The 30 Day Movie Challenge: Day #2

Day #2: Least Favorite Film

Unlike the first entry in this series, picking a "least favorite" film was surprisingly more difficult. The problem with bad movies is that some of them are so enjoyably awful. I consider The Room to be one of the worst films I've ever seen, not only for its supreme technical incompetence, but also for its horrendous directing/writing/acting/everything. That said, it's a movie that I will willing watch, because it's hysterically funny in its awfulness. The same goes for Showgirls, which is about 100 times more technically accomplished and structured, but so insanely dumb and ridiculous that it's a scream (and I refuse to believe that it's a misunderstood and brilliant satire; it's just bad). In making my choice for my least favorite, I had to pick a movie that I didn't just think was bad; it had to be un-enjoyably bad. Even to the point of making me angry. And that's exactly what this movie does: Clark Gregg's Choke (2008).I've only seen the film once, in theaters upon release, and there's a reason I've never gone back. I've certainly seen "worse" films, but none made me as angry as this one. Granted, there's a few funny spots here and there, and the cast tries, but overall? Garbage. The screenplay moves around haphazardly and does a hideous job of creating the main story: a sex addict pays for his mother's hospital bills by preying on the sympathies of people who save him from choking. It's a twisted set up for sure, but considering the source material was written by Chuck Palahniuk (Fight Club), I remember being excited.

Unfortunately, Gregg's adaptation is a muddled, sleazy bore. The way the choking incidents are woven into the film is so unskilled, and that particular point of the story starts to feel like an afterthought. Worse are the scenes set in strip club, which made for two funny bits in the trailer, yet feel horribly out of place and even random in the context of the movie. And by the time it reaches its end, it's become so convinced that it's a sharp, subversive satire that the ending only becomes more infuriatingly juvenile. The worst film ever made? Probably not by a long shot, but it's easily the one that jumps to mind when I think of films that are absolutely worthless.

The 30 Day Movie Challenge: Day #1

Recently on Facebook, a "30 Day Movie Challenge" was created. It's not exactly a challenge (no trivia, no quizzes, etc...), but it simply gives a simple prompt regarding films to answer. I've decided to participate on Facebook, but figured that I could also blog the challenge and write something more in depth. After all, people are only willing to read so much in a status message, so why not use this blog to document my picks for each day's prompt? Without further delay, here's my (extended) answer to my pick for the first prompt:

Day 1: Favorite Film

They really didn't waste any time in jumping to the big one, did they? Well, for a while I used to go nuts over this question. I could never decide on just one, and preferred to answer that I had a handful of favorites that I didn't want to choose among. Granted, I still have said handful of favorites, although it changes from time to time depending on what amazing movies I discover on DVD and in theaters. However, for the past few years, one film has consistently stuck with me among my top favorites just a little more than the rest, and it's none other than Federico Fellini's 8 1/2 (1963).Considered Fellini's full blown move away from Italian Neorealism and into more abstract, dream-like films (he became hugely influenced by Carl Jung), the film tells the story of Guido Anselmi (Marcello Mastroianni), a creatively stunted film director pulled from all directions by the myriad women in his life. Among them are his wife (Anouk Aimee), his mistress (Sandra Milo), his star/muse (Claudia Cardinale), and the whore from his youth (Eddra Gale). Increasingly frustrated by his inability to finalize his ideas for his film as a shoot date approaches, he begins to retreat into dreams, fantasies, and memories, all while his life grows more chaotic.

I have something of a soft spot for movies about the creative process, but nothing really prepared me for what I was going to get when I first watched 8 1/2. From its phenomenal photography, surreal images, delightful score, and wonderful energy, I love it every time I see it, and I see something new each time. Picking a favorite scene is (almost) impossible for me. There's the eerie opening, in which Guido finds himself stuck in traffic where everyone is as still as a mannequin. Or there's Guido's visit with the cardinal, where he descends into the lower level of a spa with people being sorted as if they're entering a level of Dante's Inferno. And the way Fellini takes us through these scenes, real or fantastical (or both) is nothing short of a joy (even if the story has some bleak under tones) to watch each time. Fellini had a connection to the circus in his youth, and that colorful playfulness is on full display here as he jumps between fantasy and reality. The film's ending, which I'll touch on later, encompasses this sublimely, acting as a sort of grand curtain call for all of Fellini's players.

Yet as much as it's a marvel of direction and production, it also benefits from the remarkable work from its cast. Mastroianni, Fellini's favorite self-substitute, does fine work at a director coming apart at the seams. However, the standouts from the cast come from the ladies. As Guido's long-suffering wife Luisa, Anouk Aimee nails the complex emotions of a woman torn between the parts of her husband she loves and hates. Her reactions during the screen-test scene are the best bits of acting in the entire film, beautifully executed without ever feeling the need to be melodramatic. The other distinction among the cast goes to Eddra Gale as La Saraghina. Gale, an American opera singer, hardly speaks two words in the film, but her impact is hard to forget. As the local whore who lives on the beach, her "seduction" of young Guido and his friends is beguiling, sinister, and hilarious all at once, and it's still my favorite scene, viewing after viewing. Here's the scene (although it's bound to be lacking without the rest of the film around it):

In summary, I basically adore 8 1/2. It's my favorite of Fellini's work (although I'm still making my way through his filmography), because of how the elements of Fellini's Neorealist past and the art films of his future come together. And yet it's so much more than a creative turning point. It's one of the clearest examples of a film as the expression of an individual's vision, in addition to being technically flawless. It's the sort of film where every department is strong, from writing, to acting, to cinematography, to score. That it ends with a giant curtain call (as previously said) for the film's cast seems entirely appropriate. For 8 1/2, Fellini became a ring master, and while the contributions of his cast and crew were immense, they were all working in service of a master at the height of his artistic prowess. And as far as movies about making movies go, I have yet to find anything that entertains, delights, and enthralls me more.

Bidding 2010 Goodbye - Part I: Favorite Scenes

While this series of posts will continue for a least a few days into the new year, I figured I'd like to close out 2010 at Not All Texans Ride Horses to School on a positive note. As I've stated before, there are still a solid handful of films left that I want to see, but I think 56 films is more than enough to make a list of

10 Favorite Scenes of the Year

Fair warning: There be spoilers ahead...

Honorable Mentions:

Car Argument - Date Night: While by no means special or memorable, Date Night did have one thing going for it: Steve Carrell and Tina Fey's chemistry as Phil and Claire Foster. The scene in question comes roughly in the middle of the couple's increasingly insane night out in New York. Phil and Claire verbally attack each other's imperfections, and in a surprising moment, the screenplay (for once) actually shines just a bit. The result is surprisingly affecting, and in a movie that was meant to be a comedy, it's this serious moment that stands head and shoulders above the rest of the film.

Ending - True Grit: There are many great moments of cinematography in the Coen brothers' western, but none is as quietly beautiful as the last shot, in which a grown Mattie Ross walks away from Rooster Cogburn's tombstone. It's a quiet coda to a film filled with so much loud bantering among its three principal characters, and it works perfectly as a send off both to the characters and to the film itself.

10. The Race - Four Lions: Chris Morris' Jihadist satire reaches its comic highs, and surprisingly emotional depths in the last 20 minutes, chronicling the titular "lions" as they attempt to set off bombs while disguised as costumed runners in the London Marathon. In addition to the hysterical argument that ensues when a police sniper clips the wrong target, the final scene carries a surprising mix of poetry, biting satire, and emotional heft.

09. Hallway Fight - Inception:

It was the defining action sequence of the year, and deservedly so. In actually building a rotating set rather than relying on heavy CGI work, the gravity-defying fistfight was easily the highlight of Christopher Nolan's trek into the work of dreams. There's an almost nervous energy that I get from this scene that comes from the fact that we can tell that it's real, and the effect is dizzying.

08. The Speech - The King's Speech:

In my review of The King's Speech, I mentioned how the lack of sugarcoating was one of the film's greatest strengths. When George VI delivers his first speech, he doesn't do so perfectly (by normal standards). The moment isn't accompanied by loud, charging, triumphant music. Rather, by playing the second movement of Beethoven's 7th Symphony, a piece that builds veeeeery gradually, the scene still feels triumphant, but feels appropriate. The result is beautiful, and one of the most inspiring scenes of the year.

07. Making FaceMash - The Social Network:

One of the scenes that combined everything I loved about David Fincher's Facebook tale comes early on, when a just-dumped Mark (Jesse Eisenberg) simultaneously builds a website where users rate the attractiveness of students and blogs about his breakup. The sharp writing, lightning fast line delivery, and pulsating score combine masterfully and turn a scene of a geek drinking beer and writing code into one of the most thrilling sequences of the year.

06. The Tale of the Three Brothers - Harry Potter and the Deathly Hallows Pt. 1: In a film filled with magical battles and fantastical creatures, the shining moment of David Yates' latest crack at the Potter franchise was the telling of the Three Brothers and the origin of the titular Deathly Hallows. Rendered in strangely beautiful animation (was it some blend of CGI and cell animation???) and filled with little stylistic flourishes (the flash of blood when the first brother is murdered is stunning), the sequence could stand by itself as a short film. The film itself was already daring enough by giving so much screen time to the traveling portion of the story, but this sequence showed that even big-budget, money-grubbing blockbusters can still have truly inspired moments of artistry.

05. A Swan is Born - Black Swan:

As Darren Aronofsky's ballet thriller launches into its increasingly fantastical finale, it becomes more and more fascinating to watch. And no scene in the is-it-real-or-imagined? side of the store was more stunning than when Nina, dancing as the seductive Black Swan, charges out on stage and does a series of twirls as her arms transform into wings. That the effect is so seamless (especially considering the budget) only enhances the spell cast by Aronofsky's vision, and the shot following the transformation is equally brilliant, topped off by Portman's pitch perfect look of sinister triumph.

04. Henley Regatta - The Social Network:

It comes almost out of nowhere, but like the rest of the film, it's brilliantly composed and executed, even if there aren't any words spoken. The scene, which focuses on Zuckerberg's rivals, the Winklevoss twins (aka: The Winklevii), provides a nice break from all of the hyper articulate tech babble and caustic zingers, and simply lets the images work their magic. With brilliant use of limited focus to mask the lack of on-location shooting, and an energetic electronic interpretation of "In the Hall of the Mountain King," the scenes edits rise with the music, and the result is electrifying.

03. Prey Becomes Predator - Animal Kingdom: One of the key strengths of David Michod's crime drama is that violence is used in such small proportions and so effectively, that most scenes involving gunshots send a jolt through your body. This is particularly true of the ending, when 'J' Cody, an orphan who must decide where his loyalties lie when it comes to his gangster family, kills head criminal Andrew 'Pope' Cody. I know I nearly jumped out of my seat, and from the sounds I heard after that lone gunshot, I wasn't alone. Like J's grandmother Janine, the audience was appropriately left stunned and speechless. The final shot of Janine's hands hanging limp in defeat as J pulls her in for a hug is one of the most chilling images of the year.

02. Becca's Release - Rabbit Hole:

Though it deals with the aftermath of losing a child, John Cameron Mitchell's film of David Lindsey-Abaire's play keeps the weepy scenes to a minimum. And when things get high strung, the cast pulls it off beautifully. But the emotional high point comes when Becca drives to visit Jason, the teen responsible for the death of her son, and sees him going out to prom. As she watches, she flashes back to the day of the accident, and after trying to weather the storm of her grief for so long, finally allows herself to release her sadness, rather than continue to hold it in. From the moment she catches a glimpse of Jason, and her composure starts to break, Kidman fully owns the moment, and the scene acts as the perfect place for both her and the audience to let the emotion flow freely. A beautifully handled and acted scene that is far and away the most moving moment of the year.

01. Swan Lake Finale/Nina's Madness - Black Swan:

While entry #5 is technically part of this, my pick for #1 covers much more ground. Along with the rapturous depiction of the ballet as captured by Matthew Libatique's swooping handheld cinematography, the behind-the-scenes madness also reaches its high point. And as the gorgeous music blasts from the speakers and the roller coaster finally reaches its end, Aronofsky's film concludes on a moment of twisted poetry, with the final line of dialogue perfectly capturing the essence of Nina Sayers, the woman whose head Aronofsky brilliant puts us inside of.

A musical breakthrough: How to make Justin Bieber sound good [Fake, but still cool]

J. BIEBZ - U SMILE 800% SLOWER by Shamantis

To see who [faked] it and how (and hear the song in normal speed), click HERE. Photon Wave Orchestra, by implication of course, is making epic tracks like these all on their own. You can all resume your typical Bieber-hatred and go about your day now.

Remember when I mentioned how awesome Betty White is? Yeah...this...

I'm sorry, I must have misheard you, Nicholas Sparks

Because there's no way you could be this insane. More on this tomorrow or Friday. I have to get up early for course registration tomorrow, and I don't think I can handle this supreme idiocy right now. This isn't just wrong, it's a literally jaw-droppingly statement of arrogance.

I am very glad, indeed, I am linking home...

What is this I can't I don't even...

Why use April Fool's Day to post some obnoxious, fake SUPER GOOD/BAD movie or celebrity news, when I can just show you a cat "singing"? If you're lost as to the reference, go here.

In honor of Valentine's Day

I never saw Love, Actually, but damn that music is beautiful...

In honor of the 2010 Vancouver Olympics, a look back in time...

Greatest torch lighting ever? I think so...

Merry Christmas!!

Video of the Week: Grandma's Kisses (Spongebob) redubbed - warning, lots of disturbing, albeit hilarious, language

A very belated birthday...

It seems that I forgot the blog's 2nd birthday, which was back on October 12th. Apologies (yup, I just apologized to a website...that's how much I fear technology).

My new home....

The Bible has foretold the return of the Messiah

Behold! He has COME AGAIN IN GLORY!

Overlooked by the Academy?

Some of us think so...





Okay, that might be a bit much, but those scenes in the movie theater are PRICELESS. It's a shame Regina Hall can't seem to find her way into better comedies...she's got such great timing.

IMDB's Top 15 highest user rated films of the 2000s (with commentary!)

Below you'll find the list of the highest user rated films from IMDb from the 2000s, the first decade of which actually won't be finished until, um...the end of THIS year (or if you wanted to get technical and also better fact oriented, the first decade won't end until the end of 2010, seeing as there was no year ZERO etc...). So, are these really the top 15 of this as yet unfinished decade, which has seen the rise of stellar special effects advancements, unprecedented numbers of sequels and franchise reboots, and, quite differently, the near dominance of art house films at the Oscars? Allow my self important mind to tell you what to think, although keep in mind, there have been more than 15 GREAT films released in this decade, so even though I'm going to say some extremely positive things about some of the films, they might not be quite good enough.

15. Requiem for a Dream (2000)
14. Eternal Sunshine of the Spotless Mind (2004)
13. Spirited Away (2001)
12. The Pianist (2002)
11. The Lives of Others (2006)
10. The Departed (2006)
9. Amélie (2001)
8. Wall-E (2008)
7. The Lord of the Rings: The Two Towers (2002)
6. Memento (2000)
5. Up (2009)
4. The Lord of the Rings: The Fellowship of the Ring (2001)
3. City of God (2002)
2. The Lord of the Rings: The Return of the King (2003)
1. The Dark Knight (2008)


15. Requiem for a Dream by Darren Aronofsky: I'll admit, for the longest time I had NO interest in seeing this, mainly because of the way people on IMDb (especially the Oscar Buzz board, which I visit frequently) kept saying how amazing it was. I didn't even know what it was about until about a month before I rented it from Blockbuster (although I'd been warned to stay away because of how "disturbing" it allegedly was). My reaction as the credits started rolling? "WOW". From the get go with Clint Mansell's haunting score playing over the slightly grainy visuals, I was hooked. Yes, parts were disturbing (I'm still a bit nervous around refrigerators) and a tad hard to watch, but Arnofosky never went overboard and shoved it in your face. And for a film about people falling apart due to addiction, the film never hits stagnant parts; the whole thing clips along beautifully, transitioning from the early highs through the disastrous consequences that befall the four central characters (Ellen Burstyn, Jared Leto, Marlon Wayans, Jennifer Connelly). Another nice touch? A film about drug problems is going to be harsh enough, but it's also bound to have a few icky moments, but Aronofksy never succumbs to the temptation to overwhelm us of the horrors of addiction via gross out moments. In the scene after Jennifer Connelly performs a sexual favor for money, her character vomits in disgust, yet the way the scene is shot, you see virtually nothing, but you know exactly what's going on. Of course, there are also the performances, and there's not a weak link to be found. Leto and Wayans (yes, the Marlon Wayans who was in "White Chicks") are both excellent as the best friends who get in way over their heads, as is Connelly as Leto's girlfriend. However, the real star here is Burstyn, who earned a well deserved Oscar nomination for her heartbreaking work as the lead character. When you see her strapped down receiving electro shock therapy, it's hard not to feel devastated, just by watching the look in her eyes and hearing the unsettling music that plays instead of any sort of shocking/buzzing noise. For a film that is almost a constant downward spiral, it's a true triumph that deserves a standing ovation, not just for its commading direction, brilliant performances, and haunting score (they seem to be Clint Mansell's specialty), but for being a more effective showcase of the horrors of drug addiction than anything that I was ever shown in middle or high school. Ah, but there are bigger questions at hand in this post. As you can tell, I'm quite fond of the film, but is it deserving a spot on the Top 15? Let's have a look.
Grade: A
Deserving: Yes

14. Eternal Sunshine of the Spotless Mind by Michel Gondry: If "Requiem"'s fanboys had me avoiding that film, the fanboys of "Eternal Sunshine" had me running for the hills. When I joined IMDb it was in September of 2005, so the most recent Oscar Ceremony had been in honor of 2004, where "Million Dollar Baby" took the top prize, and "Eternal Sunshine" hadn't even been up for Best Picture. Good lord the fans were INSANE. Just about every other post on Oscar Buzz had something to do with "What nominations did Eternal Sunshine ACTUALLY DESERVE?" or "In what categories was Eternal Sunshine ROBBED?" and my favorite "HOW DID KATE WINSLET NOT WIN BEST ACTRESS OVER THAT HORSE HILLARY SWANK!?" It annoyed me to no end (although in retrospect, it was nothing compared to what happened after "Crash" won Best Picture for 2005...the apocalyspe seemed like a pleasant thought after that), and I hadn't even seen the movie. What pissed me off the most was that they weren't just complaining about "Eternal"'s lack of Oscar domination, but that they lashed out at Million Dollar Baby, as though it was that film's fault entirely...y'know...like there weren't FOUR other movies taking up the Best Picture slots or something. In fact, the rabidness of the fans was what kept me from watching the film for so long, even though it hindered my ability to participate in arguments on the subject. Then at long last I broke down and saw it, and here's how it went: I really liked it. I think it's a charming, well acted (Jim Carrey wasn't annoying? What is this?) and delightfully original idea that was well executed. But at the end of the day, I couldn't help but feel like something was missing. I've heard people talk about Joel and Clementine's relationship as one of the best on screen romances in years, and frankly, I'm not sure those claims are justified. It's a great story to be sure, but when I hear about people "getting teary eyed" or "bawling" at parts of the movie all I can do is shrug my shoulders and say "um...okay, if you say so." I don't know, is it just that maybe it was so quirky that it kept the film from having a true emotional punch? I'm still not sure, which is odd for me, considering that I do like the film a great deal. But at the end of the day, it's missing that crucial element, whatever it is, that really makes one "feel" something in a movie beyond "charmed".
Grade: A-
Deserving: No (flame me all you want, you will not change my mind)

13. Spirited Away by Hayao Miyazaki: My reaction to this one is similar to "Eternal Sunshine". Miyazaki's work sometimes strikes me as too focused on being strange than delivering a nice, coherent, well put together plot, and this one is no exception. The animation is (of course) gorgeous to look at, and some of the scenes are wonderful, but at the end, I couldn't help but feel that the film was a tad chilly, even though it's the story of a young girl trying to rescue her parents. Personally, I'll take the latest creation from the Pixar factory over Miyazaki, although I do enjoy seeing the worlds he creates (HA! See how much short this one was? Bet you weren't expecting that...).
Grade: B+
Deserving: No

12. The Pianist by Roman Polanski: Not seen

11. The Lives of Others by Florian Henckel von Donnersmarck: Not seen although I do have something of an unfair bias against it because it won the Foreign Language Film Oscar over "Pan's Labyrinth".

10. The Departed by Martin Scorcese: I have to confess, I'm not the biggest Scorcese fan (his more rabid devotees don't help much). Yes I know he's considered one of the greatest and that he should have won an Oscar before this film and yada yada yada, but frankly his work doesn't do much for me. I'll even go so far as to say that "Goodfellas" and "Casino" are basically the same overrated movie (great opening 45 minutes, the rest lags, there's a shrill wife role, both feature DeNiro and Pesci, etc...). However, I do like his more recent films better (save for "Gangs of New York" which I despise). There's something quieter about them (probably the wrong word, but I'm sticking with it) and all around they just feel better edited and put together. When I first saw "The Departed" I remember thinking "okay, I finally get it". However, I'm still not the biggest fan. As well executed and well acted (although Mark Wahlberg's Oscar nomination puzzles me) as it is, it still has that same problem that I have with all of Scorcese's films outside of "The Aviator": a sense of distance from his characters. It's not that they aren't well rounded or developed, but I never feel attached whatsoever to the people in his films. They're just people on a screen, and if I die chances are I don't think "oh no!" or "ha! that bastard got what he deserved". It just happens. Will "Shutter Island" be different? I certainly hope so.
Grade: A-
Deserving: No


9. Amelie by Jean-Pierre Jeunet: Another film, another rabid set of fans, although at least with this one, their focus is more rightly justfied: on Audrey Tatou being snubbed of a Best Actress nomination. On this point I feel they're right. She's an absolute delight in the title role of a woman who likes to make people happy. The love story that takes over is also charming as all get out, and for the most part the film doesn't miss a beat. For the most part. Unfortunately "Amelie" suffers from a mild but noticeable case of too-much-of-a-good-thing syndrome, and really should have been trimmed by at least 10, maybe even 15 minutes. Then it would have left me with a big silly grin on my face, instead of leaving me with a big silly grin on my face while shifting uncomfortably in my seat and checking my watch. Still, it's a wonderful movie that I do recommend that features charming characters and mostly wonderful pacing (and it's gorgeously shot as well). It might just be enough to convince you that there are likeable people in France.
Grade: A
Deserving: Sorry, but No.

8. WALL-E by Andrew Stanton: Now here's one animated film I don't mind seeing on the list. Pixar has always been praised for going into deeper, emotionally richer stories than any of its competition, and they've done a marvelous job of entertaining me since I was little, and even now that I'm 18 I still look forward to their next project. And even though "WALL-E" isn't my favorite Pixar film, it's one of the most significant. Main reason? Pixar is known for creating wonderfully charming central protagonists, whether its a pair of fish or a rat longing to be a chef. So what makes "WALL-E"'s titular robot different? He doesn't speak. In fact, there's little to no speaking in the first 40 minutes of the film, reducing it to basically a silent film, only with robots. Conventional wisdom tells us that, chances are, small children aren't going to be too fond of a near silent movie, especially one whose first half takes place on a trash-covered, empty Earth. But that's the genius of Pixar. The gamble more than paid off, resulting in one of Pixar's best characters to date. And surprisingly, the near silent first half is actually the much stronger one. The relation ship between WALL-E and EVE is wonderfully executed and sweet without being cloying. Take for instance the scene where WALL-E shows EVE around his "home". As "she" looks at something on a shelf, we see WALL-E's eyes focus on her arm, and very slowly he starts to reach out for it, before turning away clumsily when she spins around. It's an unbelievably "aw shucks" level of cuteness and innocence that's has few parallels. And of course there's the use of the old "Hello Dolly!" movie, mainly one of its songs. The sight of WALL-E looking at the footage and emitting a mechanical swoon is nothing short of brilliance. Of course, the second half does lose something. Once the humans are brought into the picture the story takes on a more conventional "chase" route, but there are still great moments (WALL-E and EVE's space dance that goes on as the captain of the Axiom asks his computer to define "dancing"). And to top it all off, there's an environmental message. This film about a little robot that could is both deeper and more moving than some of the most awarded live action romances, and that's something special, even if it isn't Pixar's veeeeeeeeeeery best (that honor goes to "Finding Nemo", also by Stanton).
Grade: A
Deserving: Yes

7. The Lord of the Rings: The Two Towers by Peter Jackson: I might as well put most of my Lord of the Rings rant in here and get it over with. Simply put, I think Peter Jackson's adaptation of JRR Tolkien's fantasy classic is a staggering masterwork, and I couldn't be more pleased to see all three films from the trilogy on the list. In both scale and detail these films are masterfully directed, aided by near perfect casting and of course Howard Shore's magnificent scores. On The Two Towers specifically, this one showcased Jackson's impressive ability to handle large scale action scenes (the Battle of Helm's Deep) and introduced us to one of cinema's greatest character creations: Smeagol/Gollum, as portrayed by Andy Serkis. When he first hisses "my precioussssssss", it was like a sign flashed up on the screen that said "ICONIC PERFORMANCE". In capturing both sides of Smeagol Serkis and Jackson created a rich, despicable, memorable character that leaps off of Tolkien's pages and becomes frighteningly real (credit also goes to the amazing use of motion capture technology). On a different note, one thing that also deserves mentioning is the way that Jackson and crew really made you feel the malevolence of the One Ring. Throughout the trilogy there are moments where almost all background noise is muted and all we hear is either a strange tone or a strange "whoom" sound. The effect is nothing short of hypnotic and it makes us understand why whenever characters hold the ring before their eyes, they feel compelled to just stare at it. Best example of this effect? The scene at the end of The Two Towers where Frodo, Sam, and Smeagol, captured by Faramir and his men, pass through the ruined city of Osgiliath, under siege by Orcs. Suddenly, the fearsome Nazgul and their lizard-like winged beasts soar overhead, and right on cue the sound gets turned down and people start to move in semi-slow motion as that "whoom" effect pulses from the speakers. Frodo, as if in a trance, eerily mutters "they're here" and walks up some steps, out into the open. Not missing a beat, we see one of the Black Rides rise up on his steed, the great leathery wings slowly propelling them up. The first time I saw that scene in the theater, I was so sucked in and so mesmerized, that when the Nazgul popped up I almost couldn't breathe. And that's just one of the many brilliant this magnificent (and LONG) trilogy got right.
Grade: A+
Deserving: YES

6. Memento by Christopher Nolan: Part of me wonders if the IMDb members who voted really do like this film that much, or if they were just trying to get Mr. Nolan another film on the list. Regardless, it's hardly a bad choice, and features brilliant execution of a script that must have been nothing short of a nightmare to put together. It can be troublesome enough telling a story almost entirely backwards, but throw in that the main character is an amnesiac, and, well, you've got quite a handful. Even so, Mr. Nolan and company pull it off and make it look easy, which is testament to his skills as a director. Of course, seeing as the film is told backwards, some parts feel more odd than enthralling, although when the film works (which is most of the time) it soars. Performances are great all around from Guy Pearce, Carrie-Anne Moss, and Joe Pantoliano. The characters are interesting, and if you think that the way the film opens gives something away and somehow ruins the suspense, you're dead wrong. The movie may begin near the end, but where it ends up, you'll never see coming.
Grade: A-
Deserving: Maybe

5. Up by Peter Docter: Of all the films from 2009 to make it on to the list, I can't help but feel a bit disappointed that it's this one. Yes, I know I heaped praise on Pixar when I talked about WALL-E, but "Up" is a different story. What, you say, am I actually going to say something negative about a Pixar movie? Yes and no. I do not dislike the movie, far from it. But unlike most Pixar features, the problems of "Up" seem much more visible. Yes, the opening montage is brilliant and moving, and it has moments of fantastic humor throughout, but it's some of the space inbetween that's underwhelming. In addition to having a goal that changes halfway through, the late in the game introduction of the villain feels rushed, and there are points in between the brilliant moments that just feel bland as all get out. So while I still give enormous credit to Pixar for being daring with their material (not to mention having a protagonist in his 80s), they could have put a little more effort into sharpening the script and storytelling.
Grade: B
Deserving: No

4. The Lord of the Rings: The Fellowship of the Ring by Peter Jackson: I've already given most of my thoughts on the trilogy as a whole, but here are a few thoughts on the first installment. First off, right from the get go the effort is obvious. The stunning score starts to play and we hear Cate Blanchett's narration of the stunningly rendered prologue, tracing the first War of the Ring. It's still hard for me to watch the scenes in the Shire and not get slight chills by how beautiful and earthy it feels. And of course there are the other beautiful settings: immaculate Rivendell, white and glowing Lothlorien, the Mines of Moria, etc... Yet even with the prologue, there's still a lot for Mr. Jackson to set up, and he does so flawlessly. Though there are plenty of scenes that have no buildings or markings of the cultures of Middle Earth, they still feel like they're part of another world. Thrilling, dark, haunting, and beautifully rendered, it's a brilliant start to a towering trilogy.
Grade: A+
Deserving: YES

3. City of God by Fernando Mereilles: An excellent, well directed film, and it's nice to see a foreign language film on this list (well...one that I've seen haha). I hate not being able to discuss why, but while this is a great film, it's just not great enough to be on the list. Sorry...I really dropped the ball on this one.
Grade: A-
Deserving: I don't like saying it, but No.

2. The Lord of the Rings: The Return of the King by Peter Jackson: Many believe that either Fellowship or The Two Towers was the shining moment in the film trilogy, but I think that Jackson just kept topping himself, even with those 5 million endings. Yes it's long, but so were the other two, and even so there's soooooooooo much to love. Visually, this one may be the richest, grandest looking one, with grand vistas of Mordor, Minas Tirith, Minas Morgul, and the jaw dropping panoramas of the siege of Gondor and the Battle of Pelenor fields. The music is as gorgeous as ever, the bad guys as menacing, and the story as strong. Once again, Jackson is a master at making us "feel" certain situations, most notable when Frodo and Sam, beaten and exhausted, begin their ascent of Mount Doom. As they crawl up it's hard to not feel the weight that the Ring has put on them, and Sean Astin's delivery of the "I can't carry it, but I can carry you!" line, which could have been silly, is just fantastic and a wonderful testament to the story's underlying themes of friendship and loyalty. And don't even get me started on the collapse of Mordor. Call me a sicko, but it's one of the most jaw droppingly phenomenal scenes of destruction (but hey it's the bad guys, so give me a break) ever put on screen, and as it happens it's hard not to feel the sense of relief that washes over the characters. But even then it's not done. I still get chills and even a little teary eyed at the scene where Aragorn, at his crowning ceremony, sees the four Hobbits and says "you bow to no one" and everyone in the audience kneels before the four shortest people there. And with all of those endings, where did they finally cut it off? Annie Lennox's hauntingly beautiful song "Into the West". Icing on a glorious cake.
Grade: A++
Deserving: Take a guess...

1. The Dark Knight by Christopher Nolan: In someways I'm not at all surprised that this is number 1. For one, it's quite recent and exceeded sky high expectations. Naturally fanboys appeared. Hell, there was an online uproar when the film wasn't nominated for Best Picture, one that certainly didn't happen all of the times that Pixar has been left out of the running for the big prize. In fact, it may have been the biggest outpouring of rage since *gasp* the "Eternal Sunshine" snub. Of course, with anything so insanely popular with both critics and audiences, there's going to be some backlash. And y'know, there are some good reasons to label this film as overrated (however, this does NOT include using the "the movie wouldn't have been anything special without Heath Ledger argument". He WAS in it. A is A. You can't create a reality where he wasn't in it and the "criticism" is invalid). In fact, this was part of why I saw the movie multiple times (twice in theaters and twice on DVD), each time fearful that suddenly I would see something that would make me say "yup, I bought into the hype. The movie is good but it isn't THAT good". Well, four viewings later, I still love the movie, and the only reason I don't like it's being on the list is that it will only make the vocal haters that much louder. So, why do I love this film so much? First off, the relentless energy. Though, when you really look at it there isn't a whole lot of action, it's engaging and exciting the entire way through, thanks to the editing and camera work, in which there are rarely scenes in which the camera doesn't move at least a little. The opening heist, aside from being a wonderul homage to "Heat"showcases everything that's right with the movie. The editing is tight, the score perfectly matching the rhythm and energy of events onscreen, and best of all, it feels, dare I say it, real. It's a "superhero" movie, yet it feels so grounded in reality, and really this could only have been done with a hero like Batman, who has no superpowers (not to mention that his outfit is black, making it seem less cartoony). And best of all, there are none of those "cute" little moments that are there to remind you that it's a superhero movie (I'm referring to scenes like one in "Spiderman 2" where Peter Parker, in normal clothing, jumps super high out of the way of a truck. Two little kids look at him and ask "how did you do this?" to which we get the oh-so-precious reply of "y'know, go to school, eat your vegetables". Eh...). One of my favorite aspects of the movie, which has received more discussion than I would have thought, is the score. Some find that it adds unecesary tension to scenes that are already tense on their own. It's a fair point: The Hurt Locker had plenty of tension with virtually no music. Even so, I stand by the score. "The Dark Knight" is a big movie in every sense, and the music only helped to push scenes that were tense into the territory of "holy crap I can't breathe". Most notable was that one drawn out note on a violin/electric guitar/cello(???) that was more or less the Joker's "theme". It would play, and gradually increase in volume, and that one simple effect was enough to make my heart race. The scene where the Joker corners Rachel and starts to tell her how he got his scars, as the camera menacingly circled around them? I'm sorry, but I think part of the reason that scene is etched in my brain is because of the presence of the music (not that it wasn't brilliant on its own, mind you). And then there's the Joker. If there's one part of this film that even the detractors won't diss, it's Ledger's performance. And the more times I see it, the more I realize that it doesn't matter if he's dead or not, it's just an amazing performance, all around, and totally worthy of the massive hype. Both terrifying and darkly funny (the pencil scene, anyone?), it's hands down one of the greatest villains ever created, and a true testament to Ledger's talent. In fact, in the course of the 2.5 hour movie, he's only on screen for 20 minutes. That's right, 20. Before I found this out, I would have sworn he was in it for at least double that. That's how much of an impact he has. That's not to discredit the rest of the cast, who often get overlooked due to their mush less colorful roles. Aaron Eckhart in particular is excellent, and Maggie Gyllenhaal brough a refreshing toughness to the role of Rachel. So, do I have anything bad to say about this movie? Actually, yes. Even in the countless raves of this film, the one thing that people will take (slight) issue with it Christian Bale's "Batman voice", and I have to admit, I take issue with it too. It's not gut-wrenchingly awful, or bad enough to seriously detract from the movie, but it's still a bit much. Specifically at the end of the film, where everyone is probably emotionally drained beyond all belief, and yet he still has enough energy to maintain the voice, even delivering a mini-speech to Gary Oldman's Lt. Gordon? Really? However, is the voice, which isn't there too much anyway since much of the film has Bale as Bruce Wayne, enough to make me think any less of the movie? Not at all. Is it important? At the risk of sounding totally silly and pretentious, I still say yes. Why? Because it showed us that a "comic book movie" could be something more, to the point where the only thing comic-like about it is the fact that a guy happens to wear a cape for parts of the story. Other than that it isn't a comic book movie...it's a full blown epic crime thriller. But if we'er going to put it on such a list, maybe it doesn't need to be all the way at #1...
Grade: A
Deserving: Yes

There is...SO much wrong with this picture...mommy, I'm scared

It won't be long before Stephenie Meyer tells them all to drink the special kool-aid so that they can all become sparkly vampires...

Wait......WHAT?

One of the most exciting, consistently brilliant American Idol contestants just LOST to an admittedly good but low-key pretty boy from Arkansas? Why America...WHY!?

Hands down the best Super Bowl commercial...

Today in bulls**t: David Hirschfelder's Australia score is M.I.A.

Source: Australiamovie.net

“Where’s the Australia Soundtrack?”, “Who composed the score?”, “Where can I purchase David Hirschfelder’s music from the film?” and again “Where is the Australia Soundtrack?” are just a mere few examples of many many e-mail enquiries, forum posts, and guestbook entries wanting to know what on earth Bazmark and 20th Century Fox are doing. Even a large amount of our site traffic is coming from other forums and serach results looking for the same thing.

At first it appeared there was simply a delay, but as time goes on it’s fast becoming a disappointing reality that the score for this film, by musician David Hirschfelder, may not be made available to the public. We’ve been told that the rights obviously lay with Bazmark and Fox, and beyond that it is unknown what the decision for release will be but, “at this point it doesn’t look likely”.

It’s a befuddling world we are living in when random films such as Just Like Heaven, Serendipity and The Wedding Planner have soundtracks made available but an epic film such as Australia cannot release a hardcopy CD containing the works of an award winning composer. Where’s the logic?

With the recent boost in interest generated by international filmgoers, there may still be a chance for the soundtrack to reveal itself yet. However in the meantime davidhirschfelder.com has generously put five full songs from the Australia score in high quality streaming format on the composer’s official website.

The website reads, “David spent 7 months on the project from temp to trailers to finished score. His imposing score at times combines frenetic percussion of pounding cattle hooves melding on the barren red desert and river beds to the majesty of a herd of wild brumbies galloping across the dusty plains. With over 2 hours of underscore it is hard to pick highlights…”

Tracks made available are Bombing of Darwin, Nullah Enchants Sarah, England to Oz, Stampede and Nullah is Safe. The website is best viewed using Internet Explorer.