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2012 in Film.

Whatever its other faults, 2012 was actually a pretty solid year at the cineplex. In terms of great movies, the crop wasn’t as rich as, say, 1999. (To name just a few from that year: Being John Malkovich, Fight Club, The Matrix, Three Kings, The Iron Giant, Election) But, in general terms, I thought most of the movies that came out this past year avoided obvious pitfalls and delivered at or better than the level they promised.

For example, almost all of the year’s superhero movies were surprisingly good — no real Green Lantern-y whiffs this year. Most of 2012′s unnecessary sequels and even-more-unnecessary remakes — MIB III and Amazing Spiderman, say — turned out better than expected. Horror moved out of the serial killer/torture pr0n ghetto in both conventional (The Women in Black) and unconventional (Cabin in the Woods) ways. Lowbrow, could-be-terrible comedies like 21 Jump Street and Ted actually had some solid laughs to them. And even the intentional B-movies — like Dredd, Lockout, or Abraham Lincoln: Vampire Hunter — all had their moments, even if I can’t recommend some of those in their entirety.

In any case, now that the last few 2012 films have hit DC theaters, and my dissertoral defense obligations are now behind me, it’s at last time for the usual end-of-year list ’round here. Since I didn’t do any individual reviews this past year — I still haven’t decided if those will return for 2013 — I’ve upped the 2012 list to 25 movies, and, at the end, added a few thoughts on some of the others that crossed my field of vision over the past twelve months. Without further ado…

Top 25 Films of 2012
[2000/2001/2002/2003/2004/2005/2006/2007/2008/2009/2010/2011/The Oughts]

1. The Dark Knight Rises: “Theatricality and deception, powerful agents for the uninitiated. But we are initiated, aren’t we, Bruce?” I know Christopher Nolan’s TDKR wasn’t as well-received in many circles as The Dark Knight, and for understandable reasons — the Joker will always be Bat’s #1 nemesis. Still, I loved this closing chapter of Nolan’s trilogy — its audacious scope, its Occupy Gotham meets the French Revolution ambience, its tight connections back to Batman Begins, its menacing yet loopy villain, its repudiation of the ends-justify-the-means arguments of TDK. (So much for the contention in that earlier film that “sometimes the truth isn’t good enough…Sometimes people deserve to have their faith rewarded.” That dubious line of thinking backfires for Alfred, Commissioner Gordon, Wayne, and everyone else who partook of it in the last film.)

I don’t know how The Dark Knight Rises plays to the uninitiated, since, like most fans, I went in presuming that (a) Bane would break the Bat and (b) Talia al Ghul was involved in some capacity. And admittedly there are some problems here, as in all of Nolan’s Batman movies. As soon as Alfred starts going on about French cafes in the first reel, it’s pretty clear where the film will end up eventually. (And that closing doesn’t make sense anyway, since billionaire Bruce Wayne is likely recognizable all around the world, certain Chinese prisons notwithstanding.) And speaking of prisons, how, exactly, did barefooted Bruce get back from somewhere in the Middle East into a Gotham City on lockdown?

All that being said, there was a lot to like here. I enjoyed the intricate plotting of TDKR, and how some of its central points hearkened back to lessons learned in the previous films. (For example, Bruce’s concern, in light of Joker-style escalation, about the fusion reactor becoming a weapon.) I liked how Anne Hathaway was introduced as a prototypical Anne Hathaway character — the Nervous-Nellie maid — before revealing her decidedly-unHathawayesque Selina Kyle. I was consistently entertained by Tom Hardy’s sing-songy Bane voice, including goofy flourishes like his admiring the pre-game rendition of the Star-Spangled Banner. (“He has a beautiful voice!” If only Bane had subsequently gotten a chance to freestyle.) And I thought there were moments of real poetry, such as when, to suggest the passage of time while Bruce’s back healed, a Bane-commandeered Batmobile prototype rolls along a snowy Gotham side street.

One common complaint I heard about TDKR is that it’s a Batman movie without Batman — that the Caped Crusader completely disappears in the second act of the film. I don’t get it, and my theory is people who hold this view have never, personally, been broken. Granted, we all expect that Bruce Wayne will get his back fixed and get back in the game. Still, even if it’s weirdly the most mutually supportive prison on Earth (which makes more sense once you realize Bruce throws down a rope once he got to the top), I like the Lazarus Pit detour, and the ultimate payoff of seeing Bruce/Bats back in action in Act III. Fall down, get back up. Get your back broken, have Tom Conti punch that vertebrae back in. Get the s**t kicked out of you, get rid of that rope and rise.

2. The Hobbit: An Unexpected Journey: “Saruman believes it is only great power that can hold evil in check, but that is not what I have found. I found it is the small everyday deeds of ordinary folk that keep the darkness at bay…small acts of kindness and love. Why Bilbo Baggins? Perhaps it’s because I am afraid and he gives me courage.”

I can see why some folks didn’t cotton to TDKR, but I really can’t get my head around all the Haterade that’s surrounded Peter Jackson’s excellent and entertaining first installment of The Hobbit. This was a great movie! And it was easily as faithful to Tolkien’s book in both tone and story as the latter two Rings films. (For people complaining about the inclusions of Radaghast the Brown, Dol Guldur, and the White Council, I submit to you Osgiliath and Far-from-the-Bookamir. Pale Orc, meet Lurtz.)

Particularly bewildering to me is all the whining about 48 FPS. I thought An Unexpected Journey looked amazing. Granted, I spent a childhood watching Doctor Who, Blake’s 7, and the like, and so I’m used to suspending my disbelief while watching images that seem video-immediate. But still. All the kvetching about the new standard was, in my opinion, totally over the top. (In terms of snapping my abilty to engage with a universe on screen, I had more issues with the operetta-ness of Les Mis. Er…are they really going to sing every single line of this movie? Russell Crowe too?)

As for all the complaints about the pacing, admittedly this first chapter was languidly told — Three and a half hours and we only got to Out of the Frying Pan, Into the Fire. But, y’know, I like spending time in Middle Earth — If the dwarves want to sing again, have at it, good fellows. (Just don’t go all operetta on us.) And given that, for example, GRRM’s Song of Ice and Fire books are getting ten hour adaptations each, or Treme or Boardwalk Empire are enjoyable 35-hour stories where, often, not much happens plotwise, I had no problem at all with the expanded length — particularly as the additions were straight from Tolkien’s notes and not, say, 40 minutes of dwarf-tossing jokes. Let’s hope that holds through the third film, which is the one I’m really worried about.

In any event, I thought An Unexpected Journey was a great adaptation of the first third of The Hobbit, and that it threaded the needle quite well between feeling like it took place in the same world as the LotR trilogy and bringing a more lighthearted and jovial tone to Middle Earth, in keeping with the children’s book nature of The Hobbit. Bring on the incident with the Dragon.

3. Beasts of the Southern Wild: “I hope you die and when you die, I’ll go to your grave and eat birthday cake all by myself!” I tend to consider myself a cynical and curmudgeonly fellow, so I was quite surprised that Beasts of the Southern Wild — a film I expected to find aggravatingly twee — kinda knocked me sideways. I’m not even sure if the movie would hold up to a second viewing — When I reflect on it now, those scenes in Beast that don’t feel like scraps of dream seem like they probably shouldn’t have worked.

But, at least that first time around on the big screen, this fairy tale of a young girl living on the wrong side of the Louisiana levees (a.k.a. “the Bathtub”) had a strange sort of magic to it. I particularly liked the End Times conflation of Katrina and global warming, and vibed with the film completely around the time Hushpuppy feared that the melting ice sheet would inadvertently unleash the four boar-monsters of the apocalypse. Pretty soon, we’ll all live in the Bathtub.

4. The Avengers: “Shakespeare in The Park? Doth mother know you weareth her drapes?” In the 2011 list, I voiced my sneaking suspicion at #14 that Joss Whedon’s The Avengers wasn’t going to work. Consider that crow eaten. Even despite a bland opening sequence and a third act alien invasion that felt weightless, this was a surprisingly fun time at the movies, and perhaps the best popcorn film of the summer.

In particular, I liked that this was never a particularly “dark” movie. The Avengers aren’t tortured souls like Batman or even the X-Men, and Whedon, a former X-Men writer, didn’t portray them as such. Instead he was able to capture the voice of each of Earth’s Mightiest Heroes — Cap the boy scout, Thor the thunder god, etc. — throw them in a hovering aircraft carrier together, and let shenanigans and shawarma ensue.

True, Hawkeye in particular got short shrift, Scarlett Johansson was still woefully miscast as the Widow (Olga Kurylenko anyone?), and Cobie Smulders, a.k.a. your Aunt Robin, just isn’t much of a film actress. (Exhibit A: this alternate opening.) Still, I liked the balance Whedon came up with here, where Robert Downey’s Iron Man was given the dramatic arc befitting his star wattage, but Chris Evans’ Captain America still ended up leading the team. And, arguably for the first time on film, Whedon got the Hulk exactly right.

5. Looper: “I’m from The Future. You should go to China.” Speaking of Marvel comics, Looper [moderate spoilers] may just be the best Franklin Richards movie we see in awhile. In any case, I wasn’t much for either Brick or especially The Brothers Bloom, but I thought Rian Johnson’s third film was a smart, well-crafted science fiction story that was very worthwhile.

As in most time travel tales outside of 12 Monkeys, Looper‘s final few scenes don’t make any sense. (Spoiler: JGL’s decision at the end would seemingly have to result in everything Bruce Willis did being rolled back — Thus, none of that carnage at Jeff Daniels’ compound or along the road would ever have happened, and there would be no money lying around, etc. etc.)

But until then, Looper is a satisfying and stylish mishmash of time travel, telekinesis, and the Chandler and Hammett-isms (by way of Miller’s Crossing) that inspired Johnson’s Brick. It also included the creepiest time travel outcome I’ve seen since people were ‘porting into walls in The Philadelphia Experiment. (That would be the grim fate of Paul Dano’s future-self.)

6. Lincoln: “I wish He had chosen an instrument more wieldy than the House of Representatives.” I’ve already noted my problems with the history here: It’s rather ridiculous to argue that the lesson of the Civil War is that compromise is awesome, or that the constitutional amendments that emerged from it are a product of such. Quite the contrary, really. Spielberg and Kushner also vastly overstate the danger that the Thirteenth Amendment would not pass here, and Kushner, given the comments cited in that earlier post, unfortunately doesn’t seem to understand Reconstruction at all.

That being said, Daniel Day-Lewis’s eerie evocation of our sixteenth president is the performance of the year, and I remain impressed that this film, while a touch too Spielberg-y in its opening and closing moments, nonetheless forewent the traditional biopic route and embraced a narrowcast, nineteenth-century CSPAN aesthetic instead.

7. Oslo, August 31st: “Look at my life. I’m 34 years old. I’ve got nothing. I don’t want to start from scratch.” A movie that made it here via Netflix, Oslo, August 31st is a well-observed day in the life of a recovering heroin addict (Anders Danielsen Lie), as he returns to his old haunts and tries to make peace with the shambles he feels he’s made of his existence.

Looking desperately for a way to reconnect to the world at large, or at least to transcend his current despair, Anders has a series of conversations with former friends and enemies, during which he discovers that even those who didn’t miss the train of life going by are, by and large, just going through the motions. Everything here feels uncomfortably true, from Anders’ visit to see a former partner in crime, now a married academic, to his self-defeating job interview, to his plaintive calls to the woman who disappeared, to his falling back into old habits. A quietly devastating film.

8. Moonrise Kingdom: “I love you, but you don’t know what you’re talking about.” True, this Wes Anderson film could not be any more Wes Anderson-y — I’m looking at you, Bob Balaban the omniscient narrator — so if that’s a problem for you, I wouldn’t expect Moonrise to change your opinion of the man’s work.

As with the less-successful Life Aquatic and Darjeeling Limited, Anderson is ensconced in his usual sandbox. Nonetheless, this story of two tweenagers enjoying a summer love, and the problems this causes for all the conflicted and compromised adults around them, ranks up there with Rushmore, The Royal Tenenbaums (#46), and The Fantastic Mr. Fox among Anderson’s best. It’s also a beautifully shot film, redolent of the sun-drenched afternoons of years gone by.

9. Cabin in the Woods: “Cleanse them. Cleanse the world of their ignorance and sin. Bathe them in the crimson of – Am I on speakerphone?” When it comes to Joss Whedon, I’m not at all what you’d call a browncoat. I liked Firefly and Serenity alright, but much prefer Farscape when it comes to Blake’s 7 knockoffs, and neither Buffy nor Angel spoke to me like it speaks to many. (The West Wing is another show I never understood all the love for, but I digress.)

At any rate, consider me as surprised as anyone that both of Whedon’s 2012 films ended up in this year’s top ten. Sure, this outside-the-box take on teen slasher tropes is a gimmick movie, and one that’s more wry than it ever is frightening. Still, at least the first time around, what a ride Cabin turned out to be — It’s rare to watch a third act of a film feeling like just about anything could happen. I just wish we’d seen more of “Kevin.” (see pic above)

10. Killing Them Softly: “This guy wants to tell me we’re living in a community? Don’t make me laugh. I’m living in America, and in America you’re on your own. America’s not a country. It’s just a business. Now f**kin’ pay me.” This is another movie that racked up a lot of negativity for some reason, presumably due to it being mis-marketed as an action/gangster film.

Since I knew going in that this was Andrew Dominik’s follow-up to the strange and languid Assassination of Jesse James by the Coward Robert Ford, I got about what I expected – a dark character piece that almost-but-not-quite-successfully tries to fuse Cogan’s Trade with a commentary on the Iraq War, the financial crisis, and general disillusionment in the Age of Obama. Personally, I liked spending time with these guys — Scoot McNairy and Ben Mendelsohn’s twin screw-ups, Richard Jenkins’ officious middleman, Gandolfini’s broken assassin. And, while the political angle didn’t quite gel, I still admired what Dominik tried to do here.

11. Amour: “Things will go on, and then one day it will all be over.” Not exactly the best time you’ll have in a theater this year — Cristian Mungiu’s 4 Months, 3 Weeks, & 2 Days comes to mind as a similarly unrelenting two hours at the movies. Still, Michael Haneke’s unflinching study of an elderly couple staring dementia and death in the face has a grim power to it, as well as two mesmerizing performances by Jean-Louis Trintignant and Emmanuelle Riva.

I can assure you, I don’t plan to sit through this film again any time soon. Still, Amour puts the lie to so many other depictions of love you see at the movies, and I left E Street afterwards both somewhat shaken by it and thinking it was time to carpe some diem (or as the kids say, YOLO) right now, before it’s too late.

12. The Grey: “Once more into the fray. Into the last good fight I’ll ever know. Live and die on this day. Live and die on this day.” And if old age doesn’t get ya, there’s always wolves, y’know? First, let me be clear: This movie is as wrong about wolves as another film I’ll get to in a bit is wrong about torture. All the Canis lupus stuff in here is abject nonsense.

But, to me, the wolves were really just the dispatching agents in this often-gripping existential drama. The real story of The Grey isn’t about wolves at all. It’s about Liam Neeson and his pack of tough-guy survivors coming to grips not just with their looming mortality, but with the reasons they wanted to live in the first place. In the Alaska wilderness, as in Paris or anywhere else, nobody gets out alive.

13. The Deep Blue Sea: “Beware of passion, Hester. It always leads to something ugly.” Just as past years have seen dueling underwater monster movies (Leviathan/Deepstar Six), asteroid disaster flicks (Armageddon/Deep Impact), and Truman Capote bios (Capote/Infamous) and 2013 will have two separate attacks on 1600 Penn (Olympus Has Fallen/White House Down), 2012 featured three quite good movies about women forsaking their kind, boring husbands for passionate, simpleton lovers, and subsequently running into a social buzzsaw as a result.

All of ‘em made this list, but in the end The Deep Blue Sea, Terence Davies’ lush evocation of postwar England, garners the top spot among them. Along with memorable turns by Rachel Weisz and Tom Hiddleston, occasionally dream-like scenes like Londoners awaiting the Blitz in the subway tunnels or singing along to “You Belong to Me” have stuck in my memory this year.

14. Argo: “Brace yourself; it’s like talking to those two old f**ks from The Muppets.” Ben Affleck’s well-made chronicle of a successful CIA operation along the fringes of the Iran hostage crisis often felt like transparent Oscar bait to me. The Hollywood stuff felt it like needed to be more fleshed out and, since the history is well-known, the many attempts to ratchet up the suspense in the third act just didn’t work for me personally. (YMMV.)

Still, I was impressed by how well-balanced Argo came out — From its opening storyboard sequence, the movie doesn’t mince words about our many misadventures in Iran, making what could have been simply a depressing jingoistic exercise into a more thoughtful story of diplomatic blowback. Overall, I prefer Affleck’s Gone Baby Gone and The Town — Still, as a director, he’s now 3-for-3.

15. Celeste and Jesse Forever: “You know what your problem is? Contempt before investigation. You think you’re smarter than everybody else.” Full disclosure: Writer-star Rashida Jones was an acquaintance of mine in college, so I went in to Celeste and Jesse hoping more than usual that I would like it. Nonetheless, after a rough 10-15 minutes at the outset, this well-observed and wistful after-the-rom-com, about the break-up of a longtime couple, gradually gets to work on you.

It seemed like bit players like Elijah Wood (as Rashida’s gay boss/BFF) needed more to do, and Chris Messina has played the surprisingly wise frat-bro so many times by now that I can’t really take him seriously anymore. But otherwise, Celeste and Jesse earns it emotional beats and, by the time the final reel rolled, I felt quite invested in it.

16. Cloud Atlas: “Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.”

Here’s yet another 2012 film where it feels like critics just began to pile on mercilessly at a certain point. The Wachowskis and Tom Twyker’s adaptation of David Mitchell’s high-brow sci-fi novel doesn’t quite gel, and some of the plotlines — Ben Whishaw’s amanuensis, Tom Hanks after the Fall — were more interesting than others, most notably Jim Sturgess in the South Pacific and Jim Broadbent’s nursing home jailbreak. (Also, no nice way to put this, but much like Keira Knightley, Halle Berry is an A-list actress who’s never all that good.)

But even if it doesn’t live up to its ambition, Atlas is still an impressive and intellectually (if not emotionally) engaging feat. Granted, it wasn’t subtle about its message, but the degree of difficulty here should count for something. At least Atlas was reaching for something totally new — and every so often, especially during the occasional montage bringing together the six tales, you can catch a glimpse of it.

17. Take This Waltz: “Life has a gap in it… It just does. You don’t go crazy trying to fill it.” The second of this year’s adulterous love triangles — this one set to one of Leonard Cohen’s many classics and The Buggles — Sarah Polley’s follow-up to Away From Her has a low-key, natural, and lived-in feel that’s hard to fake.

True, Michelle Williams and Seth Rogen felt a little too baby-talk-schmoopy in their scenes together, and Luke Kirby’s handsome pedicabbie always just seemed like a self-absorbed creepshow to me. But one of the strengths of this film is how all the characters here seem like three-dimensional human beings, with all the needs, vulnerabilities, and suspect decision-making attending.

18. Rust and Bone: “We’ll continue…but not like animals.” Speaking of follow-ups, Jacques Audiard’s second film after A Prophet felt like the movie the much-hyped Silver Linings Playbook wanted to be. This rough-and-tumble romance between a street fighter (Matthias Schoenaerts) and a damaged whale instructor (Marion Cotillard) after a terrible accident is never as good as A Prophet, and it goes seriously off-the-rails in its third act, around the time Cotillard tattoos her leg-stumps “gauche” and “droit.” But up until then, Rust and Bone manages to sidestep a surprising number of movie-of-the-week pitfalls and keep its gutter-punch rawness intact.

19. Seven Psychopaths: “No, it doesn’t! There’ll be one guy left with one eye. How’s the last blind guy gonna take out the eye of the last guy left?” I didn’t like In Bruges as much as a lot of people, and occasionally this new film by playwright Martin McDonagh suffers from the same outrageousness-for-its-own-sake. (Case in point: the scene where Woody Harrelson interrogates Gabourey Sidibe.)

Still, I kinda liked how this increasingly loopy and laconic film seemed to realize it would be more fun just to hang around with its gaggle of likable actors (Sam Rockwell, Christopher Walken, Colin Ferrell, Tom Waits, Zeljko Ivanek, Harrelson) for awhile and just dropped the plot. I only wish McDonagh had found more to do with Olga Kurylenko and especially Abbie Cornish, who are (literally and figuratively) wasted here.

20. Anna Karenina: “Is this about my wife? My wife is beyond reproach. She is, after all, my wife.” Like Killing Them Softly and Cloud Atlas, Joe Wright and Tom Stoppard’s adaptation of Anna Karenina is a film I admired for its ambition, even if the conceit — here, that all of the Russian society scenes take place on a nineteenth century stage — doesn’t end up quite working. And even if there’s some of the same unnecessary grandstanding that marred Atonement‘s Dunkirk scene (intricate shots are fun and all, but they should serve the story), this is quite a beautiful picture.

While Keira Knightley unfortunately doesn’t make much of an impression in the title role, and Aaron Taylor-Johnson of Kick-Ass and Savages just seems out of his element as Vronsky, Jude Law brings pathos to a character that could’ve just seemed like the villain, and there are a number of enjoyable turns in the margins of this story, from Domhnall Gleeson (son of Brendan) covering the sociopolitical elements of the book to Matthew MacFadyen — who seemingly jumped right into late-Alec Baldwin mode right after his stint as Mr. Darcy in 2005 — as the oafish Oblonsky.

21. Skyfall: “Do you see what comes of all this running around, Mr. Bond? All this jumping and fighting, it’s exhausting!” Speaking of beautiful films, Daniel Craig’s third outing (and Sam Mendes’ first) as 007 doesn’t match the heights of Casino Royale, but it’s looks like the billion dollars it made, and it’s a far sight better than the sophomore misstep of Quantum of Solace. (It also features an instant classic Bond song in Adele’s title track.)

My biggest problem with Skyfall, and it’s a hard one to overlook, is that, in a transparent effort to capture some of that Dark Knight cachet, they effectively turned James Bond into Batman here. So Bond is now a rich orphan who grew up in Scotland’s version of Wayne Manor? Erm, ok. It doesn’t help matters that Javier Bardem’s ridiculous villain — The Joker + gay panic, basically — has exactly the same goofy plan as the Clown Prince of Crime did. (The next Big Bad to get captured on purpose, apparently? Gary Mitchell Garth Khan Gruber.)

But this is a Bond movie, so set your low expectations accordingly. Even if it feels like we’re already approaching Moonraker or Octopussy territory only three movies into the Craig era, this is still among the better outings in this long and storied franchise.

22. Django Unchained: “Gentlemen, you had my curiosity. But now you have my attention.” From the opening moments of Quentin Tarantino’s Django Unchained, it’s clear this film is going to be a bit of a mess. (Our title card reads: “1858. Two Years Before the Civil War.” Uh…that’s three years before the war, Quentin.) And, to be honest, I liked this movie better when it was called Inglourious Basterds — Here, we have basically the same experience, with QT once again righting history’s wrongs with a blood-spattered vengeance.

I actually liked that Tarantino decided to put the evils of American slavery front and center in this film, since it’s an ugly underside of our history that, cinematically, has been pretty much buried. (One admirable exception to prove the rule: CSA.) The funniest scene in the movie is probably QT riffing off both Blazing Saddles and Birth of a Nation with his Klansmen complaining about their eyeholes.

Nonetheless, I’m not sure why, given all the very real horrors of slavery QT often draws from, we ended up with the exceedingly fake Mandingo Fighting as a centerpiece of this story, other than it was in some blaxsploitation films QT used to enjoy. With that in mind, and more egregiously, a good hour of this movie makes absolutely no sense: Why wouldn’t Schultz and Django just be like, “I’m a lonely German guy who will pay top-dollar for a slave that speaks German?” (Tarantino tries to address that particular question here. I don’t think it works.)

Still, however sloppy and self-indulgent, Django was a decently enjoyable movie for most of its run. It would be nice, tho’, to see Tarantino take a stab at another Jackie Brown-style project at some point. As it is, it feels like he’s continuing to disappear up his own ass.

23. Holy Motors: “Weird! Weird! Weird!” I’m usually not one to end a movie once I’ve started it, but I turned off David Cronenberg’s Cosmopolis, via OnDemand, well before the end. (I hear Paul Giamatti shows up at some point.) Far more entertaining — and much, much stranger — was Leo Carax’s bizarro stab at the wandering limousine genre this year.

As with Django, it seemed like there was a lot of name-dropping and inside baseball, of the cinema history variety, going on in Holy Motors, which is behavior I find irritating a lot of the time. But I found Denis Lavant’s mad misadventures here compulsively watchable, even if we passed basic coherence two or three lefts ago.

24. The Woman in Black: “I believe even the most rational of minds can play tricks in the dark.” This wasn’t a Cabin in the Woods-style reinvention of horror tropes by any means. That being said, I quite enjoyed this played-straight Hammer films throwback, with Daniel Radcliffe unwisely investigating ghostly happenings at a mansion along the moors.

Rather than relying solely on blood, guts, and jump cuts, The Woman In Black resurrects classic cinema techniques and all the old standbys of this particular genre — rocking chairs, Victorian dolls, creepy children and whatnot — to put the audience ill at ease for ninety minutes. In sum, a slight but effective scare machine.

25. Dredd: “In case you have forgotten, this block operates under the same rules as the rest of the city. Ma-Ma is not the law… I am the law.” As with every year, a lot of films could have gone in this final spot on the list — Bernie, Life of Pi, Savages, Marley, ParaNorman. But I’m giving it to Pete Travis and Alex Garland’s Dredd, because it’s a good example of what went right at the movies in 2012.

There are better movies than Dredd this and every year, but you’d be hard-pressed to find a better Dredd movie. Travis and Garland took what was distinctive about this character – give or take his Watchmen-like satire of American superheroes — and transported an issue of the comic to the screen, no more, no less. Extra points for a likable cast (Olivia Thirlby, Wood Harris, Lena Headey) and for Karl Urban — unlike Stallone back in the day — never taking off the helmet.

MOST DISAPPOINTING:

Prometheus: Pretty much everything that needs to be said about the dumb-as-dirt disaster this turned out to be has been encapsulated by the Red Letter Media guys. Whhhhyyyyyy? Why does a movie with such a terrible script ever get greenlit? Why does Damon Lindelof, after putting out an idiotic film like this, continue to get work in Hollywood?

It’s sad, since even notwithstanding the greatness of Alien and Aliens (and I’d submit that Alien 3 and Alien: Resurrection are more admirable failures than this film), there are elements of a much better movie here — most notably Michael Fassbender’s T.E. Lawrence-loving android and the sheer look of the picture. Otherwise, however, this was just a terrible, nonsensical movie, and I ended up just feeling embarrassed for Fassbender, Charlize Theron, Idris Elba, and everyone else involved. For shame.

MOST OVERHYPED:

Silver Linings Playbook: I like David O’Russell. I like Jennifer Lawrence. I have no issues with Bradley Cooper. But, Lordy, I hated this film, and I just can’t figure out where all the hype is coming from. Granted, SLP falls into a very specific genre of movie I despise, whereby some severely damaged dude is suddenly saved from loneliness, madness, and/or general despair by a perfectly unique and perfect girl for him. (See also: Sideways, Punch-Drunk-Love, and all the other many iterations of the Manic Pixie Dream Girl.) Honestly, all of you who keep making this same movie, go see Amour or something.

But even notwithstanding that sort of ubiquitous rom-comminess, SLP just seemed really by-the-numbers to me. The only variation on the same-old stale tale, as far as I could tell, is that this time there’s a really important game AND a really important dance competition at the end. And while Jacki Weaver does some memorable things as Bradley Cooper’s long-suffering mom, I didn’t take DeNiro seriously here at all. Just a bad movie.

Zero Dark Thirty: As it happened, I kinda hated Zero Dark Thirty too, but at least here I get where the positive reaction is coming from. To be honest, I expected going in that I’d leave ZD30 conflicted — that it would be a good movie undone by its egregious lies about torture. As it turned out, this is not even a good movie — it’s strongest pleasure consists of watching quality character actors — Mark Strong, James Gandolfini, Stephen Dillane – in brief turns as suits. (Tom Donilon is English?)

For one, ZD30 is far too blatant in its CIA embeddedness. Every CIA character here is a well-meaning tortured soul, heavy-hearted with the burden of saving the world. There’s no mention of, say, Tora Bora. The CIA’s egregious, world-historical fuck-ups, like arguing there were WMD in Iraq, are brought up only in passing. The agency’s outright crimes, like, say, waterboarding a guy 180 times to obtain a false positive, aren’t even mentioned. Watching Type-A go-getter Jessica Chastain and her ponytail flounce around for America for two and a half hours, you’d have no idea that her real-life counterpart and her ilk have been found guilty of, among other things, torturing and sodomizing an innocent man.

Admittedly, it could be because this pro-torture distortion of the history put me in an increasingly foul mood. Still, even as a movie Zero Dark Thirty has serious problems. As one of Chastain’s co-workers, poor Jennifer Ehle has to offer up some of the most ridiculous telegraphs of her impending death since Lt. Deadduck in Hot Shots. And I found the last forty minutes or so of the film, which depicts the actual raid on bin Laden’s compound in excruciating detail, to be a total snooze.

We know what’s going to happen here. And since we’re already in Fantasyland as far as the efficacy of torture goes, why not add sharks or tigers or man-eating bears to this war pr0n raid on OBL’s Afghan fortress? Or how about a badass female #2 (Maggie Q? Olga Kurylenko?) to fight Chastain, martial-arts style, over a deep chasm or conveyor belt or something? Might as well, since we’re already far afield from anything approaching the Real World. In sum, this film is sheer propaganda, and ham-handed agitprop at that.

The Master: Going into this film, I was rooting for Paul Thomas Anderson to build on the promise of the first hour of There Will Be Blood. Unfortunately, The Master is a pretentious bore, and not nearly as deep as it thinks it is. Get past all the Kubrickian grand-standing — Kubrick has clearly replaced Scorsese and Altman as PTA’s object of homage these days — and Anderson has made another variation of the same movie he’s always made, from Hard Eight to Boogie Nights to Magnolia to TWBB: People create fake families for themselves, look for validation in those families, and are ultimately let down by those families. It wasn’t a very interesting point three movies ago.

Poor Joaquin Phoenix sweats Method blood to give his character some resonance, and Philip Seymour Hoffman and Amy Adams have their (brief) moments of note — To his credit, PTA always does seem generous with his actors. But none of them can do anything with what they’ve been given. The Master, unfortunately, is yet another solid case of the Emperor’s New Clothes.

MOST UNFAIRLY MALIGNED:

John Carter: Peter Jackson’s first installment of The Hobbit could go here, as could Cloud Atlas. But, in the end, it seems like no movie got a tougher racket this year than Andrew Stanton’s estimable adaptation of John Carter. True, I watched this on Netflix rather than in the theater, which tends to be a more forgiving experience. But still, this film was a well-made, decently intelligent, and reasonably faithful and engaging adaptation of its source.

It wasn’t my favorite movie of the year or anything — it wasn’t even in my top 25, as we just saw — but it was totally fine for what it was. I have no clue why everyone pounced on this movie like they did. But, as with all the detest in some circles for An Unexpected Journey, it speaks poorly of what the Internet has done to movies in some ways. There’s a rush-to-judgment and piling-on effect that, at least in this case, wasn’t merited at all.

2011 LEFTOVERS:

Coriolanus: Not sure if this would have broken the 2011 list last year or not. Still, Ralph Fiennes’ bloody cover-version of a relatively unknown Shakespearean history, modernized by way of CNN and Afghanistan, has a lot to recommend for it. Along with Fiennes himself, Coriolanus features fine performances from James Nesbitt, Jessica Chastain, Gerard Butler and especially Vanessa Redgrave (as the general’s scheming mother) and Brian Cox (as the most hail-fellow-well-met of Senators). Definitely worth a Netflix.

Margaret: Whether you want to call it a holdover from 2011 (when it came out) or from the 2005 list (when it was filmed), Kenneth Lonergan’s Margaret is also worth catching up with sometime. Here, Anna Paquin — better than I’ve ever seen her — is a self-absorbed NYC teenager forced to come to terms with the ramifications of a terrible bus accident she helped to precipitate. Along for the three-hour ride through this distinctively New York tale are Mark Ruffalo, Matt Damon, Matthew Broderick, J. Smith-Cameron, Jean Reno, Allison Janney, Olivia Thirlby, Kieran Culkin, and Rosemarie DeWitt. (FWIW, the provenance of the film’s name is also the best tell for what it’s ultimately about.) Well worth seeing.

THE REST:

Worth Netflixing: 21 Jump Street, Ai Weiwei Never Sorry, The Amazing Spiderman, Bernie, The Bourne Legacy, Detachment, Haywire, The Hunger Games, The Life of Pi, Les Miserables, Magic Mike, Marley, Men in Black III, ParaNorman, The Raid: Redemption, Savages, The Sessions, Snabba Cash, Ted, To Rome With Love

Don’t Bother: Abraham Lincoln: Vampire Hunter, Casa de mi Padre, Chronicle, Compliance, Cosmopolis, Dark Shadows, Flight, The Hunter, Hyde Park on Hudson, Jeff Who Lives at Home, Jiro Dreams of Sushi, Killer Joe, Lawless, The Loneliest Planet, Lockout, Rampart, Red Hook Summer, Safe House,Snow White and the Huntsman, Total Recall

Best Actor: Daniel Day-Lewis, Lincoln; Liam Neeson, The Grey; Dennis Lavant, Holy Motors; Anders Danielsen Lie, Oslo, August 31st; Jean-Louis Trintignant, Amour

Best Actress: Rachel Weisz, The Deep Blue Sea; Emmanuelle Riva, Amour; Marion Cotillard, Rust and Bone; Quvenzhane Wallis, Beasts of the Southern Wild

Best Supporting Actor: Ben Whishaw, Cloud Atlas; Ben Mendelsohn, Killing Them Softly; Jude Law, Anna Karenina; Clarke Peters, Red Hook Summer

Best Supporting Actress: Anne Hathaway, Les Miserables; Samantha Barks, Les Miserables; Frances McDormand, Moonrise Kingdom

Unseen: 2 Days in New York, Act of Valor, Alex Cross, American Reunion, Arbitrage, Battleship, The Best Exotic Marigold Hotel, Brave, Butter, The Campaign, The Cold Light of Day, Contraband, Deadfall, The Devil Inside, The Dictator, Dr. Seuss’s The Lorax, End of Watch, The Five Year Engagement, For a Good Time Call…, Friends with Kids, Ghost Rider: Spirit of Vengeance, The Guilt Trip, Hitchcock, Hope Springs, How to Survive a Plague, The Impossible, The Intouchables, Jack Reacher, Joyful Noise, Not Fade Away, One for the Money, Man on a Ledge, The Man With the Iron Fists, Mirror Mirror, The Odd Life of Timothy Green, On the Road, Parental Guidance, The Perks of Being a Wallflower, The Pirates: Band of Misfits, Premium Rush, Project X, The Raven, Red Dawn, Red Tails, Robot and Frank, Rock of Ages, Safe, Safety Not Guaranteed, Salmon Fishing in the Yemen, The Secret World of Arietty, Seeking a Friend for the End of the World, Step Up: Revolution, Taken 2, This is 40, The Three Stooges, Tim & Eric Billion Dollar Movie, This Means War, Trouble With The Curve, Twilight: Breaking Dawn Part II, The Watch, W/E, The Words, Wrath of the Titans

    A Good Year For:
  • The CIA’s Publicity Department (Argo, Zero Dark Thirty)
  • Existential Despair (Oslo, August 31st, The Grey)
  • Domnhall Gleeson (Anna Karenina, Dredd)
  • Doris Kearns Goodwin (Lincoln, Hyde Park on Hudson)
  • Anne Hathaway (The Dark Knight Rises, Les Miserables)
  • Limousines (Holy Motors, Cosmopolis)
  • Ben Mendelsohn (The Dark Knight Rises, Killing Them Softly)
  • Scoot McNairy (Argo, Killing Them Softly)
  • Channing Tatum (21 Jump Street, Haywire, Magic Mike)

    A Bad Year For:
  • The 1% (Cosmopolis, Les Miserables, The Dark Knight Rises)
  • Dull Husbands & Dim Lovers (Anna Karenina, Take This Waltz, The Deep Blue Sea)
  • Hi-rise Apartment Buildings (The Raid: Redemption, Dredd)
  • Slavery (Django Unchained, Cloud Atlas, Lincoln, Abraham Lincoln: Vampire Hunter)

2013: 2 Guns, 42, 47 Ronin, 300: Rise of an Empire, About Time, After Earth, All is Lost, Anchorman: The Legend Continues, The Angriest Man in Brooklyn, As I Lay Dying, August: Osage County, Before Midnight, Better Living Through Chemistry, The Black Marks, The Bling Ring, Broken City, Bullet to the Head, The Butler, Byzantium, Captain Phillips, Carrie, Chavez, Closed Circuit, Closer to the Moon, The Colony, The Company You Keep, The Congress, The Counselor, The Dallas Buyers Club, Dead Man Down, Devil’s Knot, Diana, The Disappearance of Eleanor Rigby: His & Hers, Dom Hemingway, Don Jon’s Addiction, The Double, Elysium, Ender’s Game, The Europa Report, Evil Dead, Fading Gigolo, Fast Six, Filth, Foxcatcher, The Frozen Ground, Gambit, Gangster Squad, Girl Most Likely, A Glimpse Inside the Mind of Charles Swan III, Gods Behaving Badly, A Good Day to Die Hard, The Grandmaster, Grand Piano, Gravity, Great Expectations, The Great Gatsby, The Hangover Part III, Hansel and Gretel: Witch Hunters, The Heat, Her, Homefront, Horns, How I Live Now, The Hunger Games: Catching Fire, Hummingbird, I, Frankenstein, The Incredible Burt Wonderstone, Inside Llewellyn Davis, Iron Man 3, Jack the Giant Slayer, Jack Ryan, Kick-Ass 2, The Last Stand, The Lone Ranger, Lovelace, Mama, Man of Steel, Monster’s University, Monuments Men, Movie 43, Oblivion, Oldboy, Olympus Has Fallen, Only God Forgives, Oz the Great and Powerful, Pacific Rim, Pain and Gain, Parker, The Place Beyond the Pines, Red 2, Riddick, R.I.P.D., Side Effects, Sin City: A Dame to Kill For, Star Trek: Into Darkness, Stoker, This is the End, Thor: The Dark World, The Tomb, To the Wonder, Trance, Twelve Years a Slave, Upstream Color, Warm Bodies, The Wolf of Wall Street, The Wolverine, The World’s End, World War Z, and

You have nice manners for a thief and a liar…

Fact-checking Lincoln.

It’s not a question of being wrong, it’s just inadequate,’ Foner said…In fact, he says if the 13th Amendment had not passed in January 1865, Lincoln had pledged to call Congress into special session in March. ‘And there, the Republicans had a two-thirds majority and would ratify in a minute,’ Foner said. ‘It’s not this giant crisis in the way that the film’s portraying it.’

Historian Eric Foner, who knows of what he speaks, fact-checks Steven Spielberg and Tony Kushner’s Lincoln. I enjoyed the film quite a bit, and would recommend it to all comers, particularly Daniel Day Lewis’s typically amazing performance. That being said, I thought the excessive emphasis on the virtues of compromise in this story was fundamentally wrongheaded.

For one, the death of slavery would never have reached the House floor were it not for several decades of uncompromising agitation by abolitionists. “On this subject, I do not wish to think, or speak, or write, with moderation. No! no! Tell a man whose house is on fire, to give a moderate alarm; tell him to moderately rescue his wife from the hand of the ravisher; tell the mother to gradually extricate her babe from the fire into which it has fallen; — but urge me not to use moderation in a cause like the present. I am in earnest — I will not equivocate — I will not excuse — I will not retreat a single inch — AND I WILL BE HEARD.” As many of y’all know, that’s William Lloyd Garrison in 1831, giving one of the most definitive statements against compromising with an evil like slavery. Point being, compromise didn’t end slavery in America — an abject refusal to compromise did.

For another, as Foner notes, Lincoln had the votes in the next Congress — so there was no real need to compromise in this situation in any case. And besides, is it really a heroic moment for Thaddeus Stevens to be downplaying his commitment on the House floor to basic human equality? Surely, misleading the public about one’s true beliefs in congressional debate is not something we should be applauding. Nor does Washington, now or then, need any more erstwhile reformers who think the right thing to do when confronted with a stand on fundamental principle is to obfuscate and capitulate.

Of course, this nation was founded on compromise — some of them quite repellent, like the Three-Fifths — and the United States wouldn’t exist without it. And at other times, intransigence on principle has lost battles that compromise would clearly have won, such as the stubbornness of Woodrow Wilson dooming the League of Nations to defeat in 1919 and 1920, But the problem with this — mostly contemporary — emphasis on compromise is that it leads the filmmakers to a flawed understanding of the history of this period.

However much research Tony Kushner did on Lincoln here — and the film is indeed very well-written — it’s unfortunately quite clear that he doesn’t know jack about what came after the War. Here’s what he said to NPR on the subject:

“I think that what Lincoln was doing at the end of war was a very, very smart thing. And it is maybe one of the great tragedies of American history that people didn’t take him literally after he was murdered. The inability to forgive and to reconcile with the South in a really decent and humane way, without any question, was one of the causes of the kind of resentment and perpetuation of alienation and bitterness that led to the quote-unquote ‘noble cause,’ and the rise of the Klan and Southern self-protection societies. The abuse of the South after they were defeated was a catastrophe, and helped lead to just unimaginable, untellable human suffering.’”

This, I’m sorry to say, is nonsense. Here, Kushner is blithely reciting a century-old popular myth, perpetuated by the Dunning School and D.W. Griffith, that isn’t just anachronistic and wrong. It’s been widely discredited, by some of the very same authors the film cites as sources.

The noble cause and the Klan did not arise because the North was mean to the former Confederate states. They arose because many in the South refused to accord African-Americans the basic civil liberties for which the war had ultimately been fought. To “forgive and reconcile with the South” would mean acceding to the disfranchisement and general abuse that many whites desired to levy upon African-Americans in the former Confederacy. Indeed, when Kushner’s desired move to “forgive and reconcile with the South” came with the end of Reconstruction in 1877, it was followed relatively soon thereafter by the emergence of Jim Crow. In short, Kushner’s argument here is pure wishful thinking, and it has been exposed as bunk by the last 40-some-odd years of Civil War and Reconstruction histories.

TL;DR: Lincoln is an entertaining and worthwhile film, but, then as now, compromise can be overrated. (Kushner quote via Tropics of Meta.) Update: More from Foner.

A Stillness at Appomattox.


This settles the fate of all coming time, not only of the millions now in bondage, but of unborn millions to come. Shall we stop this bleeding?” The trailer for Steven Spielberg’s Lincoln is now online, apparently covering roughly the last month of the president’s life. It definitely looks more than a little Spielberg-y around the edges, but I can’t wait to see Daniel Day-Lewis — love the accurate high-pitched Kentucky voice — and Mr. Lincoln’s army of sterling character actors in this. (Showing Hal Holbrook early on was a touch of class.)

Sixteen.


Steven Spielberg’s Lincoln gets a poster. Hard to believe this project is finally almost in the can.

2011 in Film.

Ten days into the new year, it’s past time to knock out GitM’s best-of-2011 list. To be honest, last year’s movie crop was somewhat underwhelming, and as always, there are a few more gaps I’d love to have plugged first — Cedar Rapids, Margin Call, Martha Marcy May Marlene, Take Shelter, Warrior — but, for what I saw last year, here’s the best of ‘em…

Top 20 Films of 2011
[2000/2001/2002/2003/2004/2005/2006/2007/2008/2009/2010/The Oughts]


1. Midnight in Paris: Its wry take on the perils of nostalgia notwithstanding, my favorite film of 2011 didn’t aspire to be much more than a fun, low-key time at the movies. And that it was. One of the most carefree films in Woody Allen’s long and storied career, and featuring one of the best Woodster stand-ins in recent decades with Owen Wilson, Midnight in Paris was an amiable lark that entertained with a light touch and without resorting to the occasionally frantic enthusiasm of The Artist. In short, an unmitigated pleasure: In a so-so year for film, we’ll always have Paris.


2. Attack the Block: While this dubstep-fueled blend of sci-fi horror, Occupy London social commentary, and stoner humor may not be to everyone’s taste, Joe Cornish’s impressive debut was also a surprisingly fun movie and perhaps the purest adrenaline ride of the summer. In a year of big budget and often-suspect alien invasions, it was this lo-rent Block that best delivered the goods, bruv. Believe.


3. The Descendants: With carefully modulated performances from everyone involved, this well-observed dramedy about grief, infidelity, and family in Hawaii was Alexander Payne’s most humanistic film yet. And unlike, say, The King’s Speech or Shame, The Descendants for some reason never set off my usual annoyance with “poor little rich guy” tales — a testament to its emotional resonance.


4. Tinker Tailor Soldier Spy: The Circus has been compromised: With great actors all over the place, Tomas Alfredson’s dark, circuitous and densely plotted adaptation of John Le Carre’s cloak-and-dagger novel, redolent of cigarettes, desperation, and Cold War paranoia, is the 2011 movie I’m most looking forward to revisiting in the future. Give Gary Oldman the Oscar already.


5. X-Men: First Class: In a better year, this movie would probably be hovering around the ten spot. But, in 2011 — a year that saw no shortage of superheroics at the multiplex — Matthew Vaughn’s Mad Men-era reboot of the X-Men universe was one of the more entertaining and successful-on-its-own-terms films to come down the pike, with James McAvoy, Kevin Bacon, and especially Michael Fassbender adding ballast to the proceedings. To me once again, my X-Men.


6. Contagion: Ahem…sorry to cough a fine spray of phlegm all over the keyboard and mouse you’re currently using. Where was I? Ah yes, Contagion, Steven Soderbergh’s highly creepy medical disaster movie, which carries all the more punch for being so grounded in daily reality. With Haywire and Magic Mike heading to theaters this year, hopefully Soderbergh will continue to postpone his much-publicized retirement, at least until the plague comes through.


7. Mission Impossible: Ghost Protocol: Utilizing techniques honed at Pixar’s impressive animation stable, Brad Bird moved to the forefront of contemporary action directors and managed to revive both Tom Cruise’s waning career and a moribund franchise with this visceral and engaging thrill ride. This was easily the best pure action film of the year, or of the past several years, for that matter.


8. The Muppets: Overburdened with anachronistic 80′s nostalgia, yet leavened by a blissful infusion of Conchords — and, really, isn’t everything better with more Conchords? — Segal, Stoller, and Bobin’s heartfelt reintroduction of the Muppets was another very enjoyable evening out. I wasn’t much for the Walter framing device, but it was definitely grand to see Kermit, Fozzie, and the gang once more.


9. War Horse: Granted, putting animals in wartime peril is an easy way to get an audience emotionally invested. Still, Spielberg’s War Horse eventually overcame its early schmaltziness to become unexpectedly moving. And, if he’s up for more wartime shenanigans, perhaps Joey the wonder steed can get a cameo in Lincoln.


10. Hanna: When first putting this list together, I almost forgot this kinetic fairy tale, which, like Attack the Block, enjoys the benefit of a propulsive 21st-century score (here furnished by the Chemical Brothers.) One of the hidden gems of the spring.


11. Drive: I liked this Lynchian escapade less than a lot of critics. Its great opening scene aside, I found Drive to be all sleek surfaces and very little depth, and unfortunately the gorefest second-half never lives up to the meditative-samurai promise of the first hour. Still, the film looked great, and I look forward to seeing what director Nicholas Winding Refn comes up with next.


12. The Artist: There may not be much there there, and I wouldn’t pick it for Best Picture — but The Artist is a hard film to hate on. This is a movie that works overtime — and without the benefit of sound — to show you a good time.


13. Source Code: While it’s not nearly as layered or as satisfying as his first film, Moon, Duncan Jones’ Source Code is still a small, well-made Twilight Zone episode of a movie. And it shows Jones has the chops to stage more than one compelling science fiction tale — Hopefully, his next, as-yet-untitled sci-fi film will make it a trifecta.


14. Captain America and Thor: I have a sneaking suspicion Joss Whedon’s The Avengers (from which the pic above is taken) isn’t really going to work. Still, veteran hands Joe Johnston and Kenneth Branagh managed to conjure up surprisingly engaging films out of Cap and Thor respectively. In both cases, I had a better time than I had originally expected.


15. Jane Eyre: The first film on the list I didn’t actually see in the theater, Cary Fukunaga’s worthy retelling of the oft-filmed Charlotte Bronte novel succeeds mainly by playing up the Gothic horror elements of the story. It also enjoys some of the most lavish cinematography of the year (this side of The Tree of Life.)


16. Young Adult: Thanks in no small part to Charlize Theron’s praiseworthy turn as “that girl” from high school all thirty-something and curdled, Diablo Cody and Jason Reitman’s darkly funny tale of When Rom-Com Values Go Bad represents a career highlight for them both.


17. The Adventures of Tintin: The Secret of the Unicorn: Granted, I have a childhood fondness for Herge’s world that predisposed me to enjoy myself at this film — I have no idea how this flick plays for folks who’ve never heard of Captain Haddock or the Thompson Twins. But speaking for myself, I had a grand old time, and was glad to see that mo-cap is starting to move past the dead-eyed trough of the Uncanny Valley.


18. Crazy, Stupid, Love: A smart and tightly-written romantic comedy that I just caught on Netflix this past weekend. Crazy, Stupid, Love doesn’t break any new ground per se, but it’s still quite good for what it is — and given how terrible 21st century rom-coms can be, that is no small thing.


19. 50/50: Here’s another small-bore film that won’t light the world on fire. Still, Jonathan Levine’s cancer dramedy, thanks to Joseph Gordon-Levitt and work in the margins from Angelica Huston and Matt Frewer, works surprisingly well at straddling a delicate balance in tone between Apatowish bro-humor and Lifetime movie-of-the-week.


20. Bridesmaids: For better or worse, 2011 was a year in film that almost relentlessly looked backwards: From Midnight to Muppets to Hugo to The Artist, this was a year that wallowed in nostalgia for days gone by. (The future, it seems, brings either aliens or humanity-destroying plagues.) So, while Beginners, Win Win, The Trip, Hugo, or The Ides of March could’ve gone here, last spot goes to Paul Feig, Kristen Wiig, and Annie Mumolo’s funny, feminist reconception of the gross-out comedy. Let’s hope more mainstream films in years to come, comedies or otherwise, actually manage to pass the Bechdel test.

Most Disappointing: Had I more faith in Zack Snyder beforehand, this would go to his thoroughly terrible Sucker Punch, and, alas, the unfortunately botched Green Lantern came close to taking this spot as well. In the end, though, this goes to Jon Favreau’s misfire Cowboys and Aliens. Cowboys! Aliens! Daniel Craig! Harrison Ford! And yet, this one came out duller than dirt.

Worth Netflixing: The Adjustment Bureau, Beginners, The Conspirator, A Dangerous Method, Harry Potter and the Deathly Hallows, Pt. 2, Hugo, The Ides of March, J. Edgar, Rise of the Planet of the Apes, The Tree of Life, The Trip, Win Win

Don’t Bother: Battle: Los Angeles, Blue Valentine (2010), Friends with Benefits, Limitless, Meek’s Cutoff, Shame, Sherlock Holmes: Game of Shadows, Somewhere (2010), Super 8, Water for Elephants

Best Actor: Gary Oldman, Tinker Tailor Soldier Spy; George Clooney, The Descendants; Michael Fassbender, Shame
Best Actress: Rooney Mara, The Girl with the Dragon Tattoo, Charlize Theron, Young Adult; Mia Wasikowska, Jane Eyre
Best Supporting Actor: Uggie, The Artist; Christopher Plummer, Beginners, Eric Bana, Hanna; Benedict Cumberbatch and Tom Hardy, Tinker Tailor Soldier Spy
Best Supporting Actress: Shailene Woodley, The Descendants; Jessica Chastain, The Tree of Life, Melissa McCarthy, Bridesmaids, Cate Blanchett, Hanna

Unseen: 30 Minutes or Less, Albert Nobbs, Anonymous, Another Earth, Apollo 18, Arthur, Arthur Christmas, Atlas Shrugged, A Very Harold and Kumar Christmas, Bad Teacher, Barney’s Version, Beastly, The Beaver, Bellflower, Biutiful, Carnage, Cars 2, Cedar Rapids, The Change-Up, Colombiana, Conan the Barbarian, Coriolanus, The Darkest Hour, The Debt, The Devil’s Double, The Dilemma, Dolphin Tale, Don’t Be Afraid of the Dark, Dream House, Drive Angry, Dylan Dog: Dead of Night, Everything Must Go, Extremely Loud & Incredibly Close, Fast Five, Footloose, Fright Night, The Guard, The Hangover Pt 2, Happy Feet 2,The Help, Hesher, Horrible Bosses, I Am Number Four, Immortals, Incendies, In the Land of Blood and Honey, In Time, The Iron Lady, I Saw the Devil, Jack and Jill, Killer Elite, Kung Fu Panda 2, Larry Crowne, The Last Circus, Like Crazy, The Lincoln Lawyer, Margaret, Margin Call, Martha Marcy May Marlene, The Mechanic, Melancholia, Moneyball, Mr. Popper’s Penguins, My Week with Marilyn, New Year’s Eve, Our Idiot Brother, Paranormal Activity 3, Pariah, Paul, Pirates of the Caribbean: On Stranger Tides, Priest, Puss in Boots, Rango, Real Steel, Red State, Rio, The Rum Diary, Sanctum, Scream 4, Sleeping Beauty, The Smurfs, Something Borrowed, Straw Dogs, Take Me Home Tonight, Take Shelter, The Thing, The Three Musketeers, Tower Heist, Transformers: Dark of the Moon, Twilight: Breaking Dawn, The Way Back, Warrior, We Bought a Zoo, We Need to Talk about Kevin, Winnie the Pooh, Your Highness, Zookeeper

    A Good Year For:
  • Jessica Chastain (Coriolanus, The Debt, The Help, Take Shelter, Tree of Life)
  • Electronica Soundtracks (Attack the Block, Drive, Girl with the Dragon Tattoo, Hanna)
  • Film History Buffs (The Artist, Hugo)
  • Ryan Gosling (Crazy, Stupid, Love, Drive, Ides of March)
  • Marvel (Captain America, Thor, X-Men: First Class)
  • Michael Fassbender (A Dangerous Method, Jane Eyre, A Dangerous Method, Shame, X-Men: First Class)
  • Tom Hiddleston (Midnight in Paris, Thor, War Horse)
  • Parisian Nostalgia (Midnight in Paris, Hugo)
  • Scene-Stealing Dogs (The Artist, Beginners, Tintin)
  • The Sex Lives of Depressed People (Shame, Somewhere (2010))
  • Emma Stone (Crazy, Stupid, Love, Friends with Benefits, The Help)
    A Bad Year For:
  • Gimmicks to Fill the Seats (3D, Reserve Seating)
  • Tom Hanks (Larry Crowne, Extremely Loud and Incredibly Close)
  • Missions in Budapest (MI: Ghost Protocol, Tinker Tailor)
  • Movies starting with S (Shame, Sherlock 2, Sucker Punch, Super 8)
2012: 21 Jump Street, Abraham Lincoln: Vampire Hunter, The Amazing Spiderman, American Reunion, Argo, The Avengers, Battleship, The Bourne Legacy, Brave, Bullet to the Head, Butter, Cabin in the Woods, Casa de mi Padre, Chronicle, Cloud Atlas, Cogan’s Trade, The Cold Light of Day, Contraband, Cosmopolis, Damsels in Distress, The Dictator, Dog Fight, The Dark Knight Rises, Dark Shadows, The Dictator, Django Unchained, Dredd, The Expendables 2, The Five-Year Engagement, Frankenweenie, Gambit, Gangster Squad, GI Joe: Retaliation, The Grandmasters, Gravity, The Great Gatsby, Great Hope Springs, The Grey, I Hate You Dad, Haywire, The Hunger Games, Hyde Park on Hudson, Inside Llewyn Davis, Jack the Giant-Killer, John Carter, John Dies at the End, Lay the Favorite, Les Miserables, Life of Pi, Lincoln, Lock-Out, Looper, Magic Mike, The Master, Men in Black 3, Mirror Mirror, Moonrise Kingdom, Neighborhood Watch, Nero Fiddled, Only God Forgives, Outrun, Paranorman, The Pirates: Band of Misfits, Premium Rush, Prometheus, The Raid, Rampart, The Raven, Red Dawn, Red Hook Summer, Red Tails, Rock of Ages, Savages, Seeking a Friend for the End of the World, The Silver-Linings Playbook, Sinister, Skyfall, Snow White and the Huntsman, Take This Waltz, This is Forty, The Three Stooges, Total Recall, Twilight: Breaking Dawn Pt. 2, Warm Bodies, The Wettest County, The Wicker Tree, The Woman in Black, World War Z, Wrath of the Titans, and…


No hat, no stick, no pipe, not even a pocket handkerchief! How can one survive?

Saving Private Ed.


Or The Whinnys of War, perhaps? Anyways, happy new year, everyone — I hope 2012 rang in with much joy and not too extreme of a New Year’s Day hangover. And now, since there are still a few more to go, back to the holiday season reviews! (For those few who may be wondering, the usual end-of-year movie round-up for 2011 will be up early next week, I hope, as I plan to plug a few more holes first via Netflix over the weekend.)

Next on the docket is what turned out to be my b-day film this year, Steven Spielberg’s old-fashioned weeper War Horse, a.k.a. Saving Private Ryan meets The Black Stallion. In short, despite some first act hiccups, War Horse is a solidly engaging film. True, it plays some rather easy chords in order to derive its suspense and emotional power — namely, Animals-in-Peril and People-Saying-Farewell-to-Their-Trusty-Equine-Companions. And the scenes here of World War I are considerably more stagy and less resonant than Spielberg’s re-creations of WWII in Ryan. (Paths of Glory and All Quiet on the Western Front aren’t in any danger of being upstaged here.) But, perhaps due in part to its steadfastly old-school movie traditionalism, War Horse goes to work on you after awhile. It’s a simple tale of a boy, a horse, and the Great War that came between them, elegantly told.

That being said, War Horse doesn’t really find its footing until it leaves the rather twee English countryside and heads off to the Continent for the great conflagration. In fact, the first forty minutes or so are something of a Spielbergian schmaltzfest, as a poor lad (Jeremy Irvine) tries to get his noble and spirited young horse Joey to take to the plow and save the family farm. Joey was acquired by this desperate bunch — the Narracotts by name — when the drunken pater familias (Peter Mullan), a veteran of the Boer War, overpaid for him in a moment of liquid courage bidding against the local landlord (David Thewlis). And so, to stop said landlord from exacting his revenge, young Albert Narracott must coax and train Joey to do farm work meant for a much sturdier beast — skills that may come in handy in the battlefield a few years hence.

With Thewlis twirling his moustache as Mullan and Ma Narracott Emily Watson — humble, decent folk, both — fret about losing the farm, the first act of War Horse feels like one ginormous and schmaltzy cliche, especially coming from this director. (Hey, Joey! Why the long Spielberg face?) But when Tom Hiddleston (i.e. Loki of Thor) shows up as a dashing young military man — i.e. exactly the sort of naive, well-meaning fellow who perished by the millions in WWI — and takes the reins of our stallion protagonist, War Horse begins to gather momentum.

Under the command of Benedict Cumberbatch (late of Tinker), Joey and his new rider venture off to the Great War. But — as WWI vet J.R.R.Tolkien intimates with the last ride of the Rohirrim in Return of the King (and see also Faramir’s doomed assault on Osgiliath in PJ’s film version), World War I is a conflict where old-school cavalry charges are tantamount to organized suicide. The Civil War had Gatling guns and the Franco-Prussian War mitrailleuses, but, by 1914, the Germans have enthusiastically adopted honest-to-goodness machine guns, and the battlefield is no place for a horse anymore.

And so the rest of the movie is a Red Violin-type tale where we follow Joey’s misadventures as he passes variously through English, German, and French hands over the course of an increasingly horrible and dehumanizing (dehorseizing?) bloodbath of a war. (Among those who cross Joey’s path are A Prophet‘s Niel Arestrup, The Conspirator‘s Toby Kebbel, Sherlock‘s Eddie Marsan, and soon-to-be-Davos Seaworth Liam Cunningham.) And, while the last few Gone with the Wind-laden moments struck the wrong tone with me — after the trenches, it’s a bit late in the day to make military service seem poetic — War Horse for the most part gots its hooks in me over its run. You will believe a horse can war.

Thundering Son of a Sea-Gherkin!


Much like Hitchhiker’s Guide in 2005, I should go ahead and admit upfront that my review of Steven Spielberg’s The Adventures of Tintin: The Secret of the Unicorn probably won’t be much use to many stateside. Growing up overseas in England and Belgium, I was a definite Tintin kid. So I have a pre-existing fondness for the character, and, for at least the first forty-five minutes or so of this film, I had trouble wiping off the huge “Great Snakes, a Tintin movie!” grin off of my face. (When you throw in the trailers for The Hobbit and Star Wars in 3D beforehand, it almost seems like Hollywood is explicitly trying to cater to my inner six-year-old these days. Trailers for an Asterix and/or Mr. Men movie would’ve completely clinched it.)

Point being, I had a different reaction to this film than I’m guessing those unfamiliar with the world of Tintin will. Even notwithstanding the joy of seeing these beloved characters come to life, The Secret of the Unicorn is filled with easter eggs for Tintin-o-philes. Our hero (Jamie Bell) has nods to Cigars of the Pharaoah, The Black Island, and King Ottokar’s Sceptre on his wall. Later we encounter a crab with golden claws, a zero-G nod to Explorers on the Moon, and, as the villain’s “secret weapon,” a cameo by one of Captain Haddock’s (Andy Serkis) more amusing adversaries. And, in the background, Spielberg and Jackson are constantly recreating sight-gags from various Tintin adventures — say, Snowy digging up a ginormous bone in the desert –that continually conjured up ancient memories of childhood laughs within me. If you like Tintin, you’ll almost assuredly have a good time here.

And if you don’t know Belgium’s most famous boy journalist from a hole in the ground? Well, that’s a stickier wicket. The exquistely craftted chase scenes are reasonably engaging, if ever so slightly repetitive, on their own. (And a shout-out to John Williams’ score, which could be my favorite work of his in at least a decade.) But if you don’t know anything about these characters already, I’m not sure you’ll find much of a rooting interest here. For better or for worse, this is pretty clearly a film by Tintin fans for Tintin fans. (If anything, I sometimes wish they’d hewed even closer to the books. Some of the setpieces — say, Haddock and the bad guy (Daniel Craig) dueling with construction cranes — felt like generic action-spectacle filler. I’d rather have seen Tintin do more detective work.)

But, whether you’re new to Tintin or a veteran hand, I’m happy to report that the motion-capture animation here is the most impressive I’ve ever seen — no dead eyes to speak of here. I actually thought the animation Zemeckis’s Beowulf was reasonably well-done back in 2007, but this is better by an order of magnitude. (It helps that Spielberg and Jackson have forgone the uncanny valley by going for a Herge-plus look.) In fact, the two things I was most afraid of not working going in — the motion-capture animation and Snowy — are probably the two highlights of the film. (Tintin’s faithful companion is a scene-stealer through and through.) Conversely, the character who I thought would be an easy slam dunk, Captain Haddock, actually grows somewhat tiresome over the course of the movie. (The swearing plays, but all the alcoholic tendencies that are funny on paper begin to grate in three dimensions.)

Speaking of three dimensions, I caught this in 3D, but I’m not sure it really added much to the experience — especially when you factor in that a 3D movie ticket now costs all of $15.50(!) here in the District. I know I recently hated on the 3D push in my Hugo review, but, still, that price for one ticket to a 100 minute film is verging on the ridiculous. My advice: Take your kids to Tintin, but spend 2D money, and use the savings to buy them one of the books.

Back in the River City.


Lincoln’s visit to Richmond produced the most unforgettable scenes of this unforgettable war. With an escort of only ten sailors, the president walked the streets while Porter [Admiral David D. Porter, actually one of my ancestors] peered nervously at every window for would-be assassins.” 146 years after a visit from the sixteenth president, and several weeks after Daniel Day Lewis was spotted as casual Lincoln in a Richmond restaurant, the actor is photographed in full Lincoln garb by the Richmond Times-Dispatch. Uncanny.

A Boy and his Dog.


ComingSoon.Net shows off the spiffy new poster for The Adventures of Tintin. Not groundbreaking or anything, but Tintin et al look better here to me than they did in the trailer.

Red Rackham’s Trailer.


In the trailer bin, a ginger-haired boy journalist and his trusty canine sidekick uncover a clue to a long lost treasure in the first full trailer for Steven Spielberg’s The Adventures of Tintin: The Secret of the Unicorn, with Jamie Bell, Andy Serkis, Simon Pegg, Nick Frost, and Daniel Craig. Hmm…the mo-cap looks even better than Beowulf, but I’m still not sold on the look, and Snowy/Milou in particular conjurs up grim visions of Scooby-Doo. Why not just replicate the traditional Herge style?

Trotter, Traitor, Spaceman, Spy.

In the trailer bin of late:

Raiders of the Close Encounters.


Next up in the movie backlog: JJ Abrams’ promising but ulitimately hollow Super 8. As former House Next Door host Matt Zoller Seitz (whose video essays I mentioned in my Tree of Life review) aptly summed up this film on Twitter: “SUPER 8 is to [Steven] Spielberg as Todd Haynes’ FAR FROM HEAVEN is to Douglas Sirk.” That’s true up to a point. But, inasmuch as Haynes’ film paid loving homage to Sirkian melodramas of the 1950′s, it was also a meta-comment on them, using their conventions to illustrate what the original movies obscured, and how tastes and mores have changed from then to now. Super 8 on the other hand, is basically just Spielbergian because…well, because it can be.

Abrams — who, FWIW, I run hot and cold on; I disliked Mission: Impossible III and loathed Cloverfield (which he produced), but thought Star Trek was good summer fun — has slavishly mimicked the Beard’s early aesthetic here: the overlapping, naturalistic conversations; the group of young kids on a grand adventure; the missing and/or untrusting parents; the visitor from another world; the ubiquitous Close Encounters-style lens flares; the long, anticipatory build-up of Jaws and Jurassic Park; the suburban milieu and untrustworthy government officials of ET. And it’s all glued together and coated thick with hefty dollops of industrial strength, 80′s grade, early-Spielberg schmaltz.

But, to what effect, really? The wallowing in Spielberg nostalgia is a neat gimmick for awhile, but the longer it drags on, the more it ends up feeling like a film school exercise. And, while the kids at the heart of the story are likable enough — especially Joel Courtney as our young hero and Elle Fanning as his #1 crush — the throwback style just can’t sustain the movie on its own, especially as the story falls apart in the second and third acts. And so by the end Super 8 ends up being a lot like cotton candy: It seems like a good idea at the time, but once you pull away all the wry nods to (and direct lifts from) Spielberg’s oeuvre, there’s no there there, and you’re left with just the lingering, sickly aftertaste of saccharine.

To its credit, Super 8 begins quite promisingly, with one of the more economical introductions I can remember: We see an industrial worker rolling the counter on a workplace safety sign, which reflects the numbers of days since the last fatal accident, back to 1. Clearly, something terrible has happened, and just as clearly, the widower after the accident — police deputy Jackson Lamb (Kyle Chandler of Friday Night Lights) — thinks a local yokel named Louis Dainard (Ron Eldard) is at fault. Like Lamb’s son Joe (Courtney), we see Lamb summarily escort Dainard out of the wake, cuff him, and throw him in the back of his cruiser, for reasons left unexplained until later in the film.

Cut to six months later, the deputy’s still grieving in his own way — i.e., by being a gruff and distant workaholic — and young Joe’s trying to get on with his life by helping his friends finish their Super 8 zombie movie. So one night, Joe and his friends are filming their Romero homage down by the train station, in order to garner some “production values” (not a phrase one usually associates with George Romero), and they get more than they bargained for. Much more, in fact: An epic (too epic, really — it’s like watching Looney Tunes) train derailment that they soon discover was perpetrated by none other than Mayor Royce their biology teacher. Why would he do such a thing? Therein lies the riddle…

Soon enough, things get stranger: The Air Force shows up and takes over the town, ostensibly to clean up the debris from the train wreck — which seems to consist mostly of strange metal cubes. Power outages become frequent, cars lose their engines, and all the dogs around simultaneously decide to get the heck out of Dodge. Even more frightening, townsfolk start disappearing at night, usually under violent circumstances. And even as the kids try to get to the bottom of it all, they’re hamstrung by the persistent antipathy between Deputy Lamb and Mr. Dainard that we witnessed in the opening moments. Because, when there’s a monster from outer space on the loose, there’s nothing more compelling than watching parents put up arbitrary roadblocks for the characters, for purely petulant reasons.

That may be a bit unfair, but that, unfortunately, is what Super 8 devolves into. The first hour or so of build-up shows quite a bit of promise story-wise, but it ends up being derailed in the middle by Abrams stopping everything to lay on more Spielbergian schmaltz. At one point, one of the kids explains — in reference to their zombie flick — that it’s the characters you should care about in movie-making, not the circumstances. Maybe so, but, as I said of Steven Soderbergh’s Solaris back in the day: “‘Look, I know it’s weird to see your dead wife again and all, but there’s an alien intelligence trying to communicate with you outside the ship.Super 8 makes the same mistake — it keeps putting everything on hold so these characters, who are mostly two-dimensional Spielberg composites and not-particularly interesting on their own terms — can work out their family and/or trust issues.

The schmaltziness is really the movie-killer here: To wedge in growth moments for its boring characters, the film starts taking some odd turns that don’t make much sense in terms of the story. (Why does the deputy hook up with his nemesis to find the kids? Why not, say, the director’s parents?) And this problem is complicated by the fact that Super 8 can’t seem to decide which Spielberg movie it wants to rip off the most, so it ends up going with all of them. At various points the monster acts like Jaws (the first hour), the Jurassic Park T-Rex (for which a random bus attack is shoehorned in) and ET (the end.)

Once it becomes abundantly clear this last personality will take hold at some point — for me, it was right when the creature steals Elle Fanning — the movie loses all sense of dramatic urgency, and is revealed for what it mostly is: A well-made but uninspired tribute reel to the Spielbergiana of old. In effect, Super 8 is exactly like the movie shown during the final credits (one of the best scenes in the film), except with higher production values, much more manipulative savvy, and, sadly, much less in the way of real heart.

Unicorn Spotted.


Blue blistering bell-bottomed balderdash! Along with the spiffy poster above, the teaser for Steven Spielberg’s The Adventures of Tintin: The Secret of the Unicorn is now online.

Hmmm. As a Tintin kid, I’m really looking forward to these movies. But, for now, I am not feeling the decision to go photorealistic with this at all. Snowy/Milou should not conjure grim memories of Scooby-Doo and Yogi Bear. Here’s hoping a few more rotations in the CGI-machine smooths this out some.

Mr. Lincoln’s Army.

Finally setting off on his long-rumored Lincoln biopic — with Daniel Day-Lewis and Sally Field as Abe and Mary Todd respectively — Steven Spielberg fleshes out his cast in impressive fashion. Joining Mr. Lincoln, among others, are Tommy Lee Jones (Thaddeus Stevens), Joseph Gordon-Levitt (Robert Todd Lincoln), James Spader, John Hawkes, Bruce McGill, Joseph Cross, Hal Holbrook, and Tim Blake Nelson. A team of rivals, and no mistake.

Abe Drinks Your Milkshake.

Daniel Day-Lewis would have always been counted as one of the greatest of actors, were he from the silent era, the golden age of film or even some time in cinema’s distant future. I am grateful and inspired that our paths will finally cross with ‘Lincoln.’

On the seven score and seventh anniversary of the Gettysburg Address, Steven Spielberg announces he has acquired a new Lincoln in Daniel Day-Lewis, replacing the long-attached Liam Neeson. My, that’s good casting.

Tintin Takes Shape.


The first part of the film, which is the most mysterious part, certainly owes much to not only film noir but the whole German Brechtian theatre — some of our night scenes and our action scenes are very contrasty. But at the same time the movie is a hell of an adventure.

In the new Empire Magazine, Steven Spielberg and Peter Jackson talk The Adventures of Tintin: The Secret of the Unicorn, and show off the boy reporter’s new Final Fantasy-ish look. (The cover above mirrors a famous drawing of Tintin that I have up in my work-cube.)

In the same story, PJ talks about where he might take Tintin after the Secret of the Unicorn/Red Rackham arc covered in Spielberg’s film. “One of my favourites is The Seven Crystal Balls, so that’s the one I’ve always been thinking of,’ he says. ‘I also really like the Eastern European ones, the Balkan ones like King Ottokar’s Sceptre and The Calculus Affair. I think it’s a terrific setting for a thriller, the weird Balkan politics and the mysterious secret service agents. I think the Moon ones are terrific, but they’d be good for the third or fourth Tintin film, if we get that far. We want to keep his feet on the ground just a little bit longer.” As a Tintin kid, I’m really looking forward to these.

Liam: No Lincoln.

I’m not actually playing Lincoln now. I was attached to it for a while, but it’s now I’m past my sell-by date.” Along the lines of Guillermo del Toro leaving The Hobbit, Liam Neeson announces he’s now off Stephen Spielberg’s long-rumored Lincoln biopic, mainly because it’s taken too long to get off the ground. (Neeson was first rumored for the role in 2005.) Well, that’s too bad. But, if it takes another decade or so to move, Adrien Brody should fit in nicely.

Until the Crystal Cracked.

You get to monkey-swinging and things like that and you can blame it on the writer and you can blame it on Steven [Spielberg, who directed]. But the actor’s job is to make it come alive and make it work, and I couldn’t do it. So that’s my fault. Simple.

While on press tour for Wall Street 2: Money Never Sleeps, Shia LaBoeuf offers a public mea culpa for the misfire that was Indiana Jones and the Kingdom of the Crystal Skull. “I feel like I dropped the ball on the legacy that people loved and cherished…We [Harrison Ford and LaBeouf] had major discussions. He wasn’t happy with it either.

So the Aliens Won’t Get Snagged.

Way to shield the hated heat, way to put myself to sleep: In the trailer bin of late, something out of Area 51 has a very bad train experience in the teaser for J.J. Abrams’ Super 8, produced by Steven Spielberg. I didn’t cotton much to MI:3 or Abrams’ last (produced) monster movie, Cloverfield. But fingers crossed this is closer to the summery fun of Star Trek.

His Kingdom for a Horse.

In 1914, Joey, a beautiful bay-red foal with a distinctive cross on his nose, is sold to the army and thrust into the midst of the war on the Western Front. With his officer, he charges toward the enemy, witnessing the horror of the battles in France. But even in the desolation of the trenches, Joey’s courage touches the soldiers around him and he is able to find warmth and hope. But his heart aches for Albert, the farmer’s son he left behind. Will he ever see his true master again?

Uh…ok. What’s wrong with the Lincoln biopic again? With Tintin in heavy post-production, Steven Spielberg announces his next film will be the WWI equine epic War Horse, based on the 1982 novel by Michael Morpurgo. Guess it must be an amazing novel.

The Oughts in Film: Part I (100-76).

Hey all. So, this has turned out to be a rather massive undertaking, one that’s had to be split up into five parts so as not to destroy Movable Type. And, while the 2009 list hasn’t yet been posted (although I have written it, pending a few more films I expect to see in the next week, such as Sherlock Holmes and The Lovely Bones), I thought I’d go ahead and throw out the first installment of my promised Best-of-Decade list right now. A few caveats before I start:

1) This is my list, obviously. Meaning these are the movies I enjoyed, cherished, or otherwise been entertained by over the past decade. So, if you vehemently disagree, that’s cool, but that’s just like your opinion, (wo)man.

2) Movies are being judged — in part — on how well they succeed on their own terms. So, to take an example below, am I really saying that Drag Me to Hell (#79) is a better film than Brokeback Mountain (#80)? And I’m saying yes, it’s either [a] more entertaining or [b] to my mind, accomplishes better what it sets out to do.This way, a really funny Z-grade comedy might just beat out an expensively manicured piece of Oscar bait. Ya never know.

3) Since I’ve already posted extensive reviews of most of the movies here, I’ve gone ahead and included excerpts from those in the gray boxes for each film. Feel free to re-read or ignore these as you see fit.

4) Speaking of those reviews, some of the movies below may do better or worse than they did in their respective end-of-year lists. Some move up, some move down, such is the passage of time.

5) Finally, before we begin and in alphabetical order, some honorable mentions that didn’t quite make the top 100 list, with brief explanations:

    The Almosts (in Alphabetical Order)

  • 4 Months, 3 Weeks, & 2 Days (2008): I probably should have found a place for this somewhere, but it just kept slipping, mainly because I couldn’t imagine ever wanting to sit through it again. 4 Months is a very impressively-made movie, but I guess (like The Road) I flinch a little in the face of its unrelenting — some might say one-note — darkness.

  • The Assassination of Jesse James by the Coward Robert Ford (2007): Tiger Woods, meet Jesse James. Andrew Dominik’s sprawling meta-western looks gorgeous (thanks to cinematographer Roger Deakins), and it definitely has truths to tell about the trials of celebrity in American life. It could stand to lose an hour, tho.

  • The Constant Gardener (2005): Fernando Meirelles’ City of God is topping a few of the Best-of-Decade lists I’ve seen out and about, but I’d be more inclined to put this, his follow-up film, somewhere on the list. Neither made it in the end, but, nonetheless, The Constant Gardener has its merits.

  • Dirty Pretty Things (2003): I originally had this as high as #74 on account of Chiwetel Ejiofor’s breakout performance. But, although Ejiofor became one of the most consistently reliable actors of the decade, the rest of Stephen Frears’ movie doesn’t quite hold up enough to be counted in the end.

  • Gangs of New York (2002): What with Daniel Day-Lewis, Jim Broadbent, and few of the vignettes therein, there probably was a great movie in here somewhere. But the final version of Scorsese’s Gangs has serious flaws — not only major historical ones (see the original review) but cinematic ones too. Particularly with a fellow like Bill the Butcher stomping around, did anybody care one whit about Leo DiCaprio’s character? Not me.

  • Harold & Kumar Go to White Castle (2004): As I said at #92, this almost made the list. It’s smart, it’s funny, and it’s more Ought-ish in its multicultural, Age-of-Obama outlook than a lot of movies that actually made it on here. But, it slipped. Sorry, y’all.

  • I am Legend (2007): I loved the “Man and his Dog” part of this movie — it hit me where I lived. The not-so-scary CGI-beasties, not-so-much. The director’s cut ending helped resolve some of the movie’s second-half problems, but still not quite good enough to crack the century mark.

  • Man on Wire (2008): A bit of a one-trick pony. Amazing trick, definitely. But, there it is.

  • Snow Angels (2008): David Gordon Green’s movie has grown in my memory in the year since I saw it, but I still couldn’t find room for it.


  • There Will Be Blood (2007): In previewing this list on some film boards, I got more grief for not including TWBB somewhere in the mix than any other movie that came up. But, while there are other films that made my list on the basis of a strong first or second half (WALL-E comes to mind), I thought the slippage was too great from Blood‘s astonishing first hour to its meandering second to its ludicrous close. So it’s only on the coulda-been-a-contender list. Still, it was a step up for PTA, so maybe next time.


  • The Virgin Suicides (2000): I remember Sofia Coppola’s dream-like vision of Jeffrey Eugenides’ book to be pretty on the nose, and it boasts a great soundtrack. If I saw it again, it might move up, but as with a lot of the early-decade movies, I’m mostly going on memory, and my memory was that the book didn’t translate to film so well.


  • The Visitor (2008): The better of Tom McCarthy’s two writer-director projects thus far (the other being The Station Agent), this movie was a bit too cloying in the beatific immigrant regard to make the century list. Richard Jenkins was really great, tho.

And now, the real list. Here we go…

Top 100 Films of the Decade:
Part I: 100-76

[The Rest of the List: 100-76 | 75-51 | 50-26 | 25-11 | 10-1]
[2000/2001/2002/2003/2004/2005/2006/2007/2008/2009]


100. Dave Chappelle’s Block Party (2006)

From the original review: “[I]t’s hard to come up with a better ‘first-day-of-spring’ movie than th[is] wickedly funny, rousingly optimistic hip-hop concert flick…Block Party bounces with cool, infectious verve and power-to-the-people, DIY exhilaration…Chappelle’s wry irreverence and broad, encompassing good humor are contagious. Often, it seems, he can’t believe his luck at becoming the jester-king of Brooklyn for a day, and he grounds and permeates the film with his antic enthusiasm and sardonic, puckish charm.

From the year-end list: “With performances by some of the most innovative and inspired players in current hip-hop (Kanye, Mos Def, The Roots, The Fugees, Erykah Badu), and presided over by the impish, unsinkable Chappelle, Block Party was one of the best concert films in recent memory, and simply more fun than you can shake a stick at.

A case could be made that Michel Gondry’s Dave Chappelle’s Block Party should be even higher on this list — Few movie experiences of the decade were as out-and-out pleasurable as my spring afternoon viewing of this flick. That being said, Block Party seemed like a good way to kick off this best-of-decade list — It’s just a happy, goofy, groovy, fun movie, teeming with great music, optimism, and the open possibilities of any given day. Particularly if you have any affinity for hip-hop, give it a whirl.


99. Star Wars Episode III: Revenge of the Sith (2005)

From the original review: “Well, that was a happy surprise. Star Wars Episode III: Revenge of the Sith is by no means a perfect film. But, the reviews are right — this one’s miles above the other two prequels, and definitely can be considered in the same breath as Jedi. Sure, there’s a bad movie occasionally lingering in the shadows like a Sith, but for the most part this entry manages to capture some of that ole Star Wars feel.

From the year-end list: “Thank the Force for small kindnesses: George Lucas put the Star Wars universe to bed with far and away his best outing of the prequels. The film flirts dangerously with the Dark Side, particularly in the ‘let’s take a meeting’ second act, but for the most part Sith felt — finally — like a return to that galaxy long ago and far, far away.

How George got his groove back. In a perfect world, the Star Wars prequels would’ve carried some of the vim and verve of Peter Jackson’s LotR trilogy or the first Matrix. Alas, as you all know, that didn’t happen. Like many SW fans of my generation, I walked out of 1999′s middling The Phantom Menace confused about where George Lucas was intending to go with all this, and desperately trying to convince myself that, Jar Jar Binks, midichlorians, and pod racing notwithstanding, I’d just sat through a really good movie. (The still-very-good Maul/Obi-Wan/Qui-Gon duel helped a good bit with the denial.)

Alas, the atrocious Attack of the Clones of 2002, the pre-Clone Wars nadir of the Star Wars franchise (Holiday Special notwithstanding), put that reverie to bed. Something terrible had happened — disastrous, even. All across America, millions of fanboy and fangirl voices suddenly cried out in terror and were suddenly silenced.

But, with expectations suitably lowered, then came Sith in 2005, which at least carried some small glimmers of the old magic. I won’t try to defend the film’s many faults — they’re there, all right. But every so often during Sith, you could feel something, as if Lucas had finally managed to take his first step back into a larger world.


98. Unbreakable (2000)

From the year-end list: “A little slower than I would have liked, and it had no second act, but this languid, contemplative film spoke to the comic fan in me.

It seems weird from the perspective of 2009, after drek like Signs and The Village. (I didn’t see Lady in the Water or The Happening, but…I’ve heard bad things). Nonetheless, back in 2000, M. Night Shyamalan still seemed like he had the potential to be a first-rate genre filmmaker, maybe even the new Spielberg. True, 1999′s The Sixth Sense ended up being massively overhyped — Due mainly to box office, one presumes, it even bypassed The Matrix, Being John Malkovich, Three Kings, and Fight Club for an Oscar nod. But it still came out of nowhere to make for a surprising and unsettling ghost story that year.

And, belying the usual curse (that would come later, in spades), Shyamalan turned out a quality sophomore follow-up in Unbreakable. I haven’t seen the movie since it came out, but I still remember it as a unique take on the superhero origin story in a decade that would be full of them. True, the Mr. Glass monologuing at the end should have telegraphed to us Shyamalan’s overreliance on the 11th-hour plot twist. But that wouldn’t really come to seem a problem until later films. As it was, Unbreakable showed that M. Night wasn’t afraid to follow-up a box-office monster with a movie that felt quite different in tone, and it suggested — probably wrongly, it turns out — that he might have a few more tricks up his sleeve after “I see Dead People.”


97. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)

From the original review: “I don’t really feel the inclination to write the usual three-paragraph review for Borat…so I’ll just leave it at this: It’s really funny…[U]nless you’re offended by ridiculously over-the-top anti-semitism or have a problem with truly grotesque displays of male nudity, you should find it verrry nice. (But leave the gypsys at home.)

From the year-end list: “True, the frighteningly talented Sasha Baron Cohen spends a lot of time in this movie shooting fish in a barrel, and I wish he’d spent a little more time eviscerating subtler flaws in the American character than just knuckle-dragging racists and fratboy sexists. Still, the journeys of Borat Sagdiyev through the Bible Buckle and beyond made for far and away the funniest movie of the year.

The Cotton Kingdom of the Dubya era. I had this quite a bit further up the list at first, but decided to switch it out with one of its memorable antecedents. (More on that demented travesty later.)

I missed Bruno this year, so I don’t know how it compares. Still, Borat has slipped quite a bit from its 2006 ranking, if only because [a] I’m not sure a lot of the comedy holds up on repeat viewings, and [b] I still think Cohen went for mostly easy targets here. In its picking off the low-hanging fruit in the Red States — bible-thumpers, rednecks, and whatnot — the movie also feels very much an artifact of the post-2004 election grimness. Although, now that I think about it, a strong case could be made that Cohen was just prepping us for the teabagger vanguard.


96. The Quiet American (2002)

From the original review: “All in all, very well done, and a battered, despairing Michael Caine deserves an Oscar for this much more than he ever did for his turn in the schlocky Cider House Rules.

From the year-end list: “A bit by-the-numbers, perhaps, but Phillip Noyce’s take on Graham Greene’s novel was blessed with timeliness and two great performances by Michael Caine and Brendan Fraser, both of whom expertly exemplified their homelands’ diplomatic tendencies without becoming overly tendentious.

I watched about half an hour of The Quiet American again a few weeks ago while flipping through the channels, and I still think it has a bit too much of an austere, “from-the-classic-novel” feel to it, the sort of movie one might be forced to watch in a high school class (be it English or History). Still, it’s very well-done, Caine and Fraser are both exceedingly well cast, and you could do worse as a quality intro to our blundering in Vietnam than Graham Greene’s ripe and pungent allegory here.


95. The Savages (2007)

From the original review: “[W]hat Six Feet Under is to dying, The Savages is to the final stages of aging. It’s something we don’t really want to think about, but it’s there, somewhere over the last ridge. If we’re going to dwell on this subject, it’s probably best to confront that fact with the mordant humor of [this film] (while keeping in mind that, however inevitable that final end, it’s never too late to teach an old dog some new tricks.)

From the year-end list: “[F]ew other movie endings this year hit me in the gut quite like this one…[T]his comedy about an ornery lion in winter, and the battling cubs who have to come to his aid, is a worthwhile one, and particularly if you’re in the mood for some rather black humor. As Lenny the senescent and slipping paterfamilias, Philip Bosco gives a standout performance, as does Hoffman as the miserable Bertholdt Brecht scholar trapped in deepest, darkest Buffalo.

Tamara Jenkins’ The Savages is an uneven film, and at times it gets overwhelmed by its televisionish tendencies (be they sitcom or Lifetime movie-of-the-week-oriented.) But when it’s on, it’s on, and it’s a film that’s stuck with me in the two years since I caught it on the back-end of an Angelika double-bill (along with another mortality-drenched movie further down the list.) I still have some issues with its Bagger Vancing of The Wire‘s Gbenga Akinnagbe, but in its depictions of siblings, senescence, and seriously bummed-out academics, The Savages rings true.


94. About a Boy (2002)

From the original review: “[W]hile it was quite good for its genre (and Hugh Grant was surprisingly palatable), I do have some problems with its underlying premises…Since when is one’s identity primarily formed by holding down a job you hate?…I don’t remember the protagonist of Hornby’s book being nearly so shattered by his presumed nothingness.

From the year-end list: “A surprisingly good translation of Nick Hornby’s third book. A bit fluffy, perhaps, and…I’m not sure how I feel about some of the underlying premises, but very well done nonetheless. After all, making both Hugh Grant and a precocious young British lad palatable at the same time is no easy task.

Now this one to me is almost exactly the opposite of The Savages, in that — more than any other film on this list — I can barely remember About a Boy at all, other than Toni Collette being very good, the kid (Nicholas Hoult, soon of A Single Man and Clash of the Titans) also being quite solid, and Hugh Grant singing acapella, drinking a lot of Red Bull, and somehow magically not getting on my nerves. And because of this memory hole, I came very close to putting another very similar-feeling Weitz production, In Good Company, here instead. But just because the high has mostly evaporated doesn’t mean the initial experience wasn’t grand. So I’m trusting my notes here somewhat (which had About a Boy at #3 for 2002) and putting it here at #94. Hopefully, I know what I’m talking about.


93. The Matrix: Reloaded (2003)

From the original review: “To be sure, the first forty minutes of the film, including everything that takes place in Zion, is almost unwatchable…But, right about the time Neo gets a call from the Oracle and reenters the Matrix in Chinatown…the film finally starts to find its rhythm…Alas, Neo and Trinity still don’t really work as an onscreen couple, but most of the action setpieces are breathtaking (particularly the highway chase and truck fight…in the midst of all the new characters showing up, it’s nice to see the Agents still getting their due.) And as expected, Hugo Weaving is just wicked good fun as Agents Smith…they steal every scene they’re in.

From the year-end list: “I won’t defend the first forty-five minutes or the ridiculous rave scene. But, right about the time Hugo Weaving showed up to do what he does best, Revolutions found a new gear that it maintained right up until the arc-twisting Architect monologues at the end. And, as far as action sequences go, it’s hard to beat the visceral thrill of the 14-minute highway chase.

I can envision getting some grief for this one, but what I said in these two reviews stand. As a whole, this first sequel to 1999′s The Matrix has serious problems in its first hour — I’m looking at you, Bacardi-Benetton rave. But once you get to the (now rather dated looking) “Burly Brawl,” (i.e. Neo vs. a legion of Smiths) The Matrix: Reloaded kicks it up a notch.

Sure, nothing could match the initial shock of seeing Neo wake up in that gooey biopod in the first movie — That was the first indicator that the heretofore unknown Wachowski brothers (Bound notwithstanding) were really playing on a broad canvas here. But from the Burly Brawl on — through the Merovingian and Swiss Chalet stuff, the albino Milli Vanilli twins, the highway chase, and on to the Architect’s rambling in the final moments, Reloaded is easily as propulsive and occasionally mind-bending as the second half of the first film. (And, without a doubt, it’s far better than the woeful Matrix: Revolutions, out later that year.)


92. L’Auberge Espagnole (2003)

From the original review: “L’Auberge was funnier, sexier, and more intelligent than any of the assorted American Pies or their ilk…This movie seems to understand that it’s possible to capture the joys of youth and friendship without resorting to a constant stream of lame, mostly unfunny gross-out jokes.

From the year-end list: “[W]hile Lost in Translation trafficked in existential detachment, L’Auberge Espagnole showed the fun Scarlett Johannson could’ve been having, if she’d just lighten up and get out of the hotel once in awhile. This paean to the pan-Continental culture of the EU captured the excitement and possibilities of youth in a way that was both sexier and funnier than any of the teen shock-schlock emanating from our own side of the pond. Road Trippers, take a gander.

Now, having roundly derided domestic gross-out comedies, I should say that I just came very close to pulling an audible and putting the very funny Harold & Kumar Go to White Castle in this spot. (Sorry guys, you got screwed. A few Sliders should help ease the pain.) Nonetheless, L’Auberge Espagnole is a jaunty European escapade that matched the sexy frankness of Y Tu Mama Tambien (minus its existential pretensions — remember that goofy car crash?) with the joy and possibility of foreign travel you find in, say, Before Sunrise. I remember seeing this flick on a dismal Match.com date, and even that couldn’t diminish the experience. Salut.


91. King Kong (2005)

From the original review: “In essence PJ’s King Kong is the Mother of All B-Films — the Skull Island action sequences are spectacular, Kong’s adventures in New York seem appropriately mythic, the special effects throughout (particularly the Great Ape himself) are mind-blowing…[But] the film has some serious pacing problems, particularly in the first hour, and at times I thought it seemed almost too reverent of its source material. At the very least, Kong, while definitely a Wonder of the World and no mistake, could have benefited from some minor grooming.

From the year-end list: “I had this film as high as #2 for awhile, and there are visual marvels therein that no other movie this year came close to offering, most notably Kong loose in Depression-Era New York City. But, there’s no way around it — even given all the B-movie thrills and great-ape-empathizing that PJ offers in the last 120 minutes, the first hour is close to terrible, which has to knock the gorilla down a few notches.

Yep, that about covers it. Like The Matrix: Reloaded a few spots ago, King Kong is an eye-popping visual feast that ultimately falls several steps shy of greatness thanks to all the excess baggage on the front end. I don’t have much of an attachment to the 1933 version (or the 1976 Jeff Bridges/Jessica Lange/Charles Grodin version for that matter, although Lange looks stunning in it), but almost all of the Kong-in-NYC stuff in PJ’s version is marvelous, give or take the ice-skating, and feels like something ripped from the pages of myth.

That being said, it feels like we’re on Skull Island for a really long time in this Kong, and that doesn’t even get into all the deadly dull happenings before they even reach the King’s domain. For all its strengths, this Kong is too self-indulgent to go down as one of the decade’s greats. It’s clearly a labor of love by PJ (and he earned it after knocking LotR out of the park), but the movie would’ve benefited from quite a bit more tough love at some point in the process.


90. Capote (2005)

From the original review: “[A] somber and compelling character study of the eponymous author…Hoffman’s Capote cuts a complex and striking figure that’s hard to take your eyes from — He’s at once vainglorious and needy, extroverted and remote, compassionate and manipulative, convivial and detestable.

From the year-end list: “I think it’d be awhile before I want to watch this movie again, but, still, it was a dark, memorable trip into bleeding Kansas and the writerly id.

Every artist is a cannibal. Every poet is a thief. All kill their inspiration and sing about their grief.” In fact, I haven’t seen Capote since it came out in 2005 (nor did I ever see Infamous, with the Trumanesque Toby Jones.) But the moral darkness of this film lingers, as does Clifton Collins, Jr.’s haunting portrayal of Perry Edward Smith, who, to Capote, is both the Spider and the Fly.


89. Star Trek (2009)

From the original review: “Blessed with a charismatic and appealing cast that smooths over much of the choppy writing turbulence therein, Abrams’ Trek reboot isn’t only a rousing, over-the-top, sometimes patently absurd space opera that borrows as much from Lucas’ original trilogy as it does from its erstwhile source material — It’s also probably the best of the Star Wars prequels. The more I’ve thought about it over the past few days, the less sense the movie makes, and the more and more shamelessly derivative Trek seems. But darned if I didn’t have a good time during the Big Show itself, which, of course, is what really matters in the end.

From the year-end list: “There was admittedly a whole lotta stupid in J.J. Abrams’ Star Warsy revamp of the Star Trek franchise — Once exposed to the light, the movie’s basic premises completely fall apart. But, like the stomachache that accompanies eating too much candy, those regrets come later. In the moment, Star Trek was more fun than you can shake a stick at, and as solid and entertaining a franchise reboot as 2006′s Casino Royale.

Sure, it’s a cotton candy movie, but, like I said, Star Trek had more of that Star Wars magic than any of the prequels, including Sith. I haven’t seen Trek again since that first time in the theater, and it’s entirely possible a lot of the general dumbness of the movie — Spock hanging ’round the ice cave, all the nonsensical red matter/black hole stuff — will weigh everything down more on a second viewing. Still, it was definitely fun that first go. Bring on Javier Bardem as Khan.


88. Inside Man (2006)

From the original review: “Hearkening to the halcyon days of Dog Day Afternoon and Serpico, Spike Lee’s Inside Man is a clever contraption indeed — a sleek, intelligent, well-acted NYC heist flick whose central scheme is more about subterfuge, cunning, and misdirection than technical gimmickry. (In too many films in the genre — The Score, or Ocean’s 11, for example — the robbers seem to be spending more on state-of-the-art equipment than they’d actually make in the grift.)…True, some of the plot mechanics in Inside Man could be considered contrived, but, Jodie Foster’s corporate ninja notwithstanding, at least here the people seem real.

From the year-end list: “[A] fun, expertly-made crime procedural, as good in its own way as the much more heavily-touted Departed. It was also, without wearing it on its sleeve, the film Crash should have been — a savvy look at contemporary race relations that showed there are many more varied and interesting interactions between people of different ethnicities than simply ‘crashing’ into each other. (But perhaps that’s how y’all roll over in car-culture LA.)…Inside Man is a rousing New York-centric cops-and-robbers pic in the manner of Dog Day Afternoon or The Taking of the Pelham One Two Three, and it’s definitely one of the more enjoyable movie experiences of the year.

I love it when a plan comes together. In a decade that sometimes seemed full of them, Spike Lee’s crisp, no-nonsense Inside Man was one of the most purely entertaining heist movies of the oughts. And with primo talent like Willem DeFoe and Chiwetel Ejiofor working as support, you know you have an A-list cast on your hands.

To be honest, his von Trapp roots notwithstanding, Christopher Plummer seemed a bit young to be plausible as a ex-Nazi in the 21st century. (Max Von Sydow might’ve worked, I guess, but he also was born in 1929.) But take that — and Foster’s Fixer — with a grain of salt, and Inside Man made for a great afternoon at the movies. It was a seventies cop yarn set in 21st-century Gotham, expertly assembled by one of NYC’s great directors.


87. Munich (2005)

From the original review: “Munich is a movie well worth-seeing, the rare thriller that’s not afraid to grapple with today’s thorniest political questions, and without insulting the audience’s intelligence by giving easy, simple-minded answers to seemingly insoluble problems. The film may at best be a long triple, but, to his credit, at least Spielberg is swinging for the fences.

True, Steven Spielberg’s Munich includes some major missteps. I still wince when I remember Eric Bana and a pregnant Ayelet Zurer trysting while the Munich kidnappings go south. (The only equally terrible sex scene I can think of offhand would be Patrick Wilson, Malin Ackerman, and Leonard Cohen’s “Hallelujah” in Watchmen.) Nonetheless, Munich was a decently compelling thriller with its heart in the right place and an important message to convey in these dark times: An eye for an eye makes the whole world blind.

The memorable last shot of the film, with the World Trade Center in the background, suggested that Munich was also intended as a pointed response to our foreign policy, post-9/11. But, of course, given how we ended up in Iraq soon after 9/11, a closer movie parallel would have shown Israel responding to the 1972 Olympics massacre by killing a bunch of random Belgians.


86. Meet the Parents (2000)

From the year-end list: “[S]urprisingly good. I expected schlock, and got a genuinely funny fall film.

I didn’t see the sequel (Meet the Fockers), and definitely don’t plan to see the threequel (Little Fockers), which is on the dock for next year. But I remember Meet the Parents being a pretty quality time at the movies, all in all. (FWIW, other than Robert DeNiro generally hamming it up by trading in on his Taxi Driver cachet, the scene that first comes to mind these days is the water polo scene involving Owen Wilson and a slow-motion spike.) Maybe Noah Baumbach can give him a lift in next year’s Greenberg, but, as it is, this was also as funny as Ben Stiller got all decade.


85. Sin City (2005)

From the original review: “Forgive me, Father, for I have sinned…and, whatsmore, I liked it. Without a shred of redeeming social value, Frank Miller and Robert Rodriguez’s Sin City is a film very noir. It’s a sick, depraved, and smutty ride into a crime-ridden hellhole of a metropolis, exactly as it should be…Sin City turned out to be a visual marvel and easily Rodriguez’ best film since El Mariachi.

From the year-end list: “One of the most faithful comic-to-film adaptations on celluloid also made for one of the more engaging and visually arresting cinematic trips this year. I don’t know if the look and feel of Sin City can sustain a bona fide franchise, but this first outing was a surprisingly worthwhile film experience (with particular kudos for Mickey Rourke’s Marv.)

The movie that anticipated Mickey Rourke’s later Wrestler resurgence, Sin City was a crazy-sexy-cool stylistic experiment that remains the best thing Robert Rodriguez has ever been involved with. I missed The Spirit, which obviously went for a very similar look, and from everything I hear that was probably for the best. But in a perfect world, this is what Warren Beatty’s Dick Tracy would have looked like back in 1990.


84. Bloody Sunday (2002)

Bloody Sunday was the first of many great movies made by Paul Greengrass in the Oughts, and it ably showed off the hyperreal, you-are-there documentary style he’d use to such great effect throughout the decade. True, it’s as yet unclear whether Greengrass has any other trick in his stylebook: Both of his forthcoming movies — Green Zone (Bourne IV, basically) and They Marched in Sunlight (on Vietnam-era protests) — sound very close to his previous projects, in terms of lending themselves to this hi-def documentarian conceit. Still, it’s a neat trick alright, and one I never grew tired of from Bloody Sunday on.


83. The Squid and the Whale (2005)

From the original review: “The movie is mostly episodic vignettes in the life of a broken family and at times suggests a more misanthropic Me, You, and Everyone We Know. But it also feels scarily authentic and is probably one of the most convincing — and wryly funny — depictions of divorce I’ve ever seen on film, with particular kudos going to Jeff Daniels as the sad sack father in this outfit.

From the year-end list: “The Squid and the Whale made ugly, embittered divorce about as funny as ever it’s likely to get, thanks to Jeff Daniels’ turn as the pretentious, haunted Bernard Berkman.

He went off the rails a bit with 2007′s Margot at the Wedding, but Noah Baumbach (also the co-writer of The Fantastic Mr. Fox and a few other Wes Anderson projects) struck inky black gold with The Squid and the Whale, loosely based on his semi-famous parents’ smash-up. Squid is a bit broad at times — I’m thinking of Billy Baldwin’s tennis instructor in particular — but Jeff Daniels’ Oscar-overlooked performance as the poster child for pretentious (and miserable) academics makes up for a lot of mistakes.


82. Primer (2004)

From the original review: “We never really understand what’s going on, and I could see some folks getting frustrated with this film — usually, incomprehensibility is not a strong suit in movies. Still, for some reason, Primer works as a heady sci-fi tone poem about the cryptic (and dire) consequences of mucking about with the timestream. Mostly unfathomable, sure, but if you’re a fan of the genre, it’s definitely worth catching sometime…perhaps yesterday.

From the year-end list: “A completely inscrutable sci-fi tone poem on the perils of time travel. Kevin and I saw it twice and still have very little clue as to what’s going most of the time — but I (we?) mean that in the best way possible

2009′s Paranormal Activity made the bigger box-office splash this decade, but Shane Carruth’s Primer was the original no-budget movie that could. A weird and trippy little number alright, Primer once again proved that smart ideas usually trump expensive FX when it comes to memorable sci-fi, even when those ideas are devilishly complicated. Who knows? If I ever write one, it might make my best of the Nineties list too.


81. American Psycho (2000)

Before Christian Bale was the Dark Knight, he made his (adult) name as another deeply nutty rich fella. Mary Harron’s jet-black satire of ’80s yuppie-dom, American Psycho, is one of those rare adaptations that improves on the source material (in this case, a rather lousy book by Bret Easton Ellis) in pretty much every way. It’s ultimately a slasher flick, sure, but from disquisitions on the Huey Lewis back-catalog to the high-stakes status war of business card fonts, there’s a lot of humor to be had amid the slaughter. And to his credit Bale, displaying the intensity he’d henceforth be known for both on-screen and off-, just goes for it, naked chainsawing and all.


80. Brokeback Mountain (2005)

From the original review: “Heath Ledger’s performance is engrossing, in part because you spend much of the film just trying to figure out what he’s thinking. At times, his character is taciturn to the point of being inarticulate. This speaks in favor of the film’s realism, I suppose — Ennis’s whole life after Brokeback is about caution, misdirection, and concealment….At the same time, though, Ledger seems like he’s underplaying an underwritten character…And that’s ultimately the modest problem with Brokeback Mountain, which is otherwise an excellent film — at times, it feels as somber, restrained, and delicate as Kabuki theater. Particularly in a film that warns of the dangers of bottling up passion, it’d be nice to have seen less Big Sky Country pageantry and more emotion from all the characters on-screen. If that wouldn’t have played in Peoria, so be it.

From the year-end list: “A beautifully shot and beautifully told love story, although admittedly Ang Lee’s staid Brokeback at times feels like transparent Oscar bait.

If “the Batman” broke out of the Newsies ghetto with American Psycho, the portrayer of his eventual arch-nemesis moved into the A-list with this Ang Lee romance. With its breathtaking Wyoming vistas, Brokeback looks amazing, and it has moments of real grace (like the haunting closing moment.) But, as J. Hoberman so well put it, this was also the “straightest love story since Titanic” Even more than Jonathan Demme’s Philadelphia, Brokeback seems like it won’t age very well. And, even if bottled-up passion is Ang Lee’s usual m.o., the movie’s demureness seems less an artistic choice than a product of its time, particularly when put up against Gus Van Sant’s more vibrant Milk, made only a few years later.


79. Drag Me to Hell (2009)

From the original review: “A loving throwback to the director’s Evil Dead days, and an audience film if there ever was one, [it] delivers a solidly entertaining two hours of low-budge comic mayhem, if you’re in the mood for it. It doesn’t really aspire to be anything more than what it is — a B-movie carnival funhouse. But taken as such, Drag Me to Hell offers thrills, chills, and (gross-out) spills with plenty of Raimi’s old-school tongue-in-cheek.

From the year-end list: “Besides being easily the most explicitly anti-gypsy film since Borat, Drag Me to Hell was also, in its own way, as much of a Great Recession cautionary tale as Up in the Air. One hopes that when the Senate takes up financial services reform next year, our erstwhile reformers in that esteemed body will note what happened to Alison Lohman when she, against all better judgment, decided to do the bidding of the Banks

Drag Me to Hell isn’t up to the caliber of Sam Raimi’s magnum opus, Evil Dead 2. But it’s in the same goofy-scary key, even without Bruce Campbell around this time. Basically Drag Me to Hell works because it’s unabashedly no more or less than what it aspires to be — a fun, turn-your-brain-off, midnight B-movie. And taken as such, it’s pretty darned entertaining.


78. Michael Clayton (2007)

From the original review: “An intelligent, well-made throwback to the conspiracy-minded thrillers of the 1970s (such as The Parallax View and Three Days of the Condor), first-time director Tony Gilroy’s Michael Clayton is a withering and mostly plausible excursion into the ethical dead zone that can emerge at the top levels of the money game…It’s an adult, believable thriller that’s well worth checking out, and George Clooney, as per the norm, is excellent.

From the year-end list: “Clooney’s impeccable taste in projects continues with this, Tony Gilroy’s meditation on corporate malfeasance and lawyerly ethics (or lack thereof.)…A small film, in its way, but a worthwhile one.

Here’s a movie that one could argue should be higher on the list. A study in grays, Tony Gilroy’s Michael Clayton is an adult movie about conspiracy and compromise that has a lot going in its favor, including a solid anchoring performance by George Clooney and great work in the margins by Tom Wilkinson, Danny O’Keefe, and the late Sydney Pollack. I take off points for the convenient business with the horses and some of the artsy kerfuffling surrounding Tilda Swinton’s character, but Michael Clayton is nonetheless a very good film.


77. The Fountain (2006)

From the original review: “I found it a bit broad at times, particularly in the early going, and I definitely had to make a conscious decision to run with it. That being said, I thought The Fountain ultimately pays considerable dividends as a stylish, imaginative, and melancholy celebration of the inexorable cycle of life, from birth to death ad infinitum…I’m not sure you’ll like it — it’s very possible you’ll love it — but I’m willing to bet, either way, that it’ll stick with you.

From the year-end list: “Darren Aronofsky’s elegiac ode to mortality and devotion was perhaps the most unfairly maligned movie of the year…Clearly a heartfelt and deeply personal labor of love, The Fountain — admittedly clunky in his first half hour — was a visually memorable tone poem that reminds us that all things — perhaps especially the most beautiful — are finite, so treasure them while you can.

Here’s another one I haven’t seen since that first screening in 2006, and I have a suspicion my positive reaction may not hold up so much on a second viewing. (Sitting next to Famke Janssen generally makes a movie seem better, no doubt.) Still, I admire The Fountain for what it tried to do, even if it doesn’t all quite work at times. There’s something to be said for a movie that so nakedly wears its heart on its sleeve.


76. The Fog of War (2003)

From the original review: “As a documentary, The Fog of War sometimes gets clouded by its own cinematic devices…[but] the film works best when it’s simply an engaging monologue by an intelligent, evasive, and often frustrating Cold Warrior as he muses over a life perhaps not-so-well lived.

From the year-end list: “[A] spry McNamara succeeds in penetrating the fog of time to examine how he himself became lost in the maze-like logic of war. If you can withstand the frequent Phillip Glass-scored barrages, it’s worth a see.

Robert McNamara may have left us this past July, but his ghost haunts us still. The Oughts saw America engaged in two long wars that have moved in directions their planners did not intend or anticipate, and that we continue to wage this very moment. And, like almost all wars in human history, they’ve both been easier to start than finish. With another conflagration on his mind, T.S. Eliot once wrote: “Between the Idea and the Reality falls the Shadow.” Well, as McNamara and Errol Morris remind us here, when it comes to conflict, Between the Planning and the Execution lies The Fog of War. It’s something we’d do well to remember in the decade to come.

Part II (75-51) is now up

Next Stop Wonderland(s).

In the trailer bin of late:

  • She’s given up, stop: Mia Wasikowska, a.k.a. Alice, takes a tumble down the rabbit hole anew in our first look at Tim Burton’s Alice in Wonderland, also with Johnny Depp (frontlined a bit much here), Anne Hathaway, Helena Bonham Carter, Stephen Fry, Michael Sheen, Christopher Lee, Alan Rickman, Matt Lucas, Crispin Glover, Noah Taylor, and Timothy Spall. (Looks like a good start, although clearly there is still much CGI-rendering to do.)

  • In a post-apocalyptic wasteland, where naturally Gary Oldman is up to no good, a Mad Maxish Denzel Washington may be carrying the secret to something-or-other in the trailer for the Hughes Brothers’ The Book of Eli, also with Mila Kunis, Ray Stevenson, Jennifer Beals, Frances de la Tour, and Michael Gambon. (It’s good to see the Hughes, of From Hell and the underrated Menace II Society, back behind the camera. But I’m betting this’ll seem a bit been-there-done-that, coming so soon after John Hillcoat’s The Road.)

  • Kate Beckinsale uncovers something deadly, dark, and dangerous in the furthest reaches of Antarctica in the straight-to-video-ish trailer for Dominic Sena’s Whiteout, also with Gabriel Macht and Tom Skerritt. (It looks like The Thing, with shower scenes. Beckinsale is probably one of my bigger movie star crushes, but lordy, the woman needs a new agent.)

    And, as Comic-Con 2009 is just kicking off:

  • Pushing Neil Blomkamp’s District 9, Peter Jackson talks The Hobbit and Tintin. (Apparently, the script for The Hobbit is three weeks away, and four or five of the 13 dwarves have been front-lined. Spielberg has finished a first cut of Tintin: Secret of the Unicorn, and The Lovely Bones comes out Dec. 11, with a trailer Aug. 6.)

  • Jonah Hex gets a poster that is sadly devoid of Malkovich. (For what is here, the scar looks decent enough, Megan Fox in anything gives me pause (but I guess she’s a hot ticket after the Transformers sequel made so much bank), and the lettering looks a bit futuristic for the property…unless they’re going post-Crisis Hex.

  • TRON 2.0, a.k.a. TR2N, is now called the much-more-boring TRON LEGACY. But, hey, at least they’re not abusing the colon…yet. (More TRON news, of sorts, in the post below, and, since the weekend is young, undoubtedly more Comic-Con news to come.) Update: The TR2N footage that premiered last Comic-Con is now — finally — up in glorious Quicktime.

  • A Snowy Christmas.

    Billions of bilious blue blistering barnacles in a thundering typhoon! Steven Spielberg (and Peter Jackson)’s The Adventures of Tintin: The Secret of the Unicorn gets a release date — December 23, 2011. “Starring Jamie Bell (Billy Elliot) as Tintin, the intrepid young reporter whose relentless pursuit of a good story thrusts him into a world of high adventure, and Daniel Craig (Quantum of Solace) as the nefarious Red Rackham, the international cast also includes Andy Serkis, Simon Pegg, Nick Frost, Gad Elmaleh, Toby Jones and Mackenzie Crook.

    The Haddocks go Thompson.

    In honor of the character’s 80th birthday (or 560th, if we’re talking about Snowy), fans and future trilogy directors Steven Spielberg and Peter Jackson brandish Thompson hats and umbrellas while talking Tintin. Now that Zack Snyder’s Watchmen has come and gone, I suppose it’s Tintin that’s the next “I can’t believe they’re really making a big-budget film version of this” beloved property of my youth. (Which probably means that, sometime around my 40th birthday, David Fincher’s Mr. Men will be hitting the multiplexes as well.)

    A Dark Hour for Lincoln.

    “A source close to Spielberg says the director is busy with his next film, Tintin, and is not wringing his hands over Paramount’s decision. But another source associated with the project, asked about the process, said, ‘I think it’s called water-boarding.’” Will Steven Spielberg’s long-gestating Lincoln biopic (with Liam Neeson and Sally Field as the president and first lady respectively) become a victim of the downfall of Dreamworks? “This past weekend, he’s been waiting for executives at Paramount–the studio he ditched last year–to decide whether to make the film and hire him to direct it.

    Well, the dubious merits of Amistad notwithstanding, I can think of a couple dozen other movie projects I’d like to see the plug pulled on before this one.

    2008 in Film.

    Well, now that we’re in the second month of 2009, and since I’m *mostly* caught up on last year’s prestige crop, it seems arguably the last, best time to write up the belated Best of 2008 Movie list. (I did see one more indy film of 2008 Sunday morning, but as it was after my arbitrarily-chosen 1/31 cutoff, it’ll go in next year’s list.) Compiling the reviews this year, it seems my October hunch was correct: For a combination of reasons, I went to the movies a lot less than usual in 2008. (The review count usually clocks in around 45. Last year, I only saw 30 films on the big screen.) And, looking over the release schedule, I see lots of movies I had every intention of viewing — Appaloosa, Be Kind, Rewind, Blindness, Choke, Leatherheads — and never got around to.

    At any rate, given what I did see, here’re the best of ‘em. And here’s hoping the 2009 list will be more comprehensive. As always, all of the reviews can be found here. (And if a movie title doesn’t link to a full review, it means I caught it on DVD.)

    Top 20 Films of 2008

    [2000/2001/2002/2003/2004/2005/2006/2007]


    1. The Dark Knight: Yes, it’s the obvious fanboy pick. And, admittedly, TDK had pacing problems — it was herky-jerky at times and the third act felt rushed. Still, in a not-particularly-good year for cinema, Christopher Nolan’s operatic reimagining of the Caped Crusader and his arch-nemesis was far and away the most enjoyable experience i had at the movies in 2008. And if Candidate Obama was America’s own white knight (metaphorically speaking) this past year, Heath Ledger’s Joker was its mischievous, amoral, and misanthropic id. If and when the economic wheels continue to come off in 2009, will stoic selflessness or gleeful anarchy be the order of the day? The battle for Gotham continues, and everybody’s nervously eyeing those detonators. Let’s hope the clown doesn’t get the last laugh.


    2. Milk: What with a former community organizer turned “hopemonger” being elected president — while evangelicals, conservatives and sundry Mormons inflicted Proposition 8 on the people of California — Gus Van Sant’s vibrant recounting of the tragedy of Harvey Milk was obviously the timeliest political movie of 2008. But, in a year that saw entirely too much inert Oscar-bait on-screen in its final months, Milk — romantic, passionate, and full of conviction — was also one of the most alive. While it extends some measure of compassion even to its erstwhile villain (Josh Brolin), Milk is a civil-rights saga that harbors no illusions about the forces of intolerance still amongst us, and how far we all still have to go.


    3. The Wrestler: Have you ever seen a one-trick pony in the fields so happy and free? Me neither, to be honest, but Aronofsky’s naturalistic slice-of-life about the twilight days of Randy “the Ram” Ramzinski was likely the next best thing. I don’t know if Mickey Rourke will experience a career resurrection after this performance or not. But he won this match fair and square, and nobody can take it from him.


    4. Let the Right One In: As if living in public housing in the dead of a Swedish winter wasn’t depressing enough, now there’s a nosferatu to contend with… My Bodyguard by way of Ingmar Bergman and Stephen King, this creepy and unsettling tale of a very unsparkly pre-teen vampyrer will leave bitemarks long after you step out into the light.


    5. 4 Months, 3 Weeks, & 2 Days: A 2007 release that made it stateside in 2008, 4 Months, 3 Weeks, & 2 Days is a movie that I probably wouldn’t ever want to watch again. Still, this grim, unrelenting journey through the seedy hotels and sordid back-alleys of Ceaucescu’s Romania is another hard one to shake off. And, tho’ I caught it early on, it remained one of the very best films of the year.


    6. WALL-E: If you saw one movie last year about a boy(bot) from the slums meeting — and then improbably wooing — the girl(bot) of his dreams, I really hope it was WALL-E. Hearkening back to quality seventies sci-fi like Silent Running, Andrew Stanton’s robot love story and timely eco-parable is a definite winner, and certainly another jewel in the gem-studded Pixar crown. I just wish it’d stayed in the melancholy, bittersweet key of its first hour, rather than venturing off to the hijinx-filled, interstellar fat farm. Ah well, bring on Up.


    7. Iron Man: Much better than I ever anticipated, Jon Favreau’s (and Robert Downey Jr.’s) Iron Man kicked a summer of superheroes off in grand fashion. In the end, I preferred the gloomy stylings of Gotham in 2008, but there’s definitely something to be said for this rousing, upbeat entrant in the comic movie canon. It delivered on its own terms, and it was a much better tech-fetishizing, boys-and-their-toys type-film than, say, 2007′s Transformers or (I suspect) 2009′s GI Joe. Bonus points for the Dude going all Big Jeff Lebowski on us here…now quit being cheap about the sequel.


    8. Man on Wire: 4:40pm: Two foreign nationals and their American abettors successfully navigate past the guard checkpoint of the World Trade Center’s South Tower. Their fanatical mission: To use the WTC as a symbol to transform the world…through an act of illegal, death-defying performance art. Although it never explicitly mentions 9/11 (of course, it doesn’t need to — the towers themselves do most of the work, and reconstructing its story as a heist does the rest), the stirring documentary Man on Wire, about Phillipe Petit’s 1974 tightrope-walk between the towers, gains most of its resonance from the events of that dark day in 2001.

    After seventy minutes or so, just as it seems this unspoken analogy is starting to wear thin, Petit finally steps out onto that ridiculous wire, and Man on Wire takes your breath away. Nothing is permanent, the movie suggests. Not youth, not life, not love, not even those majestic, formidable towers. But some moments — yes, the beautiful ones too — can never be forgotten. (Note: Man on Wire is currently available as a direct download on Netflix.)


    9. U2 3D: One of two 2008 films (along with #16) which seemed to suggest the future of the movie-going experience, U2 3D was both a decently rousing concert performance by Dublin’s fab four, and — more importantly — an experimental film which played with an entirely new cinema syntax. Just as students look back on D.W. Griffith films of a century ago as the beginnings of 2D-movie expression, so too might future generations look at this lowly U2 concert and see, in its layering of unrelated images onto one field of vision, when the language of 3D really began to take off. At which point someone might also say, “Man, I wish they’d played ‘So Cruel’ instead of some of these tired old dogs.”


    10. The Visitor: I wrote about Tom McCarthy’s The Visitor (which I saw on DVD) some in my Gran Torino review, and my criticism there stands: As with Torino, the central thrust of this story is too Bagger Vance-ish by half. Still, it’s fun to see a likable character actor like Richard Jenkins get his due in a starring role, and he’s really great here. And, if the “magical immigrant” portions of this tale defy reality to some extent, McCarthy and Jenkins’ vision of a life desiccated by years of wallowing in academic purgatory — the humdrum lectures, the recycled syllabi, the mind-numbingly banal conferences, all divorced from any real-world interaction with the issues at hand — is frighteningly plausible.


    11. Synecdoche, New York: Long on ambition and short on narrative coherence, Charlie Kaufman’s directorial debut is the There Will Be Blood of last year’s crop, in that it’s a film that I think will inspire a phalanx of ardent defenders among movie buffs, who will argue its virtues passionately against all comers. For my own part, I admired this often-bewildering movie more than I actually enjoyed it, and ultimately found it much less engaging than Kaufman’s real magnum opus, Eternal Sunshine of the Spotless Mind. Still, I’m glad I made the attempt, and it’s definitely worth seeing.


    12. Frost/Nixon: Two man enter, one man leave! More a sports movie than a political one, Ron Howard and Peter Morgan’s Frost/Nixon is a decently entertaining depiction of two hungry down-and-outers locked in the debater’s version of mortal kombat. That being said, I kinda wish the stakes had seemed higher, or that the substance of the issues at hand — Vietnam, Cambodia, Watergate — had been as foregrounded as the mano-a-mano mechanics of the interview. Plus, that scene where Tricky Dick sweeps the leg? That’s not kosher.


    13. Snow Angels: David Gordon Green’s quiet, novelistic Snow Angels is an early-2008 film I caught on DVD only a few weeks ago, and it’s been slowly sneaking up the list ever since. Based on a 1994 book by Stewart O’Nan, the movie depicts the intertwined lives of a small New England community, and recounts the tragic circumstances that lead to two gunshots being fired therein one winter afternoon. (If it sounds like Atom Egoyan’s The Sweet Hereafter, it’s very close in form, content, and melancholy impact.)

    In a movie brimming over with quality performances — including (an ever-so-slightly-implausible) Kate Beckinsale, Nicky Katt, Amy Sedaris, and the long-forgotten Griffin Dunne — three actors stand out: Michael Angarano and Olivia Thirlby fall into one of the most honest, believable, and affectation-free high school romances I’ve seen in a movie in ages. And the always-watchable Sam Rockwell sneaks up on you as a perennial loser who tries to be a good guy and just keeps failing at life despite himself. At first not much more than an amiable buffoon as per his usual m.o., Rockwell’s gradual surrender to his demons — note his scenes with his daughter, or in the truck with his dog, or at the bar — gives Snow Angels a haunting resonance that sticks with you.


    14. Burn After Reading: As I said in the original review, it’s not one of the all-time Coen classics or anything. But even medium-grade Coen tends to offer more delights than most films do in a given year, and the same holds true of their espionage-and-paranoia farce Burn After Reading in 2008. From John Malkovich’s foul-mouthed, (barely-)functioning alcoholic to George Clooney as a (thoroughly goofy) lactose-intolerant bondage enthusiast to, of course, Brad Pitt’s poor, dim-witted Chet, Burn introduced plenty of ridiculous new characters to the brothers’ already-stacked rogues’ gallery. This is one (unlike The Ladykillers) that I’m looking forward to seeing again.


    15. Vicky Cristina Barcelona: Another catch-up DVD rental, this was Woody Allen’s good movie last year (as opposed to the woeful Cassandra’s Dream), and a smarter-than-average relationship film (as one might expect from the man behind Husbands and Wives and Annie Hall.) There’re some definitive Allen tics here that take some getting used to in the new environment of Barcelona — a very Woody-ish omniscient voiceover, some Allenesque quips emanating from Scarlett Johannson and the striking Rebecca Hall (late of Frost/Nixon and The Prestige), and, as per Match Point and Scoop, some rather outdated depictions of the class system. (Hall’s fiance, played by Chris Messina of Six Feet Under, is basically a caricature of the boring, born-entitled Ivy League grad, circa 1965.)

    Still, if you can get past all that, Vicky Cristina is quite worthwhile. (And, as far as the Oscar buzz goes, I’d say Javier Bardem makes more of an impression here than does Penelope Cruz.) Whether you’re as old as Woody or as young as Vicky and Cristina, the story remains the same: love is a weird, untameable thing, and the heart wants what it wants.


    16. Speed Racer: Easily the most unfairly maligned movie of 2008 (and I’m not a Wachowski apologist — I thought Matrix: Revolutions was atrocious), Speed Racer is an amped-up, hypercolorful extravaganza of the senses, and, this side of the original Matrix, one of the more interesting attempts I’ve seen at bringing anime to life. Critics derided it pretty much across the board as loud, gaudy nonsense, but, then as now, I’m not sure what they went in expecting from the film adaptation of a lousy sixties cartoon involving race cars and silly monkeys. This is where some readers might ask: “Um, are you really saying Speed Racer is a better movie than Revolutionary Road?” And I’m saying, yes, it’s much more successful at what it aimed to accomplish, and probably more entertaining to boot. Sure, Racer is a kid’s movie, but so was WALL-E. And, given most of the drek put before the youths today, it’s a darned innovative one. Plus, I’ve seen a lot of filmed laments about quiet-desperation-in-the-suburbs in my day, but for better or worse, in my 34 years of existence, I had never seen anything quite like this.


    17. Gran Torino: Alas, Speed Racer, it seems, grew old, got ornery, and began fetishizing his car in the garage instead. Good thing there’re some kindly Hmong next door to pry open that rusty heart with a crowbar! Like The Visitor, Torino suffers from an excess of sentiment when it comes to its depiction of 21st-century immigrants and their salutary impact on old white folks. But, as a cautionary coda to a lifelong career glorifying vigilantism, Eastwood’s Gran Torino has that rusty heart in the right place, at least. And while Eastwood’s Walt Kowalski may be a mean old cuss, Eastwood’s performance here suggests that the old man’s got some tricks in him yet.


    18. A Christmas Tale: I wrote about this movie very recently, so my thoughts on it haven’t changed all that much. A bit pretentious at times, Arnaud Desplechin’s anti-sentimental holiday film has its virtues, most notably Chiara Mastroianni eerily (and probably inadvertently) channeling her father and the elfin Mathieu Amalric wreaking havoc on his long-suffering family whenever possible. It’s a Not-So-Wonderful Life, I guess, but — however aggravating your relatives ’round christmastime — it’s still probably better than the alternative.


    19. Tropic Thunder: Its pleasures were fleeting — I can’t remember very many funny lines at this point — and even somewhat scattershot. (Tom Cruise as Harvey Weinstein by way of a gigantic member was funny for the first ten minutes. Less so after half an hour.) Still, give Tropic Thunder credit. Unlike all too many comedies in recent years, it didn’t try to make us better people — it just went for the laugh, and power to it. And when the most controversial aspect of your movie turns out not to be the white guy in blackface (or, as we all euphemistically tend to put it now, “the dude disguised as another dude“), but the obvious Forrest Gump/Rain Man spoof, I guess you’ve done something right.


    20. W: Nowhere near as potent as Stone’s early political forays, JFK and Nixon, W still came close to accomplishing the impossible in 2008: making the out-going president seem a sympathetic figure. I suppose several other films could’ve sat with distinction in this 20-spot — In Bruges or Benjamin Button, perhaps — but none of them would’ve afforded me the opportunity to write these lovely words once more: So long, Dubya.

    Honorable Mention: It wasn’t a movie, of course. But 2008 was also the year we bid farewell to The Wire. Be sure to raise a glass, or tip a 40, in respect. (And let’s pray that — this year, despite all that’s come before — a “New Day” really is dawning.)

    Most Disappointing: Indiana Jones and the Kingdom of the Crystal Skull

    Worth a Rental: The Curious Case of Benjamin Button, In Bruges, Revolutionary Road, Valkyrie

    Don’t Bother: Cassandra’s Dream, Cloverfield, The Chronicles of Narnia: Prince Caspian, Doubt, Hellboy II: The Golden Age, The Incredible Hulk, Quantum of Solace, Slumdog Millionaire, Wanted

    Best Actor: Mickey Rourke, The Wrestler, Sean Penn, Milk, Richard Jenkins, The Visitor
    Best Actress: Anamaria Marinca, 4 Months, 3 Weeks, and 2 Days, Lina Leandersson, Let the Right One In, Rebecca Hall, Vicky Cristina Barcelona
    Best Supporting Actor: Heath Ledger, The Dark Knight, Josh Brolin, Milk, Jeff Bridges, Iron Man, Sam Rockwell, Snow Angels
    Best Supporting Actress: Marisa Tomei, The Wrestler, Tilda Swinton, The Curious Case of Benjamin Button

    Unseen: Appaloosa, Australia, The Bank Job, Be Kind, Rewind, Blindness, Body of Lies, Cadillac Records, Changeling, Choke, The Class, Defiance, Eagle Eye, The Fall, Funny Games, Hancock, Happy Go Lucky, Harold and Kumar Escape from Guantanamo, Leatherheads, I Loved You So Long, The Lucky Ones, Miracle at St. Anna, Pineapple Express, Rambo, The Reader, Redbelt, RockNRolla, The Spirit, Traitor, Waltz with Bashir

      A Good Year For:
    • Billionaire Do-Gooders (The Dark Knight, Iron Man)
    • Lonely Old White Guys (Gran Torino, The Visitor, The Wrestler)
    • Magical Immigrants (Gran Torino, The Visitor)
    • Rebecca Hall (Vicky Christina Barcelona, Frost/Nixon)
    • Richard Jenkins (The Visitor, Burn after Reading)
    • Robert Downey, Jr. (Iron Man, Tropic Thunder)
    • Romance at the Junkyard (WALL-E, Slumdog Millionaire)
    • Sam Rockwell (Choke, Frost/Nixon, Snow Angels)
    • Teenage Vampirism (Let the Right One In, Twilight)
    • Tosca (Quantum of Solace, Milk)
      A Bad Year For:
    • GOP Ex-Presidents (Frost/Nixon, W)
    • Political Do-Gooders (The Dark Knight, Milk)
    • Pulp Heroes (The Spirit)
    • Vigilantism without Remorse (Gran Torino, The Dark Knight)
    • Would-Be Assassins (Valkyrie, Wanted)
    2009: Avatar, The Box, Bruno, Coraline, Duplicity, Harry Potter and the Half-Blood Prince, The Imaginarium of Dr. Parnassus, Knowing, The Lovely Bones, New York, I Love You, Observe and Report, Push, Sherlock Holmes, The Soloist, State of Play, Star Trek, The Taking of Pelham 1-2-3, Terminator: Salvation, Up, Where the Wild Things Are, The Wolfman, Wolverine and, of course,

    Hrm.

    Bell Tolls for Tintin. | Unicorn Rising.


    Word comes down today that (as rumored way back in 2004) Jamie Bell will replace Thomas Sangster as Tintin, and Daniel Craig will play the fearsome Red Rackham, in Steven Spielberg’s forthcoming The Adventures of Tintin: The Secret of the Unicorn, first of the planned mo-cap trilogy. Moreover, Shaun of the Dead scribe Edgar Wright has given Stephen Moffat’s script a polish. (As reported earlier, Andy Serkis is Captain Haddock and Wright’s usual brothers-in-arms are Thomson and Thompson respectively.)

    Hmm. With Spielberg’s first film likely covering Unicorn and Rackham, I wonder if PJ’s contribution will involve Destination Moon/Explorers on the Moon or The Seven Crystal Balls/Prisoners of the Sun. And Toby Jones is now among the cast too, it seems…Professor Calculus?

    Wonder Twins Activate.

    Doctor, doctor, can’t you see they’re burning, burning? I missed this rumor when it first got some run last September, but apparently AICN has confirmed it: Fanboy brothers-in-arms Simon Pegg and Nick Frost of Spaced, Shaun of the Dead, and Hot Fuzz have been cast as the Thompson twins in the forthcoming PJ/Spielberg Tintin films. Now that’s great casting, particularly as they’re pretty much impossible to tell apart.

    In other Tintin news I missed, Thomas Sangster (a.k.a. Tintin) is now off the project due to scheduling conflicts (and writer Steven Moffat also left to pursue Who.) But Andy Serkis is still Haddock, and Jackson and Spielberg are still directing the first two installments.

    Sloppy Jones.


    Loath am I to be the bearer of bad tidings on this front, but it must be said: Upon walking out of the midnight show of Steven Spielberg’s Indiana Jones and the Kingdom of the Crystal Skull last night, I found myself grappling with a condition that can only be described as “Prequelitis.” To wit, I felt almost exactly as I did after emerging from The Phantom Menace in 1999, struggling to rectify the mental disconnect between my strong desire to like the movie I just witnessed and the undeniable sense that said film had been lousily written, if not thoroughly mediocre. As such, I wrote up a pretty negative review of Crystal Skull here this morning, before deciding that, even though I’d calibrated my expectations to the floor going in, perhaps I’d still carried too much baggage into the film with me. (After all, while Raiders of the Lost Ark is an enduring masterpiece, its strength tends to make me forget how campy Last Crusade turned out to be, and how borderline-unwatchable Temple of Doom seems today.) And so, in between packing up the apartment this afternoon, I decided to give the film one more shot, unburdened by any expectation whatsoever. I figured, after all these years, I owed Dr. Jones that much.

    Well, I enjoyed the film slightly more the second time, particularly its first forty-five minutes. And in both viewings, I found the movie a decently diverting thrill ride, with a few very brief glimpses of real Indy grandeur. Let me be clear: the film isn’t Attack of the Clones atrocious — It’s more on the order of a cable-grade Indy knockoff like National Treasure (and, in fact, it’s probably better than Temple of Doom, although I guess that jury’s still out.) But, given its two decades of gestation, Indiana Jones and the Kingdom of the Crystal Skull still seems a remarkably shoddy enterprise, despite yeoman’s work by Harrison Ford, Cate Blanchett, Shia La Boeuf, and the rest of the cast. The main problem is neither the years nor the mileage: It’s the sloppy, patchwork script. (The screenplay is attributed to David Koepp, but it went through the hands of a slew of writers first, and definitely bears the fingerprints of George Lucas.) Overstuffed with midichlorian-style exposition, random acts of slapstick, and useless, one-note characters, Crystal Skull makes very little sense, even if you manage to make allowances for the arbitrary, Looney Tunes physics that now seem to hold sway over the Indyverse. As it is, Crystal Skull seems so haphazardly scripted at times that one wonders why they greenlighted this version of the film at all…unless, of course, Spielberg and Lucas just figured we’d all go see the movie regardless. (Alas, they’re probably right. I mean, I’m mostly hating on it and I saw it twice.)

    At any rate, Indiana Jones and the Kingdom of the Crystal Skull begins in Nevada, 1957, with a clever fade-in to a US Army convoy, an impromptu American Graffiti-style drag race (Old Lucas), and the first of three reaction shots by CGI prairie dogs (Sigh…New Lucas). Said convoy approaches a checkpoint, guns down everyone in sight (They’re Russkies!), and stops outside a top-secret military hangar, a.k.a. Area 51. These Soviet ne’er-do-wells then pop out of a trunk two captives they grabbed in Mexico: The one and only Henry Jones, Jr., Ph.D. (Ford, with a long-missing gleam in his eye) and his current sidekick, Mac (Ray Winstone, woefully underused). After the requisite introductions are made, Jones and Mac meet the Lady in Charge, the black-bobbed, blue-suited psychic scientist Irina Spalko (Cate Blanchett, playing it broad…but, really, how else does one play a Ukrainian dominatrix?), who demands that they help her find a hypermagnetic treasure somewhere in the hangar. This box is found, shenanigans ensue, Indy pulls off easily his most death-defying stunt yet (I have to admit, I kinda dug it)…and we’re at Marshall College, where Professor Jones has now found himself on the wrong end of the blacklist. (In 1957?) Just as he’s looking to go adjunct in Leipzig, Indy meets a young greaser-adventurer, Mutt Williams (Shia LaBoeuf, fine), who says that both his father-figure (and Indy’s old friend) Prof. Oxley (John Hurt) and his mother Mary (guess) have gone missing in Peru. What’s more, it all seems to have something to do with a mysterious Crystal Skull…

    So far, so good. Not only do Ford and LaBoeuf have a nice, easy rapport, but Ford seems like he’s shown up to play for the first time since, I dunno, Air Force One? One reason why Indy 4 is — and will likely remain — more satisfying than the Star Wars prequels is that this is in fact the “real” Indiana Jones here (and he even gets to channel Han Solo at one point.) Watching Ford reawaken his long-dormant scoundrel edge is a kick in and of itself, and he has a few fun, iconic moments here. (See, for example, Atomic Age Indy in the early going. The second-act quicksand scene is a poorly-scripted non-sequitur, but Ford almost sells it, and I love the way he lights up so goofily when you-know-who emerges.) But, while Blanchett is both good pulpy fun and very easy on the eyes as Agent Spalko, the rest of the cast suffers mightily with too little to do. Jim Broadbent does passable, if unnecessary work as the Ghost of Marcus Brody, I suppose. But Ray Winstone (a.k.a. Sallah meets Elsa) and John Hurt (the voice of the Maguffin) in particular are given thankless, underwritten parts, and both are too good at what they do to be wasted as plot devices, as they are here.

    Underwritten characters are only part of the problem. Another aggravating fault of Crystal Skull is that it compels the audience to forsake the reasonable suspension of disbelief that has usually undergirded the series and instead treat the movie like a full-fledged cartoon. Now, obviously, there are elements in the earlier films, even in the estimable Raiders, that fly in the face of established reality. (One of the quintessential fanboy conundrums, akin to “Why didn’t Frodo just fly an eagle to Mordor?,” is “How the heck did Indy survive that ride on the Nazi sub?” And Temple of Doom in particular is rife with goofiness.) Still, Crystal Skull strains credulity time and time again. I can forgive the end of the opening scene, even if it’s arguably the (second-)dumbest moment in the movie, just because it is particularly fun (and, as I said, it’s capped with a great money shot.) I’ll even give the two-car jungle swordfight a pass, as I suppose it’s in the tradition of Errol Flynn and the old-school serials. But that rubber-banding tree? “Three times, it goes down“? And, don’t even get me started on the ghastly trainwreck of the senses that is Tarzan Mutt.

    Even if you’re willing to roll with the Wile E. Coyote/Road Runner rules Crystal Skull lives by (as I tried to the second time), the script is chock-full of continuity errors and moments that irritatingly don’t make any sense. [Spoilers] Why doesn’t Indy know Spalko’s name or identity when being debriefed, when he just called her out in the previous scene? If KGB are stalking Indy at work, wouldn’t they also stake out his home? Who or what are the native folk protecting the crypt and temple? (If they’re living, why do they all pop out of the walls at once? If they’re dead, why are they affected by poisons and machine guns?) What kind of “help” would Indy expect “the Ox” to get? Doesn’t Indy carry a whip for situations exactly like quicksand? What causes this film’s creepy-crawlies to go their collective separate way? How can Indy or anyone else not notice the transponders? How would the baddies be able to follow Indy et al past the disappearing staircase-and-spike trap? Nobody’s ever noticed this gimongous Amazonian basin of temples from the air? One or two minor quibbles are simply grounds for fanboy nitpicks, sure. But the lazy scriptwriting here is off-putting and distracting in its sloppiness, particularly when you factor in all the Basil Expositioning we have to sit through in the middle going.

    One reason Crystal Skull seems so disappointing, I think, is that most of its best moments occur in the first hour, while all of these streams of lousiness I’ve just listed converge with a vengeance in the last twenty-five minutes or so. Everything after the nod to The Naked Jungle (and the beside-the-prop-plane fight in Raiders) is silly to the point of being near unwatchable, as Indy and his four sidekicks (think Team Indy Power Rangers) wander around the temple talking about watching stuff happen. I don’t begrudge Lucas and Spielberg’s turn toward 50′s pulp sci-fi here — in fact, I think that was a very clever way of rejuvenating the series — and I think the final reveal might’ve worked really well. (Granted, it’s not much of a reveal — They’ve been toting around that damn skull for 90 minutes.) But the incoherence of Crystal Skull‘s last act only underscores how much more work needed to be done before this pic ever got filmed. Even by the laxest of standards I accorded this movie the second time around, the final act is an unsatisfying mess, right down to its last few moments.

    So, did I hate this fourth installment? No, I wouldn’t say that. Even the first time ’round, I usually had a smile on my face throughout. Crystal Skull has its moments here and there and, like I said, it’s no worse than one of the Mummy sequels. If anything, I’d say it’s Mostly Harmless. But, even after the humbling experience of the prequels, and even after lowering my expectations to suit both my and the franchise’s advanced age, I still find I expected more from Kingdom of the Crystal Skull than what we have here: namely, a dopey-but-diverting, nostalgia-heavy advertisement for a forthcoming thrill park ride. Spielberg, Lucas, and Ford haven’t embarrassed their franchise here, I guess. But — thanks mostly to the poorly-conceived script, they sadly haven’t contributed much of import either.

    Abe Lincoln and the Land of the Sundered Republic.

    Lincoln laughs last? It seems that due to rewrite issues with the rumored Abbie Hoffman film, Steven Spielberg has put his Lincoln biopic back on the front-burner, to be shot right after Tintin (a la Jurassic Park/Schindler’s List and War of the Worlds/Munich.) Other than Liam Neeson and Sally Field as President and Mrs. Lincoln respectively, no other casting has been announced.

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