Brick (2005)

Film noir is possibly the least understood, least produced genre of film out there, and with good reason—it's a genre that lends itself perfectly to self-parody. Brick manages to be a triumph of storytelling, of character, and even self-awareness. Following one teen's search for an ex-girlfriend's killer through the caste system inherent in any high school, the tale woven is deep with twists and heavy with carefully constructed conspiracy. Like any good film noir, you get your tough-to-trust femme fatale, a troubled lead expertly played by Joseph Gordon-Levitt, and a deeply integrated style of overwrought dialogue that manages to create a world all its own. But on the other hand, setting a murder mystery in a high school turns almost into a parody of itself. If anything, the age and setting take away from the experience. The film does such a good job at portraying a compelling narrative that the immersion is occasionally broken when you remember these are all kids. Still, as an example of smartly effective, layered filmmaking, any shortcomings can easily be overlooked. The story here is just too damn good.

9 out of 10.

Note: If you'd like to put together a great double-feature, watch this, then follow it up with The Lookout. Both star Joseph Gordon-Levitt, both have a similar tone, and both are absolutely fantastic films.

The Hidden Fortress (1958)

Also known as Kakushi-toride no San-akunin.
Akira Kurosawa's films influenced entire generations of filmmakers, and continue to be a driving force in cinema today more than 15 years after his last film (and 10 since his death). The Hidden Fortress is well known to be the inspiration for George Lucas' Star Wars, and on further examination it becomes more and more obvious, but still manages to stand well apart from the sci-fi classic as an fantastically fun adventure of its own. Depicting two greedy, dimwitted peasants as they get recruited by an old samurai general to safeguard a princess, the parallels are easy to see, but that's where the similarities end. From there it's a light, wonderfully entertaining trudge across feudal Japan filled with a good bit of class conflict comedy and a couple of exciting sword fights. The film has aged exceptionally well, being readily accessible and entertaining to a modern audience, even managing to bridge the cultural divide thanks to its broad sense of humor and extremely likable characters. Simply put: this is an popcorn muncher heirloom, and a treasure to anyone seeking to see some of the best of what classic cinema has to offer.

8 out of 10.

The Thin Red Line (1998)

Terrance Malick isn't known for making bad movies, which is just one of the reasons why The Thin Red Line is so surprising. This intensely introspective World War II drama isn't really about war at all, but about the internal dialogue and mid-traumatic stress disorders folks get while in the thick of a firefight. The problem is it's so laboriously paced and thoughtfully meandering that most of the film is taken up by copious amounts of the beautifully shot scenery. Still, it's got a ridiculously great cast, which includes at least a half-dozen household names (George Clooney, Nick Nolte and Sean Penn, for example), and a good ten other folks that any film geek could easily recognize (such as John C. Reilly, Thomas Jane, and Adrien Brody), almost all cast as mere extras or single-line, single-scene characters. That such a huge amount of talent and money was used on a film that is at least an hour too long by a director who many consider one of the eccentric greats is such a shame. While I give some credit to the gorgeous scenery, and even a fantastic performance by Nolte, the majority of the movie seems to just drag on and on and on. If you're wanting a thinking man's war film, go ahead and slop another point onto my score. Otherwise, there are far better ways to look inside a soldier's head than this, both figuratively and literally.

5 out of 10.

The Best Films of 2007

A few months ago someone asked me why the scores on this site seemed to be skewing so high. Obviously they hadn't tried going to the movies in '07, or they would've realized that it was almost impossible NOT to see something spectacular onscreen. But while 2007 was a great year, it wasn't just movies that had a strong showing.

Videogames also saw perhaps their best year since 1998. Last year saw the release of Bioshock, Portal and Super Mario Galaxy, all genre-defining games in their own way. In the gaming circles, discussion rages on whether 2007 was the best year in gaming, period. Similarly, music may not have had a banner year, but it was a pretty good one, with exceptional offerings from the Foo Fighters, Radiohead, and the much-delayed US release of Amy Winehouse's debut album Frank. In books, we had the final Harry Potter book, which is pretty much the first and final word on successful franchises in that realm.

But what about film? If you ask a movie lover, they'll likely say it was the best year since 1999, which saw the action genre defined by The Matrix, suburbia done superbly by American Beauty, and the brilliantly twisted The Sixth Sense, alongside such films as Being John Malkovich, Fight Club, Magnolia, The Iron Giant, Toy Story 2, the first new Star Wars film in 15 years, the surprisingly great South Park: Bigger Longer and Uncut, and the American release of my personal favorite film Princess Mononoke. Any year that is capable of standing next to such an onslaught of greatness must have been something indeed. All told, no matter what you enjoy spending your time on, it was difficult not to be nearly flogged to death by quality.

Frankly, I had a hell of a time narrowing my list down to what you see here, and even then I had to start making serious decisions to whether to include movies based on how good they were, or how much I enjoyed them. Do I side with a deliriously fun popcorn muncher, or a deeply touching drama? Ultimately, I split the difference. To give you some idea, I meant for this to be a top 10! What you see here is a list of what left the biggest impression on me, sorted by how much I enjoyed watching them. I hope this spurs some of you out there to give the films on this list a peek.

Oh, two quick things! This list is based on movies released in theaters somewhere in America for a general audience at any point in 2007. And you can click on the titles or artwork to take you to the review of that film.


one
Eastern Promises
It takes a lot for me to think a mob movie is approaching Godfather status, but this complex tale of trust and betrayal in the Russian mafia is at least knocking on the door. David Cronenburg paints his film with a master's hand, and the result is a bloody game of intimidation that I simply couldn't look away from.

two

Juno

Screenwriter Diablo Cody's debut effort is as effortlessly wistful and as amusingly portrayed as I could have possibly hoped for. Every bit of this film drips quirky charm and wit, but at its core is a sweet story of puppy-dog love that, despite its plot's central premise, is delightfully young at heart.


three
There Will Be Blood
I enjoy a good challenge, and few things in '07 were as challenging as this. While the intensely focused style of the film is sometimes at odds with the overarching narrative, the result is the kind of movie that I may have a hard time liking, but still couldn't get out of my head.

four

The Lookout

Joseph-Gordon Levitt's strong-willed performance in this smartly intricate heist drama shows a sense of craft and presence unusual in actors his age. Couple that with an exceptional performance by Jeff Daniels as his blind roommate, as well as the absolutely brilliant last act, and you come out with something altogether unique and utterly compelling. Side note: if you want to do a great double-feature, rent Brick, watch it first, then see this.


five
Knocked Up & Superbad (TIE)
I don't like ties, but these two films deserve to be taken together as solid proof that director/writer/producer Judd Apatow knows what he's doing. Both of these movies are foulmouthed comedies that are so honest they're sometimes hard to watch. But at their core are real characters in real situations that people can relate to. It's this honesty and heart that makes them great.

six
No Country For Old Men

By now it's getting old hat to call this a great film, but it really is. The Coen Brothers have crafted a tightly paced thriller that I found absolutely hypnotizing and darkly funny . Every minute of its slow-burn chase kept me at the edge of my seat, while Javier Bardem and Tommy Lee Jones put up two of the best performances of the year.


seven
Hot Fuzz

A totally over-the-top action spoof with a superbly deadpan and ironic sense of humor that throws jokes, puns, visual gags, and sly turns of phrase at you so often and so subtly that it'd take several viewings to catch them all? Sign me up!

eight

Perseoplis

I was totally bowled over by this film's true tale of tragedy and isolation, told through humor and self-parody. Add in the whimsical and utterly unique animation style, and you get something that isn't just genuinely touching but important as well.

nine

Zodiac

David Fincher said he set out to make the final word in procedural cop dramas. He succeeded. There's a sense of craft and methodical thinking here that is just breathtaking, and it's real-life trappings help eke out every single detail. It's a ballet of red herrings and red tape that is simply superb.

ten

The Great Debaters

The fiercely intelligent approach this film takes made it an exceptionally compelling watch. Director and star Denzel Washington manages to make an allegory for racial inequality without being preachy or condescending, and the debate angle gave the film a refreshing feeling of good sportsmanship.

eleven
The Diving Bell & the Butterfly

Sometimes the story alone is enough to make a great film, but the avant-garde style on display in this French import only enhanced its merit. This is the kind of true story that made me think the impossible is possible, but also makes me ask “what would I do in that situation?”

twelve

Ratatouille

Seeing something that is almost entirely a kid's film targeted directly at adults is truly unique (at least in America...). It's not at all the outright juvenile comedy I expected it to be, instead it's a comic drama about following one's passions and embracing change. I found it beautifully poignant.


thirteen

The Bourne Ultimatum

Usually over the course of a film series, the entries get progressively worse. Here, the final entry is one of the tightest, most intense action films I've ever seen! Not that any of the Bourne films are bad, but to end on such a strong note in this manner isn't just rare, but almost unheard of.

fourteen
Stardust

Once it sunk in, this film offered up such superb, pure entertainment that it had me smiling for days. Everything here is deliriously fun, though a good friend of mine rightfully pointed out that Robert De Niro pretty much makes this movie.

fifteen
The Mist
I'm horribly biased toward this movie, but I honestly think it's a fun exercise in claustrophobia, paranoia, and really scary monsters. Sure the "villian" lays it on thick (no pun intended), some of the effects sequences look less than stellar, and the ending leaves a lot to be desired, but for guilty pleasure fright-fests, this is the good stuff.

A fistful of Honorable Mentions: A Mighty Heart, Charlie Wilson's War, Harry Potter and the Order of the Phoenix, Transformers, The Host (Gwoemul), The King of Kong: A Fistfull of Quarters, Fido, Randy & the Mob, Death at a Funeral, 3:10 to Yuma, The Simpsons Movie, Enchanted, Sicko, Into the Wild, and Michael Clayton.


Here's hoping 2008 even comes close. Though frankly with the writer's strike, I doubt it.

Phineas Gopher's Best Films of 2007

While I was cooking up my own list (which I admit spent a lot more time in the oven than it should have), I asked my good friend and regular contributor "Phineas Gopher" to toss me his list of favorites as well. Here's what he had to say:


one
Knocked Up
One of the smartest, most honest comedies about love and relationships I’ve ever seen, with just the right amount of exaggeration given to very realistic characters. Satisfying overall, but frequently laugh-out-loud funny.

two

Ratatouille

A family film that dared to be smart and unconventional, disregarding product-placement and merchandising opportunities in favor of a fresh, consequently “clean”-feeling world (ironic for a tale about rats in the kitchen). Bursting with color and heart.

three
Grindhouse
Only Death Proof, Quentin Tarantino’s half of this double-feature, made a lasting impression on this reviewer, but the retro-themed package of two films plus faux previews made for one of our most enjoyable nights at the movies this year. A pity it did poorly at the box office. Experiments like this should be encouraged.

four

No Country For Old Men

The Coen Brothers and the artists they employ demonstrate that they are among the best filmmakers working today, delivering among other things gorgeous cinematography and taut editing. Javier Bardem, Tommy Lee Jones, and Josh Brolin could carry separate films with the strength of their performances here, and their collective force is riveting.

five

Harry Potter and the Order of the Phoenix
The most satisfying film in the fantasy series so far, it is also the first to be directed by David Yates. All the child actors have grown and matured in their craft, but Daniel Radcliffe stands out as Harry, finally making the character strong enough to root for. The duel at the end between Dumbledore and Voldemort features some of the best visual effects of the year.

six

Kiss My Snake

In Thailand there is a small community called King Cobra Village, where adults and children alike make a living “boxing” poisonous snakes for outsiders who pay to watch. This documentary illuminates the lives of several villagers, shows the many techniques they employ in putting on a show with such deadly participants, and shows the dangers and consequences involved.

seven
Randy and the Mob
Ray McKinnon’s unique blend of dead-pan dialogue and quirky characters makes for a comedy that has a bigger-than-normal share of brilliant moments.

eight

Once

Bittersweet, achingly real, and easily the most romantic film of the year. Best viewed with no expectations about the plot, this quiet little love story uses music to show the loneliness and longing of its characters, taking you on a brief journey into their lives then gently drifting back out again.

nine
Day Watch
This second installment in a Russian fantasy series directed by Timur Bekmambetov is even more visually stunning than its predecessor, Night Watch. The plot is convoluted, but the special effects are reason enough to watch. Have you ever seen a red sports car drive across the side of a skyscraper? It does, in fact, look cool.

ten

Fido

Set in the 1950s of some alternate universe, Fido shows a world in which a zombie apocalypse has come and gone, and society has rebuilt itself with the help of a giant corporation that provides zombie-taming equipment to the public. Zombies are now used as household servants or pets, and owning them is a sign of doing well. Actually very clever throughout.


honorable mention
The King of Kong: A Fistful of Quarters
A documentary on the world of competitive arcade video gaming, this is a surprisingly interesting examination of sportsmanship, or lack of it, in a very unorthodox sport.

Originally published in the
Arkansas Democrat Gazette

Night Watch (2004)

Also known as Nochnoy Dozor.
Here's a film so absolutely bursting with story ideas that the entire thing feels like one big setup for the sequel. Thankfully, it's also bursting with visual ideas, so if nothing else you get a eye full of impressive effects concepts. The story's central conceit about a shaky truce between conflicting sides of blood-drinking supermen (not necessarily vampires, though there are some here) is needlessly elaborate and told in such a way that feels both obtuse and pointlessly obscure. It still all makes sense when you look back at it, but getting to that point can be a chore. Couple that with a poorly explained set of apparently complex rules for the truce itself, and all you'll get here is a headache. But the visual side of this tale is remarkably inventive, enough so that the film is mostly redeemed. There are some really nifty effects sequences and action bits in place, and even some really cool ways to depict some of the more mundane details. The rest ranges from inoffensive to strangely spastic, such as the jarring editing that manages to keep a consistent pace despite itself. Calling it style-over-substance isn't quite accurate, since there's plenty of substance going on, but the style is just much more compelling. Either way it's an interesting, if troubled, ride.

6 out of 10.

Day Watch (2007)

guest review by Phineas Gopher

Also known as Dnevnoy Dozor
The follow-up to 2004’s Night Watch, based on a popular trilogy of modern Russian novels, is even more convoluted, involving secret societies of paranormally gifted beings – vampires, witches, and shape-shifters - existing in a shaky truce between good and evil. Think X-Men meets The Matrix. Once again filmed by visionary director Timur Bekmambetov, Day Watch continues the story with a budget that looks to be higher and visuals that are better than ever. Out of context the plot is silly, with the fate of humanity hanging in the balance over a piece of mystical chalk. But that really is beside the point. The film is like a comic book brought to life, with all the smoothed-over logic and emphasis on danger and destiny that implies. If the movie were any less explosive visually, this could be a problem. But the narrative rides a steady stream of wildly creative special effects like it was a new sports car, and the screenwriters serve up enough curious ideas—like body-swapping and deadly yo-yos—to keep it all interesting. The film is overlong at a 132 minutes, but the last act moves quickly enough for this to be forgivable.

7 out of 10.

Note: One other aspect I enjoyed was the unique approach to subtitles, carried over from Night Watch. The titles are incorporated more completely than in most other foreign films. They shake when someone is angry, shatter when something breaks; they are an organic part of the scenery that adds an almost constant touch of whimsy, and calls to mind the endearing playfulness of Amelie. How many action films can say that?

A Mighty Heart (2007)

Forgive me, but before we begin I'd like to express a personal note. This film is based on a very well covered story from 2002, and what I am about to say spoils the end of a movie based on a true story. I am sorry for that. I'm not sure when exactly I saw it, but the tape described (but mercifully not shown) of journalist Daniel Pearl's gruesome beheading was shown to me on a friend's computer some months after it had happened. I was 21, and for the first time in my life I saw real, honest-to-God violence of a level that even experienced minds would find nauseating. To say it gave me nightmares for weeks is an understatement; it rattled me down to the bones. For all the talk of violence-as-entertainment that gets done on this site, I would simply like to say that if nothing else, seeing true death, true evil is a totally different realm. If nothing else, it taught me that despite whatever violent videogames, or violent movies I may enjoy and call great, that there is a genuine difference between what is played for entertainment and what is real suffering. I wish I had never seen the tape—I really do. And for what little it's worth, my heart goes out to the widow Pearl and her family. Please have a look at http://www.danielpearl.org/ and see the ongoing work of a man and a family upholding ideals to bring about peace so that such evil may hopefully someday never be known again. Thank you.


Hopefully this review is not too biased, and my apologies if it lacks my usual spark, but to travel back (even if it's only five years) to such an galvanizing moment in my life was personally cathartic in ways maybe others won't experience. As a film, this is a very competently made crime drama with the fat trimmed and the pace brisk. Angelina Jolie is nearly unrecognizable as Mariane Pearl, the wife of journalist Daniel Pearl, who was kidnapped in Karachi, and her performance is both strong-willed and fittingly vulnerable. It has some issue with it's latter moments; much of the final breakdown is overlong and drawn out. The supporting cast is well picked and honest, though except for the police captain they don't really stand out. As a whole, this is a smartly told story of a heartbreaking tragedy.

8 out of 10.