Best Supporting Actress: Melissa Leo (The Fighter)- With a cavalcade of terrific actors found in The Fighter, Melissa Leo nearly rises above them all as she plays an emotionally unstable mother who doubles as a boxing manager to her son. The problem with Leo's character is that she simultaneously bolsters and derails her son's boxing career. Despite the character's fallacies, Leo is able to emanate a sense of tough love without transforming her character into an unsympathetic person. It's a true sign of someone who has perfected their craft.
Showing posts with label Best of.... Show all posts
Showing posts with label Best of.... Show all posts
Saturday, February 5, 2011
The Best in Film from 2010...Part Two
Best Supporting Actress: Melissa Leo (The Fighter)- With a cavalcade of terrific actors found in The Fighter, Melissa Leo nearly rises above them all as she plays an emotionally unstable mother who doubles as a boxing manager to her son. The problem with Leo's character is that she simultaneously bolsters and derails her son's boxing career. Despite the character's fallacies, Leo is able to emanate a sense of tough love without transforming her character into an unsympathetic person. It's a true sign of someone who has perfected their craft.
Friday, February 4, 2011
The Best in Film from 2010...Part One
After much deliberation, I have finally decided to cut my viewing of 2010 films short and assemble my Top Ten list for the year. There are plenty of films that I wish I could see, but alas there isn't enough time for me to capture the vast amount of films that have invaded the multiplexes. With that being said, I feel comfortable in saying that I've seen enough films to craft what I deem to be a respectable list. My list and selections for the Best of 2010 are not only based on how well a film was crafted, but also the emotional impact it had on me. So, this is my attempt at blending my subjective opinion with an objective eye. Without further ado, part one:
Wednesday, March 3, 2010
Top Ten Films of 2009 (The Belated Edition)
Even though 2009 has come and past, I couldn't help, but find myself immersed in the films from yesteryear. Usually I'm much quicker than this, but I felt there were too many films I had to see before I weighed in on my list. Obviously my list has the caveat of missing a few films, but when I look back on the list of films that I saw throughout the year, I felt I did an admirable job of watching as many as I possibly could. But as I look back on the year, I also feel that the year wasn't a strong way to cap off the decade. Certainly there were great, great films, but the year lacked a handful of definite masterpieces. Yet, when it's all said and done, this top ten list consists of films that I feel are worth at least one watch, if not adding to your film collection. Be sure to list your favorites or what you think! Without further ado, here are my top ten films from 2009:
Top Ten:
Top Ten from Year's Past:
Top Ten:
- (500) Days of Summer
- Up in the Air
- The Hurt Locker
- Sin Nombre
- Inglourious Basterds
- Where the Wild Things Are
- Up
- District 9
- In the Loop
- An Education
Honorable Mentions: A Single Man, A Serious Man, The White Ribbon, Precious, Moon, Harry Potter and the Half Blood Prince, and Avatar.
Best Actor: Jeremy Renner (The Hurt Locker)
Runner Up: George Clooney (Up in the Air)
Best Actress: Carey Mulligan (An Education)
Runner Up: Gabby Sidibe (Precious)
Best Supporting Actor: Christoph Waltz (Inglourious Basterds)
Runner Up: Anthony Mackie (The Hurt Locker)
Best Supporting Actress: Mo'Nique (Precious)
Runner Up: Anna Kendrick (Up in the Air)
Best Cinematography: The White Ribbon
Runner Up: Where the Wild Things Are
Best Score: Where the Wild Things Are
~http://www.youtube.com/watch?v=SbmXRGkgKwU
Runner Up: A Single Man
Best Original Song: "All is Love" - Karen O. (Where the Wild Things Are)~http://www.youtube.com/watch?v=rAfcBwYuNDU
Runner Up: "The Weary Kind"- (Crazy Heart)
Best Original Screenplay: Quentin Tarantino (Inglourious Basterds)
Runner Up: Scott Neudstadter and Michael Weber (500 Days of Summer)
Best Director: Kathryn Bigelow (The Hurt Locker)
Runner Up: Jason Reitman (Up in the Air)
Top Ten from Year's Past:
Top Ten 2007
- There Will Be Blood
- The Diving Bell and the Butterfly
- 4 Months, 3 Weeks, and 2 Days
- Atonement
- Juno
- Once
- No Country for Old Men
- Sweeney Todd
- Superbad
- Hairspray
Top Ten 2008
- The Dark Knight
- The Wrestler
- Slumdog Millionaire
- Wall-E
- In Bruges
- Milk
- Synecdoche, New York
- Happy-Go-Lucky
- Frost/Nixon
- Let the Right One In
Monday, November 16, 2009
Ten Most Important Films of the Decade (Part Three of Three)
Finally, I'm ready to conclude my epic list. With six films down, it's time to reveal the final four films of my list. Also, along with my final four I will list a few honorable mentions because the final decision was pretty tough. Nonetheless, here is part three:
Borat: Released in 2006, Sacha Baron Cohen's "Borat" became in my mind the pinnacle of film comedy. It was edgy, smart, repulsive, and ultimately a film that had frenetic laugh, after frenetic laugh. Yet, the key pieces to "Borat" were the unsuspecting interviewees and Sacha Baron Cohen. By using real interview subjects, Cohen was able to capture authentic reactions that would not only make the audience laugh, but also mumble in disgust, depending on what kind of immoral bile spilled out. In many respects it's like a natural observation and with that, you also capture the unpredictability of human interaction. Certainly Baron Cohen coaxed many interviewees into behaving badly, but his ability to draw out a range of reaction and emotions allowed for almost a novel and unpredictable feel to the film. Obviously there have been comedies that had "mockumentary" narratives, but never had a comedy gone to the streets and desired to create a documentary (in some ways) based off of a farce. Finally, this brings me to Cohen himself, who creates a character that is not only naive and foolish ,but one that's very endearing, thus allowing 'Borat' to become something bigger than a caricature. And that's what I can say about "Borat"; it became a comedy film that went above and beyond what is typically expected. In many ways it redefined the concept of not only a comedy, but also in some ways a documentary. Using real people as the bait, "Borat" was able to expose a nation full of racial, sexual, and religious bias at the expense of our laughs. Of course we all know there is a seedy underbelly of America, but it was jarring to see it play out on the screen in the given context. Furthermore, it was just as shocking to see Sacha Baron Cohen push his character to an unbelievable height.
Clip:http://www.youtube.com/watch?v=sYYoGnFpahQ
Children of Men: If you want to watch a film that is extremely harrowing, but uplifting then you'll find few better than "Children of Men". Directed by Alfonso Cuaron, "Children of Men" takes place in a not so distant future where humans can no longer reproduce. With the world being infertile and many political factions establishing, the world is falling apart and its gotten to the point that many people worship the young. Yet, amongst the chaos a seed of hope is found in a young woman who, through some miracle or work of science, is pregnant. From this comes the tale of a man who risks everything to protect a woman and her baby, as well as the future of mankind. The story itself is extremely gripping and taut, yet from an aesthetic and direction standpoint, "Children of Men" is well executed. With the use of handheld cameras, director Alfonso Cuaron immerses us in a world on the brink of extinction, which only propels us further into the drama that unfolds. Furthermore, Cuaron and his production team create a world, when compared to other films in the sci-fi genre, that is relatively stripped down and organic. This not only allows for a heightened sense of 'realism', but allows for the production pieces to compliment the story, not drown it out. Of course, the most important factor that makes "Children of Men" a film to be seen is its story. It has twists, it has action, it has moments of triumph and failure, and most of all it has a heart that continuously beats throughout. Very few films, let alone a sci-fi film, can develop a story that can work on many different levels. When it's all said and done, the film has astounding production pieces that immerses the viewer in the decay society sees itself in. Along with amazing cinematography and tremendous direction by Cuaron, "Children of Men" is one of the few films that can deliver a message about society without beating it to death. Oh and it also doesn't hurt when the cast is full of extremely good actors.
The Diving Bell and the Butterfly: One of the most honest and beautiful films I've seen in my life. "The Diving Bell and the Butterfly" is a piece of work that not only defies convention, but is poetry in motion. Adapted from the memoir with the same name, "The Diving Bell..." tells the story of Jean Dominique Bauby, the former editor of French Elle who had a stroke and subsequently was paralyzed from the neck down (aside from his left eye). This particular condition is known as "locked-in syndrome", where the patient can actively think, but can't speak nor move most of their extremities. Having no true form of communication, Bauby learned to communicate through the use of blinking his left eye and through this method, he wrote his memoir. The story itself is extremely powerful, and really needs no expansion but what pays off in dividends is how the story is told. First off, a lot of credit must be given to Julian Schnabel, who spits in the face of convention and creates a film that is almost entirely shot from the character's point of view ( I'd say about 60% of the film is in first person). This is unprecedented considering that very few films have attempted to deliver such a perspective. Yet, Schnabel's instincts pay off as he puts us in the shoes of Jean Dominique Bauby, allowing us to feel the claustrophobia Bauby himself felt as his body became a prison. Secondly, screenwriter Ronald Harwood deserves some kudos as well simply because his screenplay dares not to make Bauby into a saint. In both flashbacks (which isn't shot in first person) and Bauby's 'locked in' state, Harwood creates a character that is very uplifting, but one that is also fragmented and full of guilt. Of course we never truly come to dislike Bauby, but we don't come to love him on cheap sympathy points either. He is simply human. From this, an undeniable connection is made between the character and the audience, which makes the staggering last moments of Bauby's life beautiful, inspirational, and poetic. In the hands of Hollywood, this film would've been simple fodder dripped in sentimentality, but thanks to Schnabel and company, the film is a reflection on not only Bauby, but the potential of our own lives as well.
Brokeback Mountain: With the success of "Brokeback Mountain", you'll see more films exploring the boundaries of love and the limits ( or lack thereof) it possesses. Now, have there been many other films that tackled a gay love story before? Yes, but none have really struck a chord as much as "Brokeback Mountain" nor has any handled the topic with such grace. Filled with complex and terrific performances from Heath Ledger and Jake Gyllenhaal, "Brokeback Mountain" is a film that in many ways made homosexual relationships acceptable in mainstream film. This could be chalked up to the great screenplay, but Ang Lee and his actors deserve much of the credit as they make the film full of tenderness and sincerity. Never does the film feel like a gimmick; it's always a living, breathing ode to love. Whether it's the connection of Ledger and Gyllenhaal's characters or the true love and detail Lee shows for his characters, "Brokeback" is always full of love and life. Of course, the film deftly details the many stigmas associated with homosexuality, but at its core, "Brokeback" is just like any love story as it details the many jubilations and downfalls that would come between any couple. So in many ways, "Brokeback" is universal in its language. It's something we all could connect to in some fashion, regardless of our own notions and when a film can do that, it's truly a special piece of work. After all, love is love.
Trailer:http://www.youtube.com/watch?v=Wug0aUcTJDE
Honorable Mentions:
Borat: Released in 2006, Sacha Baron Cohen's "Borat" became in my mind the pinnacle of film comedy. It was edgy, smart, repulsive, and ultimately a film that had frenetic laugh, after frenetic laugh. Yet, the key pieces to "Borat" were the unsuspecting interviewees and Sacha Baron Cohen. By using real interview subjects, Cohen was able to capture authentic reactions that would not only make the audience laugh, but also mumble in disgust, depending on what kind of immoral bile spilled out. In many respects it's like a natural observation and with that, you also capture the unpredictability of human interaction. Certainly Baron Cohen coaxed many interviewees into behaving badly, but his ability to draw out a range of reaction and emotions allowed for almost a novel and unpredictable feel to the film. Obviously there have been comedies that had "mockumentary" narratives, but never had a comedy gone to the streets and desired to create a documentary (in some ways) based off of a farce. Finally, this brings me to Cohen himself, who creates a character that is not only naive and foolish ,but one that's very endearing, thus allowing 'Borat' to become something bigger than a caricature. And that's what I can say about "Borat"; it became a comedy film that went above and beyond what is typically expected. In many ways it redefined the concept of not only a comedy, but also in some ways a documentary. Using real people as the bait, "Borat" was able to expose a nation full of racial, sexual, and religious bias at the expense of our laughs. Of course we all know there is a seedy underbelly of America, but it was jarring to see it play out on the screen in the given context. Furthermore, it was just as shocking to see Sacha Baron Cohen push his character to an unbelievable height.Clip:http://www.youtube.com/watch?v=sYYoGnFpahQ
Children of Men: If you want to watch a film that is extremely harrowing, but uplifting then you'll find few better than "Children of Men". Directed by Alfonso Cuaron, "Children of Men" takes place in a not so distant future where humans can no longer reproduce. With the world being infertile and many political factions establishing, the world is falling apart and its gotten to the point that many people worship the young. Yet, amongst the chaos a seed of hope is found in a young woman who, through some miracle or work of science, is pregnant. From this comes the tale of a man who risks everything to protect a woman and her baby, as well as the future of mankind. The story itself is extremely gripping and taut, yet from an aesthetic and direction standpoint, "Children of Men" is well executed. With the use of handheld cameras, director Alfonso Cuaron immerses us in a world on the brink of extinction, which only propels us further into the drama that unfolds. Furthermore, Cuaron and his production team create a world, when compared to other films in the sci-fi genre, that is relatively stripped down and organic. This not only allows for a heightened sense of 'realism', but allows for the production pieces to compliment the story, not drown it out. Of course, the most important factor that makes "Children of Men" a film to be seen is its story. It has twists, it has action, it has moments of triumph and failure, and most of all it has a heart that continuously beats throughout. Very few films, let alone a sci-fi film, can develop a story that can work on many different levels. When it's all said and done, the film has astounding production pieces that immerses the viewer in the decay society sees itself in. Along with amazing cinematography and tremendous direction by Cuaron, "Children of Men" is one of the few films that can deliver a message about society without beating it to death. Oh and it also doesn't hurt when the cast is full of extremely good actors.
The Diving Bell and the Butterfly: One of the most honest and beautiful films I've seen in my life. "The Diving Bell and the Butterfly" is a piece of work that not only defies convention, but is poetry in motion. Adapted from the memoir with the same name, "The Diving Bell..." tells the story of Jean Dominique Bauby, the former editor of French Elle who had a stroke and subsequently was paralyzed from the neck down (aside from his left eye). This particular condition is known as "locked-in syndrome", where the patient can actively think, but can't speak nor move most of their extremities. Having no true form of communication, Bauby learned to communicate through the use of blinking his left eye and through this method, he wrote his memoir. The story itself is extremely powerful, and really needs no expansion but what pays off in dividends is how the story is told. First off, a lot of credit must be given to Julian Schnabel, who spits in the face of convention and creates a film that is almost entirely shot from the character's point of view ( I'd say about 60% of the film is in first person). This is unprecedented considering that very few films have attempted to deliver such a perspective. Yet, Schnabel's instincts pay off as he puts us in the shoes of Jean Dominique Bauby, allowing us to feel the claustrophobia Bauby himself felt as his body became a prison. Secondly, screenwriter Ronald Harwood deserves some kudos as well simply because his screenplay dares not to make Bauby into a saint. In both flashbacks (which isn't shot in first person) and Bauby's 'locked in' state, Harwood creates a character that is very uplifting, but one that is also fragmented and full of guilt. Of course we never truly come to dislike Bauby, but we don't come to love him on cheap sympathy points either. He is simply human. From this, an undeniable connection is made between the character and the audience, which makes the staggering last moments of Bauby's life beautiful, inspirational, and poetic. In the hands of Hollywood, this film would've been simple fodder dripped in sentimentality, but thanks to Schnabel and company, the film is a reflection on not only Bauby, but the potential of our own lives as well.
Brokeback Mountain: With the success of "Brokeback Mountain", you'll see more films exploring the boundaries of love and the limits ( or lack thereof) it possesses. Now, have there been many other films that tackled a gay love story before? Yes, but none have really struck a chord as much as "Brokeback Mountain" nor has any handled the topic with such grace. Filled with complex and terrific performances from Heath Ledger and Jake Gyllenhaal, "Brokeback Mountain" is a film that in many ways made homosexual relationships acceptable in mainstream film. This could be chalked up to the great screenplay, but Ang Lee and his actors deserve much of the credit as they make the film full of tenderness and sincerity. Never does the film feel like a gimmick; it's always a living, breathing ode to love. Whether it's the connection of Ledger and Gyllenhaal's characters or the true love and detail Lee shows for his characters, "Brokeback" is always full of love and life. Of course, the film deftly details the many stigmas associated with homosexuality, but at its core, "Brokeback" is just like any love story as it details the many jubilations and downfalls that would come between any couple. So in many ways, "Brokeback" is universal in its language. It's something we all could connect to in some fashion, regardless of our own notions and when a film can do that, it's truly a special piece of work. After all, love is love.Trailer:http://www.youtube.com/watch?v=Wug0aUcTJDE
Honorable Mentions:
4 Months, 3 Weeks, and 2 Days:I've seen a lot of foreign films from this decade, but what makes "4 Months" such a startling piece of work is that it is invested in creating drama from the small, quiet moments. There are no big scenes, or over plotted twists, instead it’s simply a film that details a friendship that is being pushed to the limits and the moral complications that arise from it. It’s gritty, well acted, and most of all possesses a sickening power.
Trailer: http://www.youtube.com/watch?v=KFeUS7hQq3k
Trailer: http://www.youtube.com/watch?v=KFeUS7hQq3k
Lost in Translation: A film that in many respects has become the blueprint for a lot of indie films. It’s quirky, small and full of idiosyncrasies. But the film sets itself apart with a deadpan performance from Bill Murray who elevates the already terrific material. The film adequately captures the communication breakdown many face in a foreign land, but more importantly it captures the communication breakdown that can occur between two people. With it being more so about friendship and connection than about love, the film has a broad appeal that most people can identify with.
Trailer: http://www.youtube.com/watch?v=FNn-2CTXzAw
Trailer: http://www.youtube.com/watch?v=FNn-2CTXzAw
City of God: The precursor to "Slumdog Millionaire", "City..." details the lives that reside in the slums of Rio di Janeiro. Full with a cast of colorful characters, director Fernando Meirelles captures many different vantage points, and ultimately creates a vibrant look at slum politics and living. Scary, funny, and always poignant, "City of God" is an exciting piece of film making.
Saturday, November 7, 2009
Ten Most Important Films of the Decade (Part Two of Three)
The next few selections are in many ways more mainstream than the previous three. Yet, there is a part of them that redefine their genre, as well as assist in introducing "casual" film goers to films they may not normally give a chance. Now, I give you part two of my list:
-Amelie: Probably the foreign film that made Americans appreciate foreign cinema a little more. In the discussions I've had with 'casual filmgoers', “Amelie” is constantly on their short list of foreign films they’ve seen and to their surprise, enjoyed. Hell, I’ll admit I truly didn’t appreciate foreign films until I saw “Amelie”. Such a discriminatory attitude towards foreign films usually begins with the notion that subtitles make foreign films a hard watch. So, in many respects, it was pertinent for a foreign film to come along that had a life of its own and carried the viewer past the ‘dreaded’ subtitles. Granted, I’d be lying if I said everyone will love “Amelie” upon its first viewing, but I feel most people would give other foreign films a shot once they experience “Amelie”. Much of this can be attributed to an adorable performance by Audrey Tatou who creates a character so lovable, even the coldest of hearts would have a hard time resisting her charm. But a lot of credit has to go to director Jean-Pierre Jeunet, who treats the film almost like a fairy tale. Told at a rapid pace and featuring a palette full of colorful and endearing characters, Jeunet creates a film full of wonder and intrigue. His use of the camera and colors adds such beauty to the city of love, but most importantly, he adds a zest of life to the film that is irresistible, even to those who hate reading subtitles.
Trailer: http://www.youtube.com/watch?v=zj0CK_jgNns
Clip:http://www.youtube.com/watch?v=ZqT9kA1bcVQ
-The Dark Knight: The film that single handedly changed how comic book films are not only done, but how they're perceived by the critical mass. Most films of the genre are seen as simple fodder for the summer, but Nolan’s vision was bigger than that. Instead of relying on comic book convention, Nolan raised the bar and created a film that goes beyond the genre his titular character practically owns. On the outside looking in, the film looks like all of the other costume/super hero films: man dressed up in eccentric costume fights a destructive force. Yet, at its core, “The Dark Knight” grasps on to various themes that make the film resonate on many different levels, making the film edgy and far more effective than even the "indiest" of indies. When all of its themes and turns are taken into consideration, “The Dark Knight” plays out like a Shakespearean tragedy more than it does a superhero film. Much credit must be given to Christopher Nolan who had the balls to treat his characters like humans and not Saturday morning cartoon characters. In doing so, Nolan created a film that is not only full of adrenaline boosting action, but a film that strongly addresses the duality of man and the justice system. Oh, and it certainly didn't hurt that the film features great performances, especially from the late Heath Ledger. All in all, "The Dark Knight" is just as much a crime saga or Shakespeare tragedy as it is a comic book film, and it has laid a foundation that many 'superhero' films will mimic years down the road.
Trailer: http://www.youtube.com/watch?v=6UBP2nXtRRo
Clip: http://www.youtube.com/watch?v=u8PxG5zvgOM
-The Lord of the Rings Trilogy: There are three separate films here, but like the book, they should be treated as one entity. From a technical standpoint, this film is revolutionary, as Peter Jackson's WETA brings to life Tolkien's magnificent world. From the epic battle scenes to the tremendous construction of 'Gollum', Jackson makes a world we once could only imagine seem tangible and within reach. It would be an understatement to say the " Lord of the Rings" films raised the bar in regards to special effects, as they pushed this production aspect to the cutting edge. Yet this is not the only feather in Jackson and company's hat. "The Lord of the Rings", one of the most successful film franchises in film history, really made it seem cool for people to wave their “geek” flag high. There was a time where fantasy films involving elves, wizards, etc. were deemed as being nerdy, but this perception seemed to change with "The Lord of the Rings". Obviously the books had an enormous fan base to begin with, but anytime a film can reach past the fan base and 'convert' those who would normally never touch the source material, it truly is a special film. Now, not only did "The Lord of the Rings" bring an epic fantasy novel to the masses (as well as inspire other fantasy films to be green-lighted), it was one of the few fantasy films to be accepted, valued , and appreciated by critics who up until this point, never really seemed to put a lot of stock in fantasy films other than they were escapist fun. Yet, with its various themes and dark nature, "The Lord of the Rings" really showed the lengths at which a fantasy film can take an audience. With its state of the art of specials effects and devout screenplay adaptations, Peter Jackson’s trilogy made it ok to venture to another world and indulge ourselves in the lives of elves, wizards, and hobbits.
-Amelie: Probably the foreign film that made Americans appreciate foreign cinema a little more. In the discussions I've had with 'casual filmgoers', “Amelie” is constantly on their short list of foreign films they’ve seen and to their surprise, enjoyed. Hell, I’ll admit I truly didn’t appreciate foreign films until I saw “Amelie”. Such a discriminatory attitude towards foreign films usually begins with the notion that subtitles make foreign films a hard watch. So, in many respects, it was pertinent for a foreign film to come along that had a life of its own and carried the viewer past the ‘dreaded’ subtitles. Granted, I’d be lying if I said everyone will love “Amelie” upon its first viewing, but I feel most people would give other foreign films a shot once they experience “Amelie”. Much of this can be attributed to an adorable performance by Audrey Tatou who creates a character so lovable, even the coldest of hearts would have a hard time resisting her charm. But a lot of credit has to go to director Jean-Pierre Jeunet, who treats the film almost like a fairy tale. Told at a rapid pace and featuring a palette full of colorful and endearing characters, Jeunet creates a film full of wonder and intrigue. His use of the camera and colors adds such beauty to the city of love, but most importantly, he adds a zest of life to the film that is irresistible, even to those who hate reading subtitles.Trailer: http://www.youtube.com/watch?v=zj0CK_jgNns
Clip:http://www.youtube.com/watch?v=ZqT9kA1bcVQ
-The Dark Knight: The film that single handedly changed how comic book films are not only done, but how they're perceived by the critical mass. Most films of the genre are seen as simple fodder for the summer, but Nolan’s vision was bigger than that. Instead of relying on comic book convention, Nolan raised the bar and created a film that goes beyond the genre his titular character practically owns. On the outside looking in, the film looks like all of the other costume/super hero films: man dressed up in eccentric costume fights a destructive force. Yet, at its core, “The Dark Knight” grasps on to various themes that make the film resonate on many different levels, making the film edgy and far more effective than even the "indiest" of indies. When all of its themes and turns are taken into consideration, “The Dark Knight” plays out like a Shakespearean tragedy more than it does a superhero film. Much credit must be given to Christopher Nolan who had the balls to treat his characters like humans and not Saturday morning cartoon characters. In doing so, Nolan created a film that is not only full of adrenaline boosting action, but a film that strongly addresses the duality of man and the justice system. Oh, and it certainly didn't hurt that the film features great performances, especially from the late Heath Ledger. All in all, "The Dark Knight" is just as much a crime saga or Shakespeare tragedy as it is a comic book film, and it has laid a foundation that many 'superhero' films will mimic years down the road.Trailer: http://www.youtube.com/watch?v=6UBP2nXtRRo
Clip: http://www.youtube.com/watch?v=u8PxG5zvgOM
-The Lord of the Rings Trilogy: There are three separate films here, but like the book, they should be treated as one entity. From a technical standpoint, this film is revolutionary, as Peter Jackson's WETA brings to life Tolkien's magnificent world. From the epic battle scenes to the tremendous construction of 'Gollum', Jackson makes a world we once could only imagine seem tangible and within reach. It would be an understatement to say the " Lord of the Rings" films raised the bar in regards to special effects, as they pushed this production aspect to the cutting edge. Yet this is not the only feather in Jackson and company's hat. "The Lord of the Rings", one of the most successful film franchises in film history, really made it seem cool for people to wave their “geek” flag high. There was a time where fantasy films involving elves, wizards, etc. were deemed as being nerdy, but this perception seemed to change with "The Lord of the Rings". Obviously the books had an enormous fan base to begin with, but anytime a film can reach past the fan base and 'convert' those who would normally never touch the source material, it truly is a special film. Now, not only did "The Lord of the Rings" bring an epic fantasy novel to the masses (as well as inspire other fantasy films to be green-lighted), it was one of the few fantasy films to be accepted, valued , and appreciated by critics who up until this point, never really seemed to put a lot of stock in fantasy films other than they were escapist fun. Yet, with its various themes and dark nature, "The Lord of the Rings" really showed the lengths at which a fantasy film can take an audience. With its state of the art of specials effects and devout screenplay adaptations, Peter Jackson’s trilogy made it ok to venture to another world and indulge ourselves in the lives of elves, wizards, and hobbits. Ten Most Important Films of the Decade (Part One of Three)
With it being the end of the decade, I feel I have an obligation of sorts to create some form of “best of…” list. Hell, everyone seems to be doing it, so why can’t I? As much as I’d like to do a “best of…” for every film genre, I really don’t have the patience for that. So, due to my lack of patience, I have settled on one over reaching category to tackle and that category is the “Ten Most Important Films of this Decade”. Now, I must begin this with a few caveats. This list doesn’t represent my favorite films of the decade entirely. Certainly some of my favorites of this decade (and in many respects all time) make the list, but most of the films listed are films that I feel defined or will define the next decade in film making. Most importantly though, we must keep in mind such a list of this magnitude is subjective to my tastes and my own understanding of said films. So, I ask you not to get defensive over my selections. After all, it is a matter of opinion. Without further ado here is part one of my list:
-Memento: Christopher Nolan's first real break, "Memento" is a film that defied narrative expectations and in many respects, paved the path for other screenwriters to create a non-traditional screenplay that played with time and uses of memory. Instead of working with a basic narrative which propels the viewers and characters from point ‘A’ to point ‘B’, “Memento” works its way backward. The film focuses on a man (Guy Pierce) who is searching for his wife’s killer. Such a quest would seem easy if it wasn’t for Pierce’s character’s amnesia and short term memory loss, which forces him to keep track of information through notes, tattoos, etc. Because his loss of memory, he has to continually trek through his notes to understand the present. So, the ending of the film isn’t as important as is the trek Guy Pierce’s character takes. Having a narrative playback such as this is not only a clever gimmick, but it creates a film where the viewer themselves can seemingly experience the main character’s struggles with the ‘unknown’. With a rubrics cube like script, Nolan creates a rough around the edges film that plays like a detective film, but instead of merely having the character piece together the puzzle, the audience is actively engaging side by side with said character trying to understand how they got to where they are.
Trailer: http://www.youtube.com/watch?v=MbTMAffb0CA
Clip:http://www.youtube.com/watch?v=2FdPYc2efxw
-Eternal Sunshine of the Spotless Mind: This film is in a similar boat as “Memento” in the sense that it’s a film that constantly manipulates time. Yet, “Memento” is rather easier in the sense that it’s linear in its ‘playback’, where “Eternal…” is quite disjointed as its plot pertains to the erasing of memories. With many of the scenes switching back and forth between the “dream/memory” world and the real world, it’s a film that many viewers will have to see multiple times to fully understand. Such attentiveness from viewers should be expected for a film written by Charlie Kaufman, but I feel if anyone hasn’t seen this film, they’re missing out. Personally I feel this is the one of the best screenplays written in the history of film, let alone the decade. It truly reinvents the “boy meets girl” scenario; a scenario that has recently been hard to swallow because of how formulaic it has become in the realm of film. Even more so, the film’s understanding of a real relationship and their possible hiccups is very rewarding, especially considering the superficiality that can be see in many films that try to capture the many characteristics of a loving relationship. To match Kaufman's labyrinth dream-esque script, director Michel Gondry is able to create a beautifully stunning film, while still pulling out great performances and chemistry from his leads, Jim Carrey and Kate Winslet. Now, even though “Eternal…” is deeply rooted in a sci-fi like premise, it has an extreme amount of heart and soul that grounds it in reality, as well as offers a fresh look at love that many films before it simply failed to do.
Trailer1: http://www.youtube.com/watch?v=1GiLxkDK8sI
Trailer2: http://www.dailymotion.com/video/x15asx_eternal-sunshine-of-the-spotless-mi_blog
Clip:http://www.dailymotion.com/video/x3z1co_eternal-sunshine-row-row-row-your-b_shortfilms
-There Will Be Blood: In my mind this is the nearly perfect film. Even though I feel it’s a very misunderstood film, ultimately it will find its place in the film history books (if they exist haha) from not only a production standpoint, but from a thematic standpoint. Through the direction and writing of Paul Thomas Anderson, the film creates layer upon layer of not only characterization, but also thematic elements that viewers can debate about till their heart is content. The film itself is also rather daring in many of its exploits. One such exploit is the protagonist Daniel Plainview, who is by no means a good human being. Most films are based around one protagonist whom we can connect with and ultimately cheer for, but that’s not the case with Mr. Plainview. He is an extremely cunning and deviant man who is slowly losing a battle with his own personal demons and in essence, comes to represent the very things we hate and try not to be. Having such a despicable character as your lead is a tough sell, but PTA pulls it off as he creates a character that is just as interesting and complex as he is dislikeable. Accompanying such a polarizing character is an astounding and rather groundbreaking score by Jonny Greenwood, which more than adequately captures the inner demons brewing within Plainview. Now when you take the aforementioned components above and match them with extremely beautiful cinematography, a controversial ending and a chameleon like performance by Daniel Day-Lewis, “There Will Be Blood” becomes a visceral and intense character study that captures the pitfalls of a man whose capitalistic ideals consume his soul. It is truly an American classic; one that redefines how we not only look at a period piece, but how we look at how a protagonist is defined.
Trailer:http://www.youtube.com/watch?v=P8q3TVQeVdM
Clip:http://www.youtube.com/watch?v=KwkP7Gnp7ek
Score: http://www.youtube.com/watch?v=7HjWIr80ln4 and http://www.youtube.com/watch?v=PSNGOpyWWOs
-Memento: Christopher Nolan's first real break, "Memento" is a film that defied narrative expectations and in many respects, paved the path for other screenwriters to create a non-traditional screenplay that played with time and uses of memory. Instead of working with a basic narrative which propels the viewers and characters from point ‘A’ to point ‘B’, “Memento” works its way backward. The film focuses on a man (Guy Pierce) who is searching for his wife’s killer. Such a quest would seem easy if it wasn’t for Pierce’s character’s amnesia and short term memory loss, which forces him to keep track of information through notes, tattoos, etc. Because his loss of memory, he has to continually trek through his notes to understand the present. So, the ending of the film isn’t as important as is the trek Guy Pierce’s character takes. Having a narrative playback such as this is not only a clever gimmick, but it creates a film where the viewer themselves can seemingly experience the main character’s struggles with the ‘unknown’. With a rubrics cube like script, Nolan creates a rough around the edges film that plays like a detective film, but instead of merely having the character piece together the puzzle, the audience is actively engaging side by side with said character trying to understand how they got to where they are.
Trailer: http://www.youtube.com/watch?v=MbTMAffb0CA
Clip:http://www.youtube.com/watch?v=2FdPYc2efxw
-Eternal Sunshine of the Spotless Mind: This film is in a similar boat as “Memento” in the sense that it’s a film that constantly manipulates time. Yet, “Memento” is rather easier in the sense that it’s linear in its ‘playback’, where “Eternal…” is quite disjointed as its plot pertains to the erasing of memories. With many of the scenes switching back and forth between the “dream/memory” world and the real world, it’s a film that many viewers will have to see multiple times to fully understand. Such attentiveness from viewers should be expected for a film written by Charlie Kaufman, but I feel if anyone hasn’t seen this film, they’re missing out. Personally I feel this is the one of the best screenplays written in the history of film, let alone the decade. It truly reinvents the “boy meets girl” scenario; a scenario that has recently been hard to swallow because of how formulaic it has become in the realm of film. Even more so, the film’s understanding of a real relationship and their possible hiccups is very rewarding, especially considering the superficiality that can be see in many films that try to capture the many characteristics of a loving relationship. To match Kaufman's labyrinth dream-esque script, director Michel Gondry is able to create a beautifully stunning film, while still pulling out great performances and chemistry from his leads, Jim Carrey and Kate Winslet. Now, even though “Eternal…” is deeply rooted in a sci-fi like premise, it has an extreme amount of heart and soul that grounds it in reality, as well as offers a fresh look at love that many films before it simply failed to do.
Trailer1: http://www.youtube.com/watch?v=1GiLxkDK8sI
Trailer2: http://www.dailymotion.com/video/x15asx_eternal-sunshine-of-the-spotless-mi_blog
Clip:http://www.dailymotion.com/video/x3z1co_eternal-sunshine-row-row-row-your-b_shortfilms
-There Will Be Blood: In my mind this is the nearly perfect film. Even though I feel it’s a very misunderstood film, ultimately it will find its place in the film history books (if they exist haha) from not only a production standpoint, but from a thematic standpoint. Through the direction and writing of Paul Thomas Anderson, the film creates layer upon layer of not only characterization, but also thematic elements that viewers can debate about till their heart is content. The film itself is also rather daring in many of its exploits. One such exploit is the protagonist Daniel Plainview, who is by no means a good human being. Most films are based around one protagonist whom we can connect with and ultimately cheer for, but that’s not the case with Mr. Plainview. He is an extremely cunning and deviant man who is slowly losing a battle with his own personal demons and in essence, comes to represent the very things we hate and try not to be. Having such a despicable character as your lead is a tough sell, but PTA pulls it off as he creates a character that is just as interesting and complex as he is dislikeable. Accompanying such a polarizing character is an astounding and rather groundbreaking score by Jonny Greenwood, which more than adequately captures the inner demons brewing within Plainview. Now when you take the aforementioned components above and match them with extremely beautiful cinematography, a controversial ending and a chameleon like performance by Daniel Day-Lewis, “There Will Be Blood” becomes a visceral and intense character study that captures the pitfalls of a man whose capitalistic ideals consume his soul. It is truly an American classic; one that redefines how we not only look at a period piece, but how we look at how a protagonist is defined.
Trailer:http://www.youtube.com/watch?v=P8q3TVQeVdM
Clip:http://www.youtube.com/watch?v=KwkP7Gnp7ek
Score: http://www.youtube.com/watch?v=7HjWIr80ln4 and http://www.youtube.com/watch?v=PSNGOpyWWOs
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