRSPRAY
“I used to be legit. I was too legit. I was too legit to quit. But now I'm not legit. I'm unlegit. And for that, I must quit.” – HOT ROD
“If you’re planning something like a party, you should tell me cause you know I hate surprises.” – Will Smith to his dog in I AM LEGEND
“Do you’re early stuff, man.” – Dylan to a crucifix Jesus in I’M NOT THERE
“I was hoping she was expelled, or into hard drugs.” – JUNO
“Let’s split up. I’ll take the women.” – RUSH HOUR 3

Smart Ass
“This is a pimp I wouldn't trust to wash my car, but y'all done elected him city official.” – TALK TO ME
“12 years? Twelve years - to paddle down a river?” – INTO THE WILD
“You could cut the hard line, sure. Or you could just walk by and kick out the plug.” – OCEAN’S 13
“Operation Stupid is officially over!” – DISTURBIA
“I’m sorry, Mrs. Umbridge. I must not tell lies.” – HARRY POTTER & THE ORDER OF THE PHOENIX
“If you were at your office, we’d be having this conversation face to face.” – THE BOURNE ULTIMATUM

The Film In A Nutshell
“So you’re like…ransom.” – ALPHA DOG
“He doesn’t confuse me.” – AWAY FROM HER
“I aim to cure you of your wickedness.” – BLACK SNAKE MOAN
“Gentlemen, I wash my hands of this weirdness.” – PIRATES: AT WORLD’S END
“How much did you have to pay?” – SICKO
“There’s more than one way to lose your life to a killer.” – poster for ZODIAC

Words Of Wisdom
“Don’t sing. It’s okay. You know. Let’s just walk.” – ENCHANTED
“The loudest one in the room is the weakest one in the room.” – AMERICAN GANGSTER
"You always want to invest in things people can't do without. Water and cemeteries...pretty safe bets." - MR. BROOKS
“You might think you're more 'from here' than I am, but then again, I been living here longer than you've been alive. So who's right?” – GONE BABY GONE
“I got you the biggest one because I love you the most.” – SHREK THE THIRD
“I am driver. I go left, I go right, I go straight ahead - that's it.” – EASTERN PROMISES
“You see we're both going left. You could have just as easily been going left, too. And if that was the case... It would have been a while before you started getting scared. But since you're going the other way, I'm afraid you're gonna have to start getting scared... immediately.” – DEATH PROOF

Great In The Context Of The Movie
“Narp?” - HOT FUZZ
“I'm just not sure how well this plan was thought through.” - MEET THE ROBINSONS
“Muey hedgehog?” – ONCE
“Welcome to Hell.” – RATATOUILLE
“You're saying you need my vote. I'm saying you can't have it.” – SUNSHINE
“I have the money! I have the power!” – THE LOOKOUT
“My daughter didn’t like it.” – THE TV SET
“I drink…your milkshake!” – THERE WILL BE BLOOD

T-shirt Ready Quotes For The Ages
“Call it…Friend-o.” – NO COUNTRY FOR OLD MEN
“At last my arm is complete again!” – SWEENEY TODD
“Look out…He is a Spider-Pig” – THE SIMPSONS MOVIE
“I am McLovin.” – SUPERBAD
“Tonight we dine in Hell!” – 300

2007: Top 10 Dumbest Movie Moments

2008-01-01T21:39:00.000-08:00

10. BRIDGE TO TERABITHIA – Ad Campaign
My problem here is with the ad campaign, which presented the film as a NARNIA style journey into a world of fantasy and magic. The actual movie was about coping with death when you’re young. The film was well-reviewed, but I deeply resented that it wasn’t the story they were selling.

9. OCEAN’S 13 – The Dice Trick
Nobody goes into OCEAN’S 13 looking for logic and realism. Still, everyone in the casino would notice dice that flip over after they’ve stopped moving.

8. RATATOUILLE – The Soup
I’m willing to buy that Remy can control Linguini by pulling on his hair. The film sells that. What bugs me every time, however, is that Remy takes Linguini’s disastrous spicy red soup and with very little room in the pot, add a ton of cream and chicken stock to create a wonderful new soup.

7. MICHAEL CLAYTON – The ‘Great’ Ending (spoiler-free)
I was not a fan of MICHAEL CLAYTON. (My good friend Humby nails it perfectly in His Review.) Many critics point out the final scene as a highlight, but everyone I know saw what was coming a mile away. It’s one of the oldest tricks in the book.

6. SUNSHINE – The Killer
SUNSHINE was a pretty excellent movie until the final act when they introduce a man exposed to too much sunlight. Rather than fry him into ash, it turns him into a murderer and the film becomes Jason in space (which I already saw 5 years ago.)

5. SPIDER-MAN 3 – Evil Peter Parker
Taken over by a symbiote, Peter Parker finds himself acting emo, asking for cookies (with nuts in them), and playing jazz piano while looking like K.D. Lang.

4. LIVE FREE OR DIE HARD – Cut and Paste Filmmaking
This felt like they shot 5 different movies and then tried to tie them all together. Ignoring the improbable, you’ve got stuff like McClane and his ward outside a high security building. We cut away for a beat and when we cut back they’ve somehow broken in undetected. McClane spends much of the final third without a gun, but in the last scene he shows up armed. Many scenes feature characters saying one thing while their mouth is clearly saying something completely different.

3. I AM LEGEND – The Rescue

(SPOILER WARNING)
When Will Smith attempts suicide, he’s rescued by a woman who says she was waiting all day for him. So, where the hell was she when he was setting up the dummy that lured the creatures?

2. 28 WEEKS LATER – The Underground Trap
When zombies invade the safe zone, the uninfected are herded into an underground parking garage and locked in (for protection.) Everybody starts to feel trapped and tries to break down the door. However, if any of them would just turn around they would see a door on the other side that is completely unlocked. (Anybody want to guess what happens next?)

1. PIRATESOF THE CARIBBEAN: AT WORLD’S END – Killing the Kraken
After setting up the awesomeness of the Kraken in the 2nd movie, how do our heroes finally defeat it? They don’t. Instead we’re told that the creature was killed in between 2 and 3 as a sign of loyalty from Davy Jones to Lord Cutler Beckett. Why would Beckett have such a powerful weapon destroyed? This was the clearest example of writers backed into a corner with no idea how to get out.

2007: Top 10 Trailers

2008-01-01T02:10:00.000-08:00

10. STARDUST

I was so knocked out when I first saw this trailer I wondered if it could be Summer’s surprise blockbuster. It seemed to have all the right ingredients, an engaging mix of fantasy, action, romance and comedy. It starts slow, but ends real strong.
BEST MOMENT: The great Peter O’Toole saying, “Now we shall begin.”

9. DAY WATCH

I had seen some of the International trailers – stunning effects need no translation – but Fox did a terrific job making simple sense of the dense plot while dazzling with the imaginative eye candy.
BEST MOMENT: The showpiece at the end where a car drives and slides vertically across a skyscraper.

8. I’M NOT THERE (Final Trailer)

An expanded version of the Teaser, this one boils down the numerous Dylan’s to their essence, creating a satisfying portrait of the enigmatic legend in under 3 minutes.
BEST MOMENT: This sounds obvious but the superb editing of the images to Dylan’s biggest hit really make this.

7. ACROSS THE UNIVERSE

It would have been difficult to make a bad trailer combining the film’s surreal visuals and music from The Beatles. (Apparently however, it was easy to make a lousy movie with the same mix.)
BEST MOMENT: Take your pick between Rainbow Bright’s bowling alley, Yoko hitting the water right on cue or (probably my favorite) Uncle Sam coming to get you.

6. DAY NIGHT DAY NIGHT
Click Here To View Trailer.

I caught this just last week after reading Trailer Park’s Top 10 list. Much like last year’s awesome trailer for LITTLE CHILDREN, this one is minimal with excellent sound and a feeling that whatever’s going to happen, I need to watch. I immediately added the film to my Netflix cue.
BEST MOMENT: The mix and edit of loud and quiet sounds

5. DEATH PROOF (International Trailer)

I first saw this on the DVD. While I really liked all the previews for GRINDHOUSE, this one for DEATH PROOF is by far the best. It starts out menacing, turns real creepy, then grabs you and pulls you to the edge of your seat.
BEST MOMENT: “If he likes the way you move, then he decides…the way you die.”

4. TRANSFORMERS (Final Trailer)

Hated the movie, but man the trailer showed flashes of a ‘mech warrior’ battle some of us waited years for. The budget and effects were finally there to deliver film geek heaven.
BEST MOMENT: I love when the jet transforms as he pulls himself onto the bridge, but even now I get chills when Tyrese shouts “Bring it!” (Of course it’s wedged between the always effective trailer choir and a robotic primal scream.)

3. NO COUNTRY FOR OLD MEN (Redband trailer)

Many people didn’t see this because it shows a couple of murders (Nothing too spoilery, but we didn’t know that then.) The 2 regular trailers are also good, but this one captures the dark tone best.
BEST MOMENT: The blood red splashing across the titles.

2. CLOVERFIELD (Teaser)

Unfortunately, the follow-up trailer really took the wind out of CLOVERFIELD’s sails, but remember when you sat down to TRANSFORMERS and this came on. At first, it looked like the projectionist made a mistake, and by the end, we were rocked to our core. The most talked-about trailer of the year, it will go down as one of the all time greatest teasers.
BEST MOMENT: Everything from the first roar on.

1. THANKSGIVING

The fake trailers in GRINDHOUSE were possibly the highlight of the whole experience. I really liked the one Robert Rodriguez did for MACHETE and thought about including that one as well, but these trailers had the advantage of not having to be made from an actual movie so you only had to film the money shots.
Eli Roth’s trailer for the slasher film THANKSGIVING is the most creative, most entertaining thing he’s ever done. He perfectly creates the way trailers looked and sounded “back in the day” (and yes they did contain all the gore and nudity), he perfectly sets up the story (I love setting it in Plymouth, MS) and his violent punchlines evoke the perfect balance of wincing and laughter.
BEST MOMENT: The whole damn thing.

2007: Year Of The Grindhouse...Like It Or Not

2007-12-31T12:41:00.000-08:00

One of the most discussed film stories in 2007 was the much-hyped release of GRINDHOUSE. The Tarantino/Rodriguez double feature was a tremendous failure and every armchair critic with a blog posted theories about what went wrong. Much was said about the two film nerds trying to bring back a genre the public didn't care about.

What I found interesting is that the dynamic duo weren't the only ones with this idea. All year long, films would show up that recreated the Grindhouse experience. (Most were filmed at a more Grindhouse sized budget too.) Alphabetically, here are 10 more Grindhouse films from 2007. Which 2 do you think would have made for a better double feature than PLANET TERROR & DEATH PROOF?

ALPHA DOG
Youth gone wild, teens in trouble, and their parents who just don't get it. Plus there's booze, drugs and sex (gratuitous nudity included), and a deep moral message about how kidnapping is bad.

BLACK SHEEP
Remember those cheesy, low-budget, "when animals attack" films, where the killers would be everything from armies of spiders to bunny rabbits?

BLACK SNAKE MOAN
One of the more obvious examples. A film promising lots of sex, and heat and button pushing about race and gender.

HOSTEL: PART II
I could have put in any of the Torture Porn films (like CAPTIVITY or HALLOWEEN), but I decided to pick on Eli Roth because he's trying so hard. (Oh my God! He killed a child...yawn.)

HOT FUZZ
This makes more sense if you've seen the film, which has elements of both British gangster pics and Hammer Studios horror.

SEVERANCE
This time the British try to copy our slasher film formula (with dry wit to let you know it's all in cheeky fun). Made Grindhouse by some outlandish secrets and sleazy Euro-sex.

SHOOTER
This one opened my eyes to the Grindhouse all around because the plot is EXACTLY THE SAME as the MACHETE trailer in Grindhouse.

SMOKIN' ACES
An all-star cast of has-been's and wanna be's unleash every weapon known to man. Like a typical Grindhouse picture, you have to sit through way, way too much talking getting to far too little fireworks.

SUPERBAD
The teen-sex comedy filtered through REVENGE OF THE NERDS. The filmmakers are proudest about how this uses the F-word more than any Scorsese film.

VACANCY
Two B-list stars, a hammy villain, filmed mostly on 1 set, full of sleazy atmosphere. As easy to consume as a White Castle slider. Just as nourishing and just as memorable.

Why Do We Do It?

2007-08-18T11:39:00.000-07:00

Hollywood is driven by actors. Ask anyone, the most pampered part of the movie machine is the Actor. We bend over backwards to get them, and then bend further back to keep them happy.

This isn't going to be a rant about how actors are no more important than anybody else on the planet. (It easily could be but...BORING!) I'm attacking the fact that Hollywood covets their movie stars, while the box office projects a different picture.

If Actors are king (because they put butts in the seats) then the World's biggest movie stars are...

1. Johnny Depp
2. Tobey Maguire
3. Daniel Radcliffe
4. Mike Meyers
5. Shia LaBeouf
6. Gerard Butler
7. Dan Castellaneta
8. Bruce Willis
9. Patton Oswald
10. George Clooney, with Brad Pitt, Matt Damon, Al Pacino and others

But we all know that's not true. People didn't line up for SPIDY 3 because of Tobey. In fact, the recurring rumor of replacing Tobey with Jake Gyllenhaal was met with a collective shrug.

Of the 10 biggest films this year (and congrats to everyone who can figure out the titles based on the above list) only #8, LIVE FREE OR DIE HARD could be called a bonafide One Star Showcase. To that I say, if Willis is such a draw, where were his fans when PERFECT STRANGER, ALPHA DOG, LUCKY NUMBER SLEVIN, 16 BLOCKS and HOSTAGE opened?

By the way, continue down the list and you get more of the same.

11. The cast of FANTASTIC FOUR. (You tell me who the biggest star is.)
12. John Travolta...WITH Tim Allen and Martin Lawrence
Three movie stars that can no longer open a film just by themselves.
13. Nicholas Cage
This is the first film to validate the Actor as King theory. Cage headlined a little known comic book that became a mostly crappy movie and the film made over $220 million Worldwide. That's star power.
14. Rowan Atkinson (Everywhere but America)
15. Seth Rogan
16. Eddie Murphy
Our second Actor/King took original material, created one of the worst comedies of all time, and collected almost $160 million.
17. Matt Damon

Also co-headlining #10 (OCEAN'S 13) and THE DEPARTED. He may be our biggest movie star right now. He doesn't just star in franchises...he creates them.

Now, here's the same top 10, but the way it should read...
The Biggest Stars in the World Right now are...

1. Captain Jack Sparrow
2. Spider-Man
3. Harry Potter
4. Shrek
5. Transformers
6. Spartans
7. Simpsons
8. John McClane
9. Pixar
10. George Clooney, with Brad Pitt, Matt Damon, Al Pacino and others

Which goes to show 3 things...

1. Our biggest stars right now are not Actors, but recognizable Brand Names. Actors are simply part of the machinery and should not be treated any better than the director, the Writer or the Prop Master. (Guess I was made that argument too.)

2. If you want to keep your movie star egos in check, have 2-13 of them in your film at once.

3. If you are looking for a star, start with Matt Damon.

I can think of only one actor who can open an original film from any genre everytime he tries...

DJANGO Sticks In Your Head

2007-07-13T11:11:00.001-07:00

I recently caught up with DJANGO, widely considered to be the best 'spaghetti western' not directed by Sergio Leone. (It's a decent B-movie, but nobody comes within miles of Leone's epic greatness.)

What's most memorable about the film is its opening song, which is so melodramatic and Las vegas that it's now burrowed deep inside my brain.

By the way, Takashii Miike recently filmed his own version of DJANGO and the trailer features a Japanese cover of the same song.

2 Funny Pictures

2007-07-13T11:00:00.000-07:00

BEST SUMMER MARQUEE. Can't trust those Pirates.

And Michael Bay & Hasbro have announced their next big franchise...

Have You Rented...PRIDE

2007-07-05T19:29:00.000-07:00

I love watching Terrence Howard act. Ever since his 1-2 combo of CRASH and HUSTLE & FLOW back in 2005, I've taken the mere appearance of Howard as the sign of something special. Even in a film as bad as IDLEWILD, he didn't let me down.
With PRIDE, Howard takes the lead role again, and all that makes him special is right there on display...the quiet command, the unexpected smile, and the watery eyes as his voice cracks with heartbreak. ("I've worked so hard to get here.") Goddamn he's good.
In fact, I'm not even sure if PRIDE would stand as a good film without him. The script feels a bit thin, the pace is somewhat slack, and the racism isn't nearly as hard-edged as it must have been when these events really took place.
But Howard charges right out of the gate with an opening sequence that grabs you by the throat. He elevates standard material, much like Denzel did with REMEMBER THE TITANS. From the interaction with the kids to the pep talks, all the key moments feel fresh and real. There's a key scene, right in the middle, where Howard dresses down his team for their behavior. It's wonderfully handeled, and proof that he is here to stay. (Possibly even better is the following scene where Howard conveys so much without saying a word.)
PRIDE reminded me of a very similar film from last year, AKEELAH & THE BEE. That was also powered by a strog lead, real heart, and a strong sense of community. Both films did dismal business and both films deserve much better.

(I realize I didn't mention Bernie Mac, who also stars. He's fine, but no matter what you do he only knows how to be Bernie Mac. At least this is similar to OCEAN'S 11 and nothing like GUESS WHO?)

Good Moments in Bad Movies: THE HITCHER

2007-06-29T01:03:00.000-07:00

I watch a lot of movies which means I watch a lot of bad movies. I do it because sometimes I'm surprisingly delighted by a film that everybody hates. (Cheers to you BEERFEST.) Sometimes the movie is bad, but there's a scene or a moment that's really well executed.

THE HITCHER is one of those movies. Not nearly the as illogical and unintentionally funny as many recent horror films, THE HITCHER suffers most from being uninteresting. The lead couple are very boring, sucking the energy from the film.

Before we meet them, only a minute into the film, comes this well-done bit. [I apologize for the poor quality. It's all I could find and certainly better than describing the moment with still frames.]

I also liked this shot, and that's about it.

The Many Lives Of Bruce Willis

2007-06-25T20:41:00.000-07:00

Bruce Willis is one of the hardest working men in show business. LIVE FREE OR DIE HARD marks his 40th starring role in just 20 years. I was going to write about Willis' up and down career, but while doing research I was amazed by how much he's done. Aside from 5 movies which feature only his voice (LOOK WHO'S TALKING 1&2, OVER THE HEDGE, RUGRATS GO WILD, BEAVIS & BUTTHEAD DO AMERICA), he's also found time for a small part on "Friends" - he won an Emmy - and filled in for David Letterman when the talk show host fell ill.

But what really surprised me was how often Bruce would make un uncredited cameo. Time and again he loves to play himself, a parody of his action star persona, or a humorless military man/politician.

The Player (1992)
Willis started off his cameo career playing Himself as an Action Star.

Loaded Weapon 1 (1993)
Dressed like John McClane, Willis acts unphased after his trailer is literally blown to bits.

Four Rooms (1995)
Paying off his debt to Tarantino for PULP FICTION, Willis plays a big time movie star involved in a very strange bet.

"Mad About You" .... The Birth: Part 2 (1997)
Possibly my favorite cameo, star Paul Reiser finds himself next to Willis (playing himself) in a men's room stall. Willis then helps Paul - John McClane style - make it to the birth of his child.

Charlie's Angels: Full Throttle (2003)
Memory fails me here, but I believe he plays an Top Spy who is murdered right as the girls arrive to save him.

Ocean's 12 (2004)
In one of the loopier surprise cameos, Willis plays himself who believes Julia Roberts character of Tess is ACTUALLY Julia Roberts.

Fast Food Nation (2006) .... Harry Rydell
In one of his best cameo's, Willis plays the humorless liasion between the Fast Food Company and the Slaughterhouse.

The Astronaut Farmer (2007)
Bruce Willis appears as an Air Force colonel and former astronaut sent to determine how serious Billy Bob Thornton is about going into space.

Grindhouse (2007)
Willis is the humorless military officer who unleases Zombie Gas (and killed Osama Bin Laden.)

Nancy Drew (2007)
This one surprised me. Bruce plays himself when Nancy stumbles onto a film set, and quickly schools the bumbling director.

I wanted to end with Ben Stiller's parody of Bruce Willis and DIE HARD films. It gets my vote as the funniest thing Stiller's ever done.

RATATOUILLE Joins the Pixar Ranks

2007-06-21T17:41:00.000-07:00

Pixar makes better movies than you. Better movies than the studios. Consistantly better movies than any director working today. If all 8 Pixar films came out this year, my Top 10 would be infested with Pixar. They created the template with TOY STORY and while other studios eat their dust, they continue to push the boundaries of mainstream animation to the delight of us all.

That's why, whenever a new Pixar movie comes out, it can only be compared to other Pixar films. (Sit down, Shrek!) Here's my list. I'd love to read yours.

Starting at the Top...

1) FINDING NEMO
Writer/Director: Andrew Stanton
NEMO is not only my favorite Pixar film, but one of the greatest films of all time. A classic through and through, with an endless supply of classic characters (both in the ocean and in the fishtank) and many hysterical bits mixed in with tension, danger and life lessons about parents and kids. It's majestic and (like all Pixar films) dazzling to look at.

While other studios brag about their Big Name voice talent, Pixar casts the right people for the part. Would audiences be as likely to show up for a live action movie starring Albert Brooks and Ellen DeGeneres? Plus, director Stanton cast himself as Crush the turtle, and I can't imagine any name star doing a better job.

For fun, Click Here and read the one critic who didn't like it.

2) TOY STORY
Writers: Joss Whedon, Andrew Stanton, Joel Cohen & Alec Sokolow
Director: John Lasseter
This is tricky since most people think the sequel is better, and in a lot of way it is. Part 2 looks better, has a more epic story and isn't burdened by those Randy Newman songs. ("I Will Go Sailing No More" is a definite low point for the studio.)

In many ways, EMPIRE is better than A NEW HOPE. But it's the first one that rocked me to my core ad made me realize the world was going to be a little bit different from here on out. I'm not overstating my reaction to TOY STORY. it was literally somebody showing me that animated films could be different, with a level of detail never before attempted. (Copycat studios to this day never match the tangible, lived-in beauty of a Pixar film.)

I also prefer TOY STORY because it told me what my inner child knew all along, that when I left the room my toys came to life. They bickered and cracked jokes and - in the case of Buzz and Woody - learned how to get along. TOY STORY isn't just a high point for animaton, it's one of the funniest films ever made.

3) THE INCREDIBLES
Writer/Director: Brad Bird
Summer of 2004, SPIDER-MAN 2 scored big with critics and audiences, many of whom said it was possibly the finest Superhero movie ever made. Who knew just a few months later, THE INCREDIBLES would make a strong case for being even better. In fact, the genius of the film is its ability to utilize everything we like about Superheroes, both then and now.

Big action sequences? Check. Identity Crisis'? Check. Dysfunctional Family Dynamics? Check. Plus we get a family that's classically Super, yet very Human. (Mr. Incredible's breakdown before the final action scene always reduces me to tears.)
I can't end this without mentioning the film's real Wild Card...Edna Mode. This fashion designer to the Supers (voiced by Brad Bird himself) is 4 steps beyong ingenious and she says my favorite line in the film. "You're Elastigirl! Pull yourself together!"

4) TOY STORY 2
Writers: John Lasseter, Peter Docter, Ash Brannon & Andrew Stanton
Director: John Lasseter
Everything that made the first film great, plus the addition of Jessie & Bulls-Eye, some clever jokes about the marketing of Toys, and Buzz Lightyears battle with both Emperor Zurg and himself.

This was the film for me where Pixar cemented their reputation as an animation studio with no equal. From the epic opening titles through the airport's luggage belt rescue, the film gave you everything and made it look easy. When Buzz landed in darkness, pressed a button and started to glow, there was a gasp from the audience all 4 times I watched it in the theatre.
Favorite line... Buzz to Ham: "Slotted Pig, you're with me."

Those are the 4 Pixar classics, deserving to be spoken in the same breath as any Great Movie. The rest are great Pixar, still better than most other movies, but not necessarily the best of their given year.

5) RATATOUILLE
Writer/Director: Brad Bird
Like the Harry Potter stories, Pixar's newest tale aims for a slightly older audience (not the I've heard any kids complaining.) RATATOUILLE for me had a bit of an identity crisis with fast, frenitic chaos bumping into scenes of heartfelt emotion. (Plus I don't quite buy that a rat can control a human by tugging on his hair.) There are long stretches where Remy the rat only speaks in voice over and (*minor spoiler*) an unusual speech at the film's climax.

But this rat with Big Dreams has tremendous heart and may become one of Pixar's most appealing characters. I don't want to get into details since most of you haven't seen it, but don't enter the theatre hungry.

6) MONSTERS INC.
Writers: Dan Gerson, Andrew Stanton
Director: Peter Docter
Possibly the thinnest Pixar plot, MONSTERS INC. suffers from too much wackiness, too much screaming, too many creatures running around in panic. But it's still very, very funny and has a classic loveable bear in Sully (voiced by John Goodman). Plus, like TOY STORY, it taps into a Universal childhood belief...this time being that Monsters DO wait in your closet to scare you.

And this is where I choose to mention the work of John Ratzenberger who plays the Yeti and says my favorite line. ("Snowcone? ...it's lemon.") He's Pixar's good luck charm, appearing in every film and earning a special tribute at the end of CARS.

7) CARS
Writers: Dan Fogelman and John Lasseter
Director: John Lasseter
The most criticized Pixar film, CARS suffers from too many jokes aimed at a young crowd that fizzle and an unusually relaxed pace (a deliberate choice by Lasseter.) The film never achieves full momentum until the final half-hour, but with repeat viewings I've come to enjoy the town of Radiator Springs and the people who live there.

And while I hate Larry The Cable Guy his Mater the tow truck steals the film. Whether backwards driving, tractor tipping or testing out the first new road, he’s the ultimate best friend. His goodbye to Lightning during the final race is my favorite line.

8) A BUG'S LIFE
Writers: Andrew Stanton, Don McEnery & Bob Shaw
Directors: John Lasseter and Andrew Stanton
BUG'S LIFE benefitted by coming out before Pixar became the greatest studio around. Released today, I feel it would get slammed even more than CARS. The main problem is that the Ants aren't all that interesting. That's probably because ants are the least interesting bugs in the animal kingdom, which is proved by the Circus Bugs that steal the film.

Still, while the story seems like it'd been done before, and a bit far fetched to boot, A BUG'S LIFE gets by because it's a very funny movie. Denis Leary plays a Lady bug...come on.

Best of 2007...So Far...sort of

2007-06-20T16:57:00.000-07:00

If I have any readers left, this is where I explain where the hell I've been. I could easily blame my recent workload or my upcoming marriage, but the truth is I've had a growing disconnect between my Strong Opinion and the general feeling of everyone else. I don't want to be the critic you read because he's so far off the mark it's funny. So, in a word, I stopped writing out of fear.

To prove my willingness to place my head back on the chopping block, I will now review (and Award) my Top 15 films - of the 23 I've seen - from 2007.

Best Picture:
HOT FUZZ
It's a parody, a suspense mystery, a horror film, a buddy cop comedy and an all out action blast. No other film this year succeeds at so many things, with hilarious moments both big and small and a very original approach to the art of writing, editing and sound. It's the one film this year where I can't wait for the DVD, bonuses or not.

Best Summer Film:
RATATOUILLE
Pixar does it again, entertaining audiences of all ages while pushing the envelope on what to expect from animation. I don't want to give too much away since it hasn't opened yet. While I don't think it reaches the heights of FINDING NEMO or THE INCREDIBLES, it furthers the argument of Pixar as the most reliable studio in the business.

Best Film For The Geeks (and Nobody Else):
GRINDHOUSE
Audiences didn't get it, never mind the running time. Who wants to see 2 films that are deliberately bad? The three hour "Grindhouse Experience" was more than that, from the missing reels to the fake trailers it's been this year's only true Event Picture. DEATH PROOF will stand the test of time, but I thought PLANET TERROR was a lot of fun and more true to the Grindhouse spirit. THANKSGIVING may be the best film Eli Roth will ever make.

Best Sequel:
DAY WATCH
I was mixed and slightly confused by NIGHT WATCH, the effects heavy tale of Light and dark fighting for control of the world. DAY WATCH achieved the goal that eluded the makers of the MATRIX and PIRATES trilogy. It's not only better, it elevates the quality of the first film. NIGHT WATCH is better once you know the full tale. The effects are as plentiful and well-done as the big Hollywood blockbusters, with one of the more original large-scale apocalypse sequences I've ever seen.

Best Rental:
ALPHA DOG
I had no interest in ALPHA DOG when it played in theatres, but I was surprised by how good the film is. Kudos go to the large cast, giving some great performances, including Ben Foster (who I usually hate) and Justin Timberlake (defining "surprisingly good"). There's also a scene late in the film from a fat-suited Sharon Stone that's hypnotic as it bounces from raw to campy. (I still can't decide if it's brilliant or terrible.)

Best Looking Picture:
300
SIN CITY in color. Although it seems half-filmed in slow motion, the film almost delivers what the astounding trailer promises. There's not much I need to say here. I like it, but don't love it.

Best Discovery:
ONCE
I encourage you to Click Here and read Humby's full review.

Best Frat House Comedy:
RENO 911: MIAMI
I discussed this one earlier. If you own BEERFEST...

Best Cult Film In The Making:
BEHIND THE MASK
Clever and Ingeniuos barely begins to describe this self-aware slasher film that follows a new member who prepares to join the legendary ranks of Jason, Freddy and Michael. Like HOT FUZZ, the film smashes the stereotypes of the genre (by explaining how Jason can be in two places at once or how to properly stalk a teenager). Then in the final act, the film pulls back the curtain to reveal its classic horror moustrap of a plot. The film is sometimes hampered by its small budget, but is often just as good as the original SCREAM.

Best Film That Leaves Me With No Strong Opinion Whatsoever;
ZODIAC
I love it. I hate it. 3 months later, I still don't know how I feel about it. David Fincher is my favorite director, but the film is alternately as intriguing and bewildering as the unsolved case itself.

Most Improved:
FANTASTIC FOUR: RISE OF THE SILVER SURFER
At this rate, the next one might actually be a good movie.

Best Bad Movie:
GHOST RIDER
So much wrong...but so much fun to watch.

Biggest Disappointment:
KNOCKED UP
I agree with Humby completely on this one, and I don't understand how anyone can put this above THE 40-YEAR-OLD VIRGIN. The co-workers in VIRGIN where a crack comedy troupe, while the friends here are an interchangable pile of unfunny. Seth Rogan, so funny as a supporting actor, is too light to carry a film. Paul Rudd steals the pic.

Best Example Of A Typical Summer Blockbuster:
SPIDER-MAN 3
A friend of mine coined the phrase I've been using week after week. Describing Spidy 3 she called it "Exactly the kind of mediocre crap I expect from a Summer movie." Some good scenes and moments, but man, they really blew it.

The True 2nd Half Of GRINDHOUSE:
SMOKIN' ACES
Like DEATH PROOF, the film is too talky and about 20min longer than it needs to be. (Oh what a "Reel Missing" would fix.) Like PLANET TERROR, the film is hyper-caffinated trash. ACES is ultimately undone by an inappropiate amount of seriousness.

Best Advertising For An Upcoming Release:
LIVE FREE OR DIE HARD - Bus Ad
I laughed when I saw this clever display of John McClane's catch phrase. I wonder how the PG-13 film will deal with the same problem.
DH4 also has the worst poster tag line I've seen in years.
"No Mask. No Cape. No Problem."
Yikes! Is FOX proud of this?

Praising The Mediocre

2007-06-20T08:43:00.000-07:00

Kevin Smith commented that movies have become so bad lately that all it takes is for someone to say that a film is watchable or "not that bad" and he's on board. Having sat through the 3rd chapters of Spidy, Shrek and Pirates I understand Smith's sentiment. (Luckily, Pixar is coming to save the day with the wonderful RATATOUILLE).

I offer up 3 films with low ambitions and little praise that I found surprisingly easy to watch. I could absolutely rail against all of them, but I was pleasently entertained and am choosing to focus on what I liked about them.

FANTASTIC FOUR: RISE OF THE SILVER SURFER
The first FF was an abomination and one of my bottom ten of that year. This time the humor was more original (if only slightly funnier), the effects were considerably improved, there was more action and the group's dysfunctional family dynamic played a lot better (though Jessica Alba will always be a complete miscast from look to performance.) Plus we get the Silver Surfer, who's as cool as he looks in all the advertising. (Unfortunately, he's never cooler, but that's still enough for me.)

GHOST RIDER
It's become fairly apparent that all big movies coming out lately, from Spidy 3 to Knocked Up are about 20-45 minutes too long. I watched the Director's long cut of GHOST RIDER on DVD and honestly wasn't bored for a moment. It's not a non-stop ride, I just liked the world and didn't mind that it took 30min just to tell the back story. A noticable step up from the director's previous DAREDEVIL, the Rider tries to be nothing more than a B-movie popcorn flick. It succeeds thanks to some effects both grand (the bad guy's entrance) and subtle (watch the Devil's shadow during the lightning storm). Cage, Fonda and Elliott are perfectly cast (balancing out horrible work from Wes Bently and Eva Mendes), and when the Rider goes to work with his souped up chopper and red hot chain whip, I was getting my movie popcorn.

RENO 911: MIAMI
I rented this because it was short, I was looking to laugh and the trailer I saw for it looked surprisingly funny. I've never seen the show, but this is 80min of agreeable silliness with an occasional groan and some bits of inspired genius. In short, it's a perfect Saturday night "let's get drunk and rent something" kind of film. Plus, I loved the supporting cast including Paul Rudd (almost unrecognizable as a Cuban mobster). The jokes are sometimes crude, but never quite gross thanks to a likable bunch playing Reno's finest. Like the other two films, it's not great and will surely be forgotten in a couple of years but I was surprisingly entertained.

FILMSPOTTING

2007-03-19T16:34:00.000-07:00

Dear Filmspotting,

I first discovered your show when you reviewed THE LAST KING OF SCOTLAND and was so taken by your film analysis (as opposed to film criticism) that I went back and listened to every single episode until I caught up.

Having just done so…what a ride. To anyone who thinks there’s simply too many shows, they’re missing discussions that remind me why I miss the hay-day of Siskel & Ebert. I’ve had a thirst for good analysis and your Podcast provided an oasis.

Here now are my Top 10 Highlights of listening to every episode of Filmspotting…

10) Early into my marathon I heard listeners call your show “cinecrack”. When I heard that phrase, I realized I was an addict and took comfort in the fact that I wasn’t alone.

9) Your review of PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST. Perhaps your finest single analysis of a film. I still love the first PIRATES, but I may have turned a corner on both the series and Depp’s performance. At the opposite end…CLERKS 2, the only film you reviewed where I not only disagreed with you, I didn’t even understand where you were coming from.

8) The growing debate on a new name for your show. This went on for many episodes and it was especially entertaining because I knew you would eventually settle on “Filmspotting” (Good call there.) On a much smaller scale, I also enjoyed the debate when Sam changed his name.

7) Listening with growing horror as you both felt certain that CRASH had no shot at winning Best Picture. Nothing more needs to be said. It justifies a Filmspotting marathon all by itself.

6) Cinecast A/V: While you weren’t ready for such a big step, it allowed me to finally put faces with the voices. For the record, since then I realize that I am more likely to agree with Adam.

5) Your bravery in admitting to great films you’ve never seen. This was in one of your first podcasts and your list was so appalling I almost stopped listening. But you’ve proven great analysis doesn’t hinge on the number of films you’ve seen.
That being said, you need to get past your fear of the 3 hour movie, and the next time SERENITY or ROGER DODGER comes on the TV, you should think about maybe tackling LAWRENCE OF ARABIA or the Extended Cut of KINGDOM OF HEAVEN…great films you haven’t seen.

4) Your Marathons: After ridiculing you for films you haven’t seen, you shamed me with a few of your marathon selections. I too have wanted to watch more Herzog/Kinski and following along with your marathon was exactly the right way to do it. I was thrilled when your Screwball Comedy marathon included THE THIN MAN, on of my personal favorites. (By the way, the follow-up is even better with the same great banter and a mystery you actually get involved in.)

3) Because of you I know believe Tim Robbins is our most overrated actor. His hammy performance in HIGH FEDILITY set off red flags when I first saw the film, and after your analysis touched on in several episodes, I question if he’s ever been good. I’m sure I liked him in something, but I can’t think of a single performance that felt real. When he first appeared in WAR OF THE WORLDS, I should have seen the writing on the wall.

2) “Laura Linney is an age-appropriate character delivery device.” Sam, these words will go on your tombstone. It’s not only the funniest thing said on your show it’s the stuff of legend. Close behind in the funny department is your recent massacre theatre translated into Japanese and then back into English. So funny.

1) You had asked listeners at one time to tell you what moment made them loyal followers of the show. For me it was during a discussion of the subjectivity of film criticism and how you can’t argue with someone who simply says “I hated it.” You frequently talk about not reviewing film brands like Harry Potter or Adam Sandler because you feel there’s nothing to add to the discussion. In today’s thumbs up/thumbs world of film criticism, you’ve taught me that it’s much more engaging to discuss a film than to simply throw Strong Opinions back and forth. Now when I watch movies, I talk about them rather then telling others simply what I think, and for that I thank you.

Your Loyal Listener,
CUTSHAW

An Undervalued Genius

2007-03-12T18:19:00.000-07:00

I saw Richard Jeni perform one night in Tampa Florida. He was one of the greatest comedians I ever had the pleasure to watch. For 2 1/2 hours, Jeni was on fire, often breaking from his prepared text for hilarious asides (including one of the greatest, most polite retorts to a heckler I ever saw.)

Many people don't remember that immediately following 9/11, while television was still afriad, Jeni attacked the hypocracy of fear that quickly overtook our nation.

His style was too aggressive for the comfort of home television, but not aggressive enough to match such fast risers as Sam Kinison and Bill Hicks.

His body of work is legendary and I will miss him greatly.

2006 Strong Opinion's End Of The Year Spectacular

2007-01-28T00:00:00.000-08:00

Taking a short break, but I'm not done yet.
Apologies to films I missed
The Complete Ranked List of All 2006 Releases I Saw

Top 10 Films of The Year
Runners Up 11-20
Director
Actor
Actress
Supporting Actor
Supporting Actress
Original Screenplay
Adapted Screenplay
Technical Awards
Ensemble Cast
Animated Films

Best Trailers
Best Scenes
Special Mention to KINGDOM OF HEAVEN

2006: The Complete List

2007-01-26T00:59:00.000-08:00

MUST SEE
1. UNITED 93

SHOULD SEE
2. V FOR VENDETTA
3. THE DESCENT
4. THE LAST KISS
5. BORAT

GREATNESS
6. AKEELAH AND THE BEE
7. MISSION: IMPOSSIBLE 3
8. LITTLE MISS SUNSHINE
9. THE DEATH OF MR. LAZARESCU
10. CARS
11. BRICK

RECOMMENDED
12. THE DEPARTED
13. LITTLE CHILDREN
14. PAN’S LABYRINTH
15. X-MEN: THE LAST STAND
16. JACKASS NUMBER TWO
17. HARD CANDY
18. THE FOUNTAIN
19. IDIOCRACY
20. INSIDE MAN
21. DREAMGIRLS
22. THE PROPOSITION
23. HOSTEL
24. FIND ME GUILTY
25. OVER THE HEDGE
26. THANK YOU FOR SMOKING
27. THE PRESTIGE
28. PIRATES: DEAD MAN’S CHEST
29. THE LAKE HOUSE
30. SUPERMAN RETURNS
31. APOCALYPTO
32. THE DEVIL WEARS PRADA
33. MONSTER HOUSE
34. THE PURSUIT OF HAPPYNESS
35. ROCKY BALBOA
36. STRANGER THAN FICTION
37. HAPPY FEET
38. THE LAST KING OF SCOTLAND
39. THE QUEEN
40. TENACIOUS D: THE PICK OF DESTINY
41. AN INCONVENIENT TRUTH
42. WORD PLAY
43. NOTES ON A SCANDAL
44. SCARY MOVIE 4
45. THE GREATEST GAME EVER PLAYED
46. THE SCIENCE OF SLEEP
47. BUBBLE
48. WHO KILLED THE ELECTRIC CAR?
49. SLITHER

MIXED OPINION
50. BEERFEST
51. ICE AGE 2
52. A GUIDE TO RECOGNIZING YOUR SAINTS
53. DAVE CHAPELLE’S BLOCK PARTY
54. EDMOND
55. EIGHT BELOW
56. BABEL
57. CASINO ROYALE
58. SNAKES ON A PLANE
59. LOOKING FOR COMEDY IN THE MUSLIM WORLD
60. FOR YOUR CONSIDERATION
61. INVINCIBLE
62. CLERKS 2
63. THE MATADOR
64. KINKY BOOTS

DISAPPOINTMENTS
65. THE BREAK UP
66. DISTRICT B13
67. NIGHT WATCH
68. TRISTRAM SHANDY: A COCK & BULL STORY
69. CURSE OF THE GOLDEN FLOWER
70. UNDERWORLD: EVOLUTION
71. MIAMI VICE
72. LADY VENGEANCE
73. TALLADEGA NIGHTS
74. CHILDREN OF MEN
75. NIGHT AT THE MUSEUM
76. CURIOUS GEORGE
77. CRANK
78. JET LI’S FEARLESS
79. FLUSHED AWAY
80. MY SUPER EX-GIRLFRIEND
81. THE OMEN
82. THE ILLUSIONIST
83. NANNY McPHEE
84. STRANGERS WITH CANDY
85. DOWN IN THE VALLEY
86. PULSE
87. FEAST
88. THE PROTECTOR
89. THE SENTINEL
90. WORLD TRADE CENTER
91. R-POINT
92. MADEA’S FAMILY REUNION

FORGETTABLE
93. LUCKY NUMBER SLEVIN
94. HALF NELSON
95. THE KING
96. LADY IN THE WATER
97. THE FAST & THE FURIOUS: TOKYO DRIFT
98. A PRARIE HOME COMPANION
99. FLAGS OF OUR FATHERS
100. THE DA VINCI CODE
101. 16 BLOCKS
102. THE NOTORIOUS BETTIE PAIGE
103. THE HILLS HAVE EYES
104. ART SCHOOL CONFIDENTIAL
105. JESUS IS MAGIC
106. A SCANNER DARKLY
107. THE WILD
108. AMERICAN DREAMZ

SO BAD THEY’RE ACTUALLY FUNNY
109. THE WICKER MAN
110. SILENT HILL
111. ULTRAVIOLET
112. THE BLACK DAHLIA

BANKRUPT
113. IDLEWILD
114. NACHO LIBRE
115. THE PINK PANTHER
116. RUNNNG SCARED