Every Film I Saw in 2004 Ranked

1. Life Aquatic, Wes Anderson-Didn’t fare as well as some of the other Anderson films at the time, but the theme of enemies and friends and estranged family members overcoming their detachments because of a need to belong is still prevalent in a very touching way and it’s a feast for the eyes.
2. Aviator, Martin Scorsese-Everything about this film feels grandiose in a good way. It’s a love letter to the Golden Age of Hollywood from a man who’s arguably Classic Hollywood’s most prominent fanboy. The biopic is compelling, the hokey sentiment at the ending works, and I also like the lack of resolution. I went into the film knowing very little about Howard Hughes as well.
3. Sideways, Alexander Payne-The moment in history where Alexander Payne’s neorealist screenwriting style and critical tastes aligned. It’s a tense and funny story that treats its characters with gentleness and understanding.
4. Spanglish, James L Brooks-It’s high ranking with me is affected by the fact that it mirrors my own life story because I had a live-in Spanish-speaking nanny and her daughter stay with us when I was young. But seriously, I don’t understand the hatred for this film. Aside from that, I think it’s a very well-balanced story tonally and cleverly shifts audience loyalties between the neglectful wife, the nice guy husband, and the house interloper.
5. Anchorman, Adam McKay-My first bit of education that making a good comedy can entail the same degree of artistic difficulty as a good drama. The layers of absurdism, the strength of the characters, the timing of the jokes, everything clicked to the point that I was literally laughing throughout at least 80 to 90% of the film’s running time.
6. Ray, Taylor Hackford-The debate over whether to put Ray or Finding Neverland first was a tough one. Ray was a bit more of a known story, whereas Finding Neverland found a lot of nuance in the unknown. Ray was downright inspiring though and the redemption at the end (while not a complete redemption at all) was tear jerking. I remember leaving the theater thinking, “OK, I am not gonna let my disability hold me back.” The cast of characters rotated so often, the film felt like a series of vignettes but there was enough centrality to hold it all together.
7. Finding Neverland, Marc Forster-The film appeared a little stuffy but the theme of defining your own family resonated very well and, like, Ray, the film was quite a tear jerker.
8. Fahrenheit 9/11, Michael Moore-Whether you agree with the politics or not, Michael Moore has really broken open the mold of a stale genre. Before Michael Moore, I wasn’t a fan of the genre at all: Talking heads, newsreel footage, self-satisfying photography. No thanks, I’ll go read a book.
9. Manchurian Candidate, Jonathan Demme-Yes, it’s a remake but the story’s one of my favorite of all time so I don’t mind seeing it again, it’s transported very appropriately to a new setting, it plays well like a thriller, and Denzel, Liev and Meryl are fantastic reinterpretations.
10. Kinsey, Bill Condon-A very interesting way to tell a story that’s largely about collecting data (even if it’s about very sexy data). The central conflict is about a scientist’s struggle to present a truth in the face of moral naysayers but it nicely meanders in talking about the man’s detachment from emotional love and his complexities. In delving into side characters, it’s an early template for so many of the great serialized shows (Dexter, Transparent, House of Cards, Orphan Black, Masters of Sex) that start with a subject and work their way out.
11. I Heart Huckabees, David O Russell-An extremely innovative and resonant form of comedy. The scene of Mark Wahlberg panicking about the state of petroleum in the world while he has a real-world problem right before him in the form of a wife leaving him, spoke to me so much as someone in my head. I didn’t know whether to laugh or scratch my head, but it was really something else.
12. Mean Girls, Mark Waters-The film that launched Tina Fey into the stratosphere still holds up very well as a quintessential teen movie. The dialogue is sharp, edgy and relatable to anyone who’s felt like an outsider in their adolescence. It also captures very well how all those cliques and aliiances that you’re obsessed with in high school seem to dissolve at some point and you realize what’s ultimately important.
13. Dodgeball, Rawson Marshall Thurber-Like Anchorman, this is a film that knows where to pin its jokes for maximum effect. It’s a brilliant sports parody, pure unadulterated fun and encapsulates Vince Vaughn’s screen persona better than any other film.
14. National Treasure, John Turteltaub-I probably would’ve ranked this more in the middle of the pack back in 2004, but it’s a more memorable film down the road and one I would rewatch in a heart beat. The premise is absurd but the marriage of history and adventure is done in a much tighter way than Da Vinci Code and it skates by on a sense of fun the whole way.
15. Supersize Me, Morgan Spurlock-Morgan Spurlock’s grotesque piece of performance art is the only known example besides Michael Moore I’ve seen of a documentary breaking the mold and showing something you couldn’t get out of reading a book on the same topic.
16. Spiderman 2, Sam Raimi-Back in the day, this film got amazing reviews and topped (whatever would have been the equivalent back then of) the Rotten Tomatoes chart, and was even included in AFI’s ballot for the 100 Greatest Films of All Time. I’ve never been too keen on the Spiderman universe because the characters feel so rigidly drawn to archetypes (James Franco is the best friend but why? Can Kirsten Dunst be any more Girl Next Door?), but the story takes the hero into new territory, the special effects are very impressive and story relevant, and there’s a grandiosity to the whole film.
17. Silver City, John Sayles-A wonderful little satire and ensemble piece about government corruption and a peon in the system (Danny Huston) finding a little piece of political redemption.
18. Shrek 2, Andrew Adamson-Not sure if I loved this cartoon as much as Chadwick Bozeman’s recent SNL character but this was a great movie about how to deal with the aftermath of happily ever after. A thematically mature cartoon is pretty rare. The laughs weren’t AS strong as they could be because they were overly character-reliant and the characters -- an ogre who’s not that bad and a donkey who’s a vehicle for Eddie Murphy humor -- wore themselves out by the end of the first film.
19. Maria Full of Grace, Joshua Marston-I don’t watch foreign films nearly as often as I should because stuff like this does give me a nice insight into another part of the world. It was nice to see a protagonist like Maria here who wasn’t entirely helpless and could advocate for herself.
20. Eternal Sunshine of the Spotless Mind, Michel Gondry-It’s hard to separate the film from the critical love for said film. You know why it’s a great film. I don’t remember it as much. I believe a major distraction of the film was the focus given to the Elijah Wood-Mark Ruffalo-Kirsten Dunst-Tom Wilkinson as a separate B-plot rather than just a framing device. The jumps in time gave me whiplash and not in a good way (“500 Days of Summer’ steps into and out of time more gracefully). But, yes, it has a lot of great stuff in it as well.
21. Day After Tomorrow, Roland Emmerich-It goes up several points based on how well I remember it. Even though it’s extremely implausible, the plot’s not nearly as flimsy as 2012. It fits well with Emmerich’s milieu of large-scale disaster and is a fine ensemble piece. Some of the visual imagery (such as the characters outrunning cold itself or the initial onset of the storm) is indelible.
22. I Robot, Alex Poyras-Like Kinsey, this is an extremely difficult story to adapt so I have to give the film credit for making a coherent story that’s somewhat thought-provoking (what the Asimov intended his work to be) and has a genuine element of mystery. The jaded cop angle was a little strained. There was also a bit too much exposition but it would be hard not to do with source material
23. Terminal, Stephen Spielberg-There were parts that were a little schmaltzy, but it played with some interesting cinematic and spatial space (re-thinking the airport as the setting of a movie rather than a transition point) and I found the film lined with quite a bit of philosophical depth if you consider the airport to be a purgatory of sorts. The film has a nice bit of tension between Stanley Tucci’s character and Hanks. One weakness is that Hanks is a bit Tom Hanksian in a been-there-done-that kind of way which is a shame since he’s based on an actual characterthis tough.
24. Wimbledon, Richard Lorcaine-It’s not a particularly ambitious film, but three things in the film’s favor: 1) A very endearing romcom 2) one of the few sports films dealing with staying in the game past your peak 3) making tennis (an already underrated sport) sexy and exciting through great action shots and the like
25. Welcome to Mooseport, Donald Pietrie-It has a reputation buoyed by its reviews of being bland and vanilla, and to make matters worse, it’s rumored to have scared Gene Hackman into retirement, but I don’t care. To me, the film is a pleasant throwback to the 90s era of wholesome family-friendly comedy. A bit of fish-out-of-water stuff and a nice love story
26. Merchant of Venice, Michael Radford-Hard to judge this super-objectively since I saw this for a literary class on Merchant of Venice and not really for pleasure. Al Pacino deserves accolades for going for broke here and doing Shakespeare. I’d much rather see him do this than a cop or mob member or robber. Visually nice.
27. Around the World in 80 Days, Frank Coraci-When I first saw this, I thought it was a shameful dilution of a great literary work simply to give Jackie Chan a vehicle for his blend of martial arts and children’s comedy. Then, I rewatched it and discovered how marvelously fun and virtuosic a Jackie Chan movie can be. The film’s humor can seem unimpressive at points but it’s consistently filled with the kind of jokes that would delight a 12-year-old and if you meet the material halfway, there’s a good chance you’ll be able to let your inner child out.
28. Troy, Wolfgang Petersen-When I first watched the film in 2004, I felt it was shameful that the film stripped the Iliad of its cultural specificity in favor of a more broad story. Looking at the irritating complexities of Game of Thrones or Westworld or Orphan Black, I don’t necessarily think simplifying a narrative is the worst thing you can do anymore. At the same time, the film loses a little by keeping this a tale only of humans when the source material was a more extravagant opera of Gods and humans on opposite sides of a battle. If you accept that this movie is just a watered-down Brad Pitt vehicle and lower your expectations as such, it’s an easily digestible epic.
29. 50 First Dates, Peter Segal-Not a fan of Adam Sandler’s man child screen persona but he occasionally puts his characters in solid enough plots that they cancel out the weakeness of his presence enough to make a good movie. The only three Adam Sandler films I liked were Mr Deeds, Big Daddy, and this one. Sandler films are juvenile in their jokes but they also are sincerely enveloped with a lot of heart. This is an interesting premise for a love story and it mostly works in spite of how little I like Adam Sandler as an actor.
30. After the Sunset, Brett Ratner-The film strikes just the right playful tone. Pierce Brosnan, who was as heavily associated with Bond as he would ever be, had an odd penchant for playing Bond-like figures in Tailor of Panama, No Escape, Matador, and this. All four characters are what I would describe as sleazy versions of Bond. This one is an interesting role for Brosnan because it’s laced with a playful sense of (very un-Bond-like) homoeroticism between Brosnan and Harrelson while simultaneously trying to aim for a monogamous love story. Like many of Bond’s most famous films, it’s also set in the Caribbean and has a chase scene in the Junkanoo just like Thunderball.
31. Sky Captain and the World of Tomorrow, Kerry Conran-My reaction is pretty much entirely neutral. It was pleasant and technologically innovative but the technological innovations were quite distracting.
32. Incredibles, Brad Bird-I just didn’t feel particularly inspired by this. I preferred “Sky High” or the underrated Ben Stiller vehicle “Mystery Men”
33. Taxi, Tim Story-One has to admit the scene of Queen Latifah breaking all laws of traffic (and perhaps physics) to get a passenger to Laguardia in fifteen minutes is pretty solid. And who doesn’t actively fantasize about a taxi driver (or perhaps an Uber) who actually cares about getting you somewhere on time? The premise is thin, the show is inoffensive and fun, and harkens back to the days when Jimmy Fallon didn’t make me want to stab someone. If he was better in films, he might not be imposing his annoying giggly fits on the late night landscape.
34. Stepford Wives, Frank Oz-A remake of a 1975 film starring Nicole Kidman is a burnt-out TV executive whose supportive husband moves her away from the city to a pleasant suburban enclave. This is an attempt at suburban satire that morphs into a Shyamalanesque eerie town mystery. The thru-line between the former and the latter is the peril of conformity but it’s a completely different picture in the second half which invalidates much of the first half’s thematic thrust. First, the film is about a woman learning to relax and open up; than bam!-- they’re all zombies or robots or something. The film does have a twist or two but by then it’s a little too late.
35. Garden State, Zach Braff-It’s an extremely typical coming-of-age story that doesn’t have a lot of forward momentum that is overly filled with quiet spaces. The protagonist has some issues to resolve but he’s so internal and broody, that it’s not translating on screen more than a guy voicing first world problems. Aside from an extremely typical romance with a young lady, who as far as I could tell seemed mentally ill (sorry Natalie Portman, you are an Oscar winner but I couldn’t swallow your interpretation here), basically amounts to a guy trying to decide whether to go off prescription medicine of not. There is one meaningful conversation he has with his dad and when I pulled the quote on IMDB, there was a sense of poetry to that one scene, but everything else was blah.
36. Napoleon Dynamite, Jared Hess-Napoleon Dynamite has some genuinely sweet moments between its central teenage characters but I don’t find the characters to be particularly iconic. I also don’t think Idaho (from my experiences in the state) deserves this portrayal as the capital of bland weirdness.
37. Catwoman, Pitol-It had some iconically cringe-worthy scenes (the basketball game choreographed by people who don’t know how the sport works) but it was moderately watchable. Not a high compliment, I know.
38. Ocean’s 12, Stephen Soderbergh-On the one hand, the film is crafted by Soderbergh with a genuinely impressive level of slickness that helps remind us why he won a Best Director Oscar in a competitive year. On the other hand, putting all the technical expertise in the world to an ending that basically says f--- you to the audience for caring about the story doesn’t absolve you. It’s also a self-indulgent mess. You think George Clooney and Brad Pitt are egoless actors? Nearly all of their dialogue is self-praise which is even more obnoxious considering that Pitt and Clooney are doing it on a meta-level and think it’s a wonderful use of our time to revel in their smugness.
39. Lady Killers, Joel and Ethan Coen-Part of my extremely low ranking here is high hopes. Like all Coen brothers films the sense of place is very strong and I very much enjoyed Tom Hanks’ acting here. His fast-tacking huckster is a delight and one of the best performances of the year. But no one else in the movie was remotely memorable (this was the second film that Spring I’d seen featuring a character who had IBM and I found it equally unfunny the first time) nor did the group have any discernable sense of banter. The pacing between the heist and the subsequent struggle against their landlady (Irma P Hall) was a bit abrupt which made their doom feel empty in a tragic way. The original felt less ambitious but the symmetry of the character’s success and demise made for an effective moral tone poem in its simplicity.
40. The Whole Ten Yards, John Lynn-I remember almost nothing about this film and what’s even worse news for this film’s chances of implanting itself into my memory 14 years later: I remember almost nothing about the original except that it features Amanda Peete naked and that Bruce Willis subverts the mold of a hitman by also being humorous and affable. When has Bruce Willis not been affable? I don’t even remember the decision that led to me thinking I want to put myself through a forgettable two hours.
41. 13 Going on 30, Gary Winick-I don’t believe in using the word chick flick because a movie with a female-centric character or a romance can always be appealing if made well. This is not one of those movies. The story, a gender switch on “Big” starring Jennifer Garner, is short on plot movement and overindulgent in a bath of cutesiness (makeover scenes, karaoke-filled sleepovers) that’s carried entirely on the back of Garner’s gifts for physical comedy. Garner is on screen nearly 100% of the time which gives the added disadvantage of denying us any narrative-breaking B story or plot meander.
42. Along Came Polly, Jon Hamberg-Philip Seymour Hoffman, you’re so much better than this. Why did you think channeling Jack Black was a good idea here? The film has little chemistry and the tension before the two get together was skipped which made me care less about these two. Also, could they think of nothing more sophisticated for a character trait than IBS?

The most star-packed rosters of 2004-2007

As determined by combined number of Oscar nominations when the films were released. The lists are highly skewed by Meryl Streep, but it's an interesting list. Also do you notice that there's virtually no correlation between number of stars you have in an animated film and the amount it grosses? I also notice that the numbers will inevitably get smaller the further back you go, and that's because oscars are handed out at a faster rate than Oscar-winning actors are dying (or in rare cases, retiring from acting, but noone ever truly retires, just ask Hugh Grant, Julia Roberts, Dan Akroyd, Jamie Lee Curtis, etc.):

2007:
1. Evening 26: Meryl Streep 14, Toni Collete 1, Vanessa Redgrave 6, Glenn Close 5
2. Stardust 19- Robert De Niro 6, Peter O’Toole 8, Michelle Pfieffer 3, Ian McKellan 2
Rendition 19: Meryl Streep 14, Alan Arkin 3, Jake Gyllenhall 1, Reeee Whitherspoon 1
4. Lions for Lambs 18: Meryl Streep 14, Tom Cruise 3, Robert Redford 1
5. Bucket List- 16: Jack Nicholson 12, Morgan Freeman 4
5. Harry Potter & the Order of Pheonix 16-Emma Thompson 4, Ralph Feinnes 2, Imadela Staunton 1 Maggie Smith 6, Helena Bohman Carter 1, Julie Walters 2
5. Ocean’s 13-16: Al Pacino 8, Matt Damon 1, Brad Pitt 1 George Clooney 1, Don Cheadle 1, Elliot Gould 1, David Paymer 1, Andy Garcia 1, Oprah Winfrey 1
8. National Treasure 2 14: Ed Harris 4, Jon Voight 4, Helen Mirren 3, Nicholas Cage 2, Harvey Keitel 1
9. Charlie Wilson’s War 10: Tom Hanks 5, Amy Adams 1, Julia Roberts 3, Philip Seymour Hoffman 1
9. Before the Devil Knows You’re Dead 10-Albert Finney 5, Ethan Hawke 1, Marissa Thomei 2, Philip Seymour Hoffman 1, Rosemary Harris 1
9. Bourne Ultimatum 10-Matt Damon 1, Joan Allen 3, Albert Finney 5, David Strathain 1
Elizabeth and the Golden Age 9: Cate Blanchett 3, Samantha Morton 2, Geoffery Rush 3, Clive


2006:
Prairie Home Companion 20: Meryl Streep 13, Kevin Kline 1, Woody Harrelson 1, Virginia Madsen 1, Lily Tomlin 1, John C Riley 1, Tommy Lee Jones 2
Ant Bully 20: Meryl Streep 13, Julia Roberts 3, Nicholas Cage 2, Paul Giamatti 1, Lilly Tomlin 1
Departed 16: Leo DiCaprio 2, Jack Nicholson 12, Matt Damon 1, Alec Baldwin 1
Good Shephard 16: Robert De Niro 6, William Hurt 4, Joe Pesci 2, Alec Baldwin 1, Matt Damon 1, Angelina Jolie 1, Timothy Hutton 1
All the King’s Men 15: Anthony Hopkins 4, Kate Winslet 4, Jude Law 2, Sean Penn 4, Patricia Clarkson 1
Devil Wears Prada 13: Meryl Streep 13
Venus 13: Peter O’Toole 7, Vanessa Redgrave 6
Inside Man 12: Jodie Foster 4, Denzel Washington 5, Clive Owen 1, Willem Dafoe 2
Stranger than Fiction 13: Dustin Hoffman 7, Queen Latifah 1, Emma Thompson 4, Tom Hulce 1
Children of Men 11: Clive Owen 1, Michael Caine 6, Julianne Moore 4

2005 is the weakest year on record:
1. Prime 14-Streep 13, Uma Thurman 1
Baman Begins 13-Wattanabe 1, Freeman 4, Caine 6, Wilkinson 1, Niesson 1
Bewitched 13-Kidman 2, Caine 6, MacLaine 5
4. Robots 11-J Broadbent 1, H Berry 1, J Earl Jones 1, G Kinnear 1, D Weist 3, R Williams 6
5 Corpse Bride 10-Emily Watson 2, Helena Bohman Carter 1, Jonny Depp 2, Albert Finney 5
5 Racing Sripes 10-Dustin Hoffman 7, Michael Clarke Duncan 1, Whoopi Goldberg 2
5. Harry Potter 10-Miranda Richardson 2, Maggie Smith 6, Ralph Feinnes 2
8 Two for the Money 8-A Pacino 8
8 Weatherman 8-Cage 2, Caine 6
8 Hide and Seek 8-Robert De Niro 6, Elizabeth Shue 1, Amy Irving 1

2004:
1. Lemony Snicket 22-Hoffman 7, Streep 13, Jude Law 2
1. Manchurian Candidate 22-John Voight 4, Denzel Washington 5, Meryl Streep 13
3. Meet the Fockers 15-Dustin Hoffman 7, Robert De Niro 6, Barbara Streissand 2
3. Finding Neverland 15-Jonny Depp 1, Kate Winslet 3, Julie Christie 3, Dustin Hoffman 7
3. Harry Potter and the Prisoner of Azhkaban 15-Maggie Smith 6, Julie Christie 3, Emma Thompson 4, Julie Walters 2
6. I Heart Huckabees 13-Lily Tomlin 1, Dustin Hoffman 7, Jude Law 2, Someone whose name I can't remember 2, Naiomi Watts 1
6. Ocean's 12 13-Catherine Zeta Jones 1, Albert Finney 5, Julia Roberts 3, Andy Garcia 1, Matt Damon 1, Brad Pitt 1, Elliot Gould 1
6. Shark Tale 13-Will Smith 1, Rene Zellweger 3, Robert De Niro 6, Angelina Jolie 1, Peter Falk 2
8. Troy 11-Peter O'Toole 7, Brad Pitt 1, Julie Christie 2
8. Stepford Wives 11-Glenn Close 5, Christopher Walken 2, Nicole Kidman 2,
10. Merchant of Venice 9-Jeremy Irons 1, Al Pacino 8
10. Aflie 9-Jude Law 2, Susan Sorandon 5, Marissa Thomei 2
10. Aviator 9-Leo DiCaprio 1, Cate Blanchett 1, Alec Baldwin 1, John C Riley 1, Ian Holm 1, Jude Law 2, Wilhem Defoe 2

The era of the blockbuster

Five years ago, Spiderman burst into movie theaters across the country an unpredented three weekends before Memorial day. Boasting a head start over the rest of the summer films, an unlikely choice for the lead in Tobey MaGuire, and a legion of comic book aficianados eager for the movie's release, the film made movie history by becoming the first film to make one hundred million dollars in its opening weekend.

Since then, Spiderman 3 enters theatered the same weekend, but in an era that's completeley dominated by summer blockbusters. At $151 million Spiderman 3 broke the weekend record once again and has become the eighth picture to do so. Thirty-three movies have grossed $200 million or more domestically and 23 of those came out during the summer whereas only 28 films hit the $200 million mark before this decade.

Ten years ago, there might have been one or two big budget projects like Men in Black, Batman Forever, or Independence Day that would generate water cooler buzz all summer, but nowadays, a big-event picture enters the theaters once every other week during the summer months, with sequels, prequels, remakes. Everything practically falls into this pattern even if it's not technically a sequel. The 2002 hit Signs and M. Night Shamylan's sophomore effort, was anticipated "the next M. Night Shamylan film," which was in essence The Sixth Sense II or we could have called Michael Moore's Farenheight 911, "Bowling for Columbine II."

"Why don't the studios care about originality?" you may ask. They do. In fact, it's because of their love of filmmaking and their desire to want to make innovative and original films that the studios put us through this cycle and it also benefits us as well. Here's how:

By expending a lot of money on these cash cow films and shamelessly plugging away at them until every person and their grandmother has seen the movie twice, studios are able to pay for all the more interesting films that might not be as sure of a commercial bet. These films usually appear in theaters from around the end of the summer to the end of the year, and you can often find many of them spilling over into January and February. The films that are released during this time of year in hopes of winning Oscars, which are little toy statues that the winners like to wave around to their peers in hopes of gaining respect, power, and priority seating at high-class Hollywood establishments. It's a strange culture they have out there.

Nevertheless, once Oscar season ends, we have a season of pretty-much nothing on the movie front. Movie fans can spend their time watching the NHL or college basketball or whatever else catches their fancy, because the state of movies is pretty much unchanged. Sure, there are movies in the theaters between February and April but these are films that are released just for the sake of having something new for the movie theaters to show. With a few exceptions, these movies are usually very forgettable (If films in this category like R.V., the Pacifier, Norbit, Epic Movie, Failure to Launch, The Shaggy Dog, Date Movie or Wild Hogs become classics 10 years down the road, than I will eat my words on this one). I think of it as a kind of absence-makes-the-heart-grow-fonder-type of process where we take a break from watching current releases and might even swear off movies as a whole considering the quality of the films that comes out during this period.

This is where the summer Blockbuster season comes to the rescue. It presents us with sequels, remakes and tentpoles which are virtually impossible to turn down. Anyone who's watched Pirates of the Carribean 2 and has even the slightest interest in the characters is going to feel compelled to watch the third one just to see what happens to the characters. This is why sequels are so profitable, although that's based on the cliffhanger element being done well enough. Personally, I thought one of the weaknesses of Spiderman 2 was that it closed off all the loose threads for me to be invested in the third: Spiderman's identity revealed to Harry, Spiderman's identity revealed to Mary Jane, Spiderman's confession to his aunt, Spiderman and Mary Jane getting together, etc.

Still, the people saw it in mass droves ignoring mixed reviews because that's the power of the sequel: It's a must-see and more than that, it's a must-see on opening weekend, which some of us (myself included) have not been able to make.

The tragedy of this summer is that if we mutually agree that Ocean's 12 ruined our good faith in the Ocean's 11 and that the Rush Hour series was never very good in the first place, than the three big trilogy back-ends this summer, Shrek 3, Pirates 3, and Spiderman 3, are all taking place by Memorial Day Weekend which was when the summer seasion is traditionally supposed to start. The Early Bird catches the worm is the philosophy. So if you haven't been able to make the big opening-weekend rushes, don't worry, there's still the actual summer to see them. I myself am a little behind on starting my summer. I just saw Spiderman 3 last weekend and will see Pirates this weekend.

This Oprah Winfrey Oscar Special is rediculous

Tonight's Oprah Winfrey Oscar Special advertises "First-Time Oscar Winners Go One-On-One" with three big interviews: First, Sidney Poitier will be interviewed by Jamie Foxx. Actually, I'm pretty sure those two have met before since Jamie Foxx thanked Oprah in his Oscar acceptance speech for introducing the two. Still, a discussion between the two might offer a lot.

Let's see who's next. Russell Crowe and Nicole Kidman. I'm not sure who's interviewing the other. This isn't really an interview from one person to his idol, it's just more like two peers chatting. They've never worked together, so maybe it's their first time chatting, but still if the theme was you could interview anyone, maybe you'd pick Shirley MacLaine, Elizabeth Taylor, Eva Marie Saint, Kirk Douglas, Ernest Borgnine, or some of the other great actors and actresses who are still alive (by the way, I know Kirk's award is only honorary and I'm sure there are five better examples of living oscar legends who are still alive but I can't think of that many off the top of my head, you get my point).

And that goes double for you, Julia Roberts. Roberts is going to be interviewing George Clooney in what I find extremely shameless. First of all, the two have already worked together in self-congratulatory films like Ocean's 11 and Ocean's 12 and she had a rather pointless role in his directing debut "Confessions of a Dangerous Mind," and added to the time I'm sure all three (George, Julia, and Oprah) spend chatting in his Italian Villa or whatever, I'm sure they've had enough time to get to know each other. Besides, the degree to which they both admire themselves and each other is evident through their half-baked collaborations with each other for the Ocean's movies and with Stephen Sodebergh (i.e. Full Frontal in which Julia Roberts is just playing herself and thinking her story about how she met and married a crewman on set is interesting enough for a movie). Clooney and Roberts' work with Sodebergh used to be good, but its dissolved into a group of people who are so happy to be in each other's company that they forget they have an audience to entertain. Good German, from what I understood, was an interesting experiment in using film stocks and what not, but I hear it wasn't particularly good as a movie (although mabybe someone has seen it and could post their opinions otherwise, I'd be open to hearing them).

By the way, now I'm going off on a tangent, but I notice that whenever Matt Damon was interviewed about Ocean's 12 and in his upcoming interviews on Ocean's 13 he always likes to stress "we're having fun on set, but we're working too. We realize that we have to be professional and we get to work every day," like he's covering up for playing hooky (sorry if I misspelt that, there's a movie on TCM i'm trying to catch so I'm hoping to wrap up this blog entry soon) from school.

Also, I'm not gonna say I'm sick and tired of George Clooney and I hate him, because I realize that it's just natural human tendency to feel that way about someone when they're a little over exposed, and I want to be aware that it's not so much him but his overexposure I'm getting tired of. I liked him in late 2005 when he had that successful run of 2 critical hits in the same year with Syrianna and Good Night and Good Luck, but I notice that all people ever do to George Clooney is shower him with praise. I don't think he's faced a remotely tough question in an interview lately. He gets lobbed the same questions: "Why do you go to Africa?" "Why do you make political movies?" (that's an easy one, rather than asking him IF he has political views, ask him ABOUT his political views) "How nice is your villa in Italy?" "Can I come?". Enough already.