While top 10 lists are pretty attainable to keep in your head, it's near impossible to really keep a Top 100 although somewhere in my archives I did tackle the task of trying to create the top 100 films I've ever watched.
I decided recently to try redrafting it, since I've seen many more films and my take on films has changed as I've gone along. The first time I ever made a top 100 list was in 2003 (the cut was a much lowered bar: films like Cool Runnings and Aspen Extreme made it) and because a) it really is hard to squeeze all the new films into 100 and b) films need some time to age, I'm going to go with greatest films up to 2003. A lot of the newer films are just going to surface in the bottom ranks of the list just because comparing classic films and recent films are like apples and oranges.
This entry was tiring and I'm not sure if I'll make it all the way to one even though I have the list written out. Leave comments and click on my links and I might be inspired to continue!
100. Cider House Rules, 1999, dir. by Lasse Holstrom, starring Tobey MaGuire, Michael Caine, Jane Alexander, Charlize Theron, Kathy Baker, Paul Rudd
A beautifully shot coming-of-age period piece that my coworker at Blockbuster made fun of me for liking and that I'm still ashamed to say that I have a lot of reverence for. It's not necessarily a profound film and if Miramax succeeded in getting the film an Oscar win over Dreamwork's American Beauty (fresh off the heels of Saving Private Ryan vs Shakespeare in Love, the two were engaged in a fierce marketing battle) then there might really be reason to hate this film. Nevertheless, it is a good film.
99. You Can Count on Me, 2000, dir. and written by Kenneth Longorean, starring Laura Linney, Mark Ruffalo, Matthew Broderick, John Tenney
This character piece is about how little of an adult you feel like when you're in the presence of your adult sibling. Laura Linney plays a "responsible" single mom and Ruffalo (in his breakout role) plays the "irresponsible" brother coming for a visit. Both characters are full of doubt about themselves in different ways that creates a meaningful contrast that serves as the soul of the film. I watched this for the first time when I was a high school senior and apprehensive about the concept of adulthood itself so it has a somewhat curative effect on me to see such a truthful image of these adults as goofballs. Matthew Broderick also provides ample comic relief and serves as a foil of sorts.
98. 25th Hour, 2002, dir. Spike Lee, starring Ed Norton, Rosario Dawson, Barry Pepper, Philip Seymour Hoffman, Barry Pepper, Brian Cox, Anna Paquin
It's been a somewhat frustrating experience originally liking and championing this film when it first came out and then watching it get praised in retrospect for all the wrong reasons. When publications such as The AV Club, RogerEbert.com, Rolling Stone, Paste Magazine and others came out with Best Films of The Decade list* 25th Hour seemed to come at the top of many of these lists because a lot of people wrongly hailed this film as the definitive cinematic artifact of 9/11. In truth, its connection to 9/11 is more relegated to behind-the-scenes minutia (Spike Lee filmed it in New York right after when other filmmakers wouldn't) and subtext that isn't universal to every viewer (the symbolism of the skyline without the Twin Towers). Instead, it's best to appreciate 25th Hour as a film with a superb premise and a great sense of dramatic tension. The story takes place over a single night as protagonist Ed Norton enjoys one last night of freedom with his girlfriend, father, and two friends at a seedy bar. Taking us miles away from the early works in Lee's repertoire stylistically (it works more as a commercial film), Lee's works in the 198
*I don't have the time to look up specifically which ones named it so high. I believe AV Club had it listed at #2 and Roger Emerson of Roger Ebert ran a poll in which 25th Hour placed pretty high for the wrong reasons.
97. Sunshine State, 2002 dir. John Sayles, starring Angela Bassett, Alan Rickman, Mary Steenburgen, Edie Falco, Timmothy Hutton, James McDaniel, Gordon Clapp, Jane Alexander
I love good ensemble films and I love films that have a great sense of place. There's also no place I love more than Florida which is what this film is about. It's about a seaside town is an unrealized slice of paradise to a lot of people. The beachside town has historical significance for the black residents because it represented a civil rights victory enabling them to get a "piece of the beach." From that subpopulation, a woman forced into exile through a teen pregnancy (Bassett) and the much more succesful ex-NFL player who impregnated her are both returning to town because a decision has to be made as to whether to sell their land to make way for a new development. In the meantime, there's a seaquarium mermaid entertainer who's bored to death of living in the same town too long (Falco) and a tightly wound spokeswoman for the new development freaking out that no one's sharing her enthusiasm (Steenburgen) and failing to notice that her husband is repeatedly attempting suicide (Clapp).
96. Our Man Flint, 1966, starring James Coburn, Lee J. Cobb, Gila Gollan
It's difficult to quantify just why this is a great film except by the measure that I've watched it over and over and over and still enjoyed it. It's camp, which I previously wrote (in my post about Glee and the 1960's Batman show) is something you enjoy because it's consciously bad. The film is a parody of James Bond films that is played straight in a way, but is ultimately very silly and I find the film both hillarious and very classy. The actor, James Coburn (Great Escape among other films), was a very slender actor who stood out for me in the films I saw him and like the actor who played James Bond he won an Oscar well after his superhero days. He won in 1998 and was a very pudgy old man when he appeared on the podium to accept*.
*I saw his acceptance speech only in retrospect
95. Birth of a Nation, 1915, dir. by DW Griffith, starring Lillian Gish
This film prompts an interesting debate: It's undoubtedly a historic artifact, being the first major epic, the first silent film to tell a story, the first movie that approached feature length, and a number of other firsts. It's also a very racist and misguided film that helped launch the popularity of the Ku Klux Klan. I omitted this film the last time I made my list but I recently reconsidered because the film has great historical value. More importantly, there's just a certain magic existent in it: you're watching the experience of right and wrong change right from under your eyes.
94. Catch Me If You Can, 2002 dir. by Stephen Spielberg, starring Leo DiCaprio, Tom Hanks, Christopher Walken, Amy Adams, Martin Sheen, Jennifer Garner, Ellen Pompeo
I thought it was a great time capsule and one of many great examples of how Spielberg's films are always solid stories that rarely dissapoint. Beware, there are always a lot of Spielberg haters out there.
Link to a review
93. X-Men 2, 2003, dir. by Bryan Singer, starring Patrick Stewart, Ian McKellan, Famke Jannsen, Hugh Jackman, Brian Cox, Alan Cumming, Halle Berry, Shawn Ashmore, James Marsden, Anna Paquin, Kelly Hu, Rebecca Rojmain
I wasn't a comic book geek growing up. Of the few superhero series I was exposed to as a kid, X-Men was one of my enthusiastic favorites and I was delighted to see the cartoon (or rather the comic) translated cinematically so well. X-Men 2 was superior to the first in working the kinks out. I've enjoyed the scientific bent, the realistic modern tone, the sleek visuals and the great special effects. Most importantly, the cast is incredible.
92. Evita 1996 dir. Alan Parker, starring Madonna, Antonio Banderas, Jonathan Pryce
I remember watching this in a movie theater when I was in 8th grade. I was in my third year of Spanish and I have always had an interest in Latin Ameircan culture and history (I later took courses on Latin American history and geography in college) but I was dissapointed with this film because they almost never spoke. I didn't know the difference between a musical (songs interspersed with dialogue) and an opera (all songs) back then. This film has grown a lot more on me in subsequent viewings. One of the few Non-Disney musicals to be made in the 25 or so years prior to the genre's return with "Moulin Rouge" and "Chicago", this film wins me over for its great musical numbers and because it's rich in historical context. Although it's merely song and dance, the film has almost as much to say about the period as a history textbook.
91. To Kill a Mockingbird, 1962 dir. Robert Mulligan, starring Gregory Peck, Robert Duvall, Mary Badham, Phillip Alford
I was struggling with placement here and whether to put this at all. The film is ranked 58th on imdb and it's on the AFI top 100, so others haven't hesitated to list this as a classic. My brief conflct, aside from taking up a space on the list, was that the book (which I've personally read) itself is a masterpiece. Is this just something to watch if you're too lazy to read the book? I think in this case, the performances elevate it. Gregory Peck competed against Peter O'Toole of "Lawrence of Arabia" and won at the Oscars, and it was because he took an iconic figure and made it his own (O'Toole did the same thing too, to be fair). I also do like a good courtroom drama (even though I detest lawyers and being in court).
90. Master and Commander, 2003 dir. Peter Weir, starring Russell Crowe, Paul Bettany
In a way, this movie is the best historical epic I've ever seen because even though it doesn't serve the story, it serves history. For example, in a story set in the Napoleonic Wars on the high seas (where every minute of this film takes place) we would naturally be looking forward to seeing exciting naval battles amd while we do get our share of exciting naval action, we mostly experience the HMS Surprisespending their time waiting and trying to maintain their sanity so that when a battle actually does come, you realize the magnitude of it. The human element of the movie, the multi-layered friendship between Russell Crowe and Paul Bettany, doesn't disspaoint either
89. Wait Until Dark, dir. Terrence Young, starring Audrey Hepburn, Alan Arkin
Audrey Hepburn is such a sweet, precious concoction that it's hard to imagine her in a thriler. That is, it's hard to imagine anyone wanting to kill her. In "Charade" (which also makes my list), the villains are so quirky and (even cute in a Looney Tunes kind of way) that you never really feel like she's in danger. Wait Until Dark is a great thriller that really does push that line. The film is also very minimalist in its use of space. Audrey Hepburn plays a blind women and the film takes place almost entirely in her apartment. As the audience, we are privy to more than she is and are given the point of view of the villains. A pair of thieves willing to kill for a valuable stash of trafficked drugs in Hepburn's possession. With their mark being blind, they set up their ruse in our plain sight. It's a brilliantly suspenseful film
88. Gangs of New York, 2002 dir. Marty Scorsese, starring Leo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Liam Neeson, Jim Broadbent, John C Reilly, Brendan Gleason, Gary Lewis
Review Here
Showing posts with label X2. Show all posts
Showing posts with label X2. Show all posts
Thursday, April 14, 2011
Thursday, April 05, 2007
Review of X-Men 2
Review of X2:
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Nightcrawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we're treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Nightcrawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we're treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Nightcrawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we're treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Nightcrawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we're treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors
Saturday, December 09, 2006
Top 10 Films of 2003
To set things in context, here's a summary of 2003:
-2003 was the Year of the Epic, in my opinion. Last Samurai, Master and Commander, Cold Mountain, Lord of the Rings were among the 10 most successful films of the year. Also, admirable failures like The Missing and the Alamo was originally scheduled for this year.
-This was Scarlett Johannson's breakout year. Before 2003, she was best known as Thora Birch's best friend in Ghost World
-Also, a good year for comic actor Bill Murray and offbeat actor Jonny Depp. When Jonny Depp's Pirates of the Caribbean broke the $300 million barrier, in a kid's movie nonetheless, it signaled an arrival of sorts for the reclusive artist, followed up with another acclaimed performance in Once Upon a Time in Mexico. Depp was awarded a Screen Actor's Guild win, and Golden Globe and Oscar nominations. Bill Murray's Lost in Translation was considered the best performance of his career and was the 1st Saturday Night Live alumni to get an oscar nomination for lead actor (not counting Rob Downey Jr.)
-Pure comedic actors Jack Black and Will Ferrell also cemented their status as go-to guys for bankable screen comedies with Black's School of Rock, a perfect part for his hard-rocking persona. Will Ferrell's Elf grossed over $150 million domestically and cemented his status as a movie star.
-There was a lot of diversity that was recognized in that year's Oscar nominations: Djimon Hotsou (In America) of West Africa, Shoreh Aghdoshloo (House of Sand and Fog) from Iran, Benicio Del Toro (21 Grams) of Mexico, Ken Watanabe (Last Samurai) of Japan, Ben Kinglsey (House of Sand and Fog) who is half-Indian, Jude Law (Cold Mountain, from England), and from down under, Kiesha Castle-Hughes (Whale Rider) of New Zealand, and Naomi Watts (21 Grams) of Australia
-It was also the summer of the sequel: X-Men 2, Dumb and Dumberer, Charlie's Angels 2, Spy Kids 3-D, Legally Blond 2, Tomb Raider 2, and the Matrix Reloaded. Although today, that sounds about average, it was about 2003 when sequels and blockbusters were really saturating the summer market. Only 2 of these did halfway decently at the box office (Matrix and X-Men) or by any other measure.
There was a lot of diversity in
Top 10 Films of 2003
1. Cold Mountain, Anthony Mingellia
An extraordinary epic, Cold Mountain is more of an “odyssey”/”oh brother where art thou” type of picture, than a civil war picture. Jude Law, in a performance that exceeded my expectations of what I thought was possible of him, plays a confederate soldier who deserts and heads home to Cold Mountian, North Carolina at the request of a girl (Kidman) with whom he shared just a single kiss before leaving. The people that Inman (Law) encounter along his trek, shed light onto the cruelty of man when times get tough and the fragility of life. As the film switches back and forth between Imman, and the difficulty back home on the farm for Kidman and her helping hand Ruby, played memorably by Rene Zellwenger, you’re taken on an gut-wrenching ride that will have both very bright and dark parts. The score, which combines elements of bluegrass and stirring classical, is exceptional as well.
2. Last Samurai, Ed Zwick
Being released alongside so many other great war epics, The Last Samurai probably won't get the recognition it deserves, but that should not detract from its achievements. Set in 1870s Japan, this is an epic set around a washed-up Civil War veteran played by Tom Cruise. Whether you think he's too much of a pretty-boy or not, Cruise can still create magic on screen, even if he plays the same kind of guy over and over. To refresh your memory, Cruise starts his films (Rain Man, Jerry MaGuire, etc) as an arrogant jerk before meeting an inspirational figure, that leads him to a journey of self-discovery where he changes himself and turns into a true hero. This movie is the same, but within the context of a war epic, Cruise is just what the doctor ordered, and just as Hoffman and Cuba Gooding Jr did exemplary work alongside him, Cruise brings out the best in costar Ken Wattanbe, who had an extroadinary presence, in an already emotionally stirring relationship. The story is beautifully told and visually the set design is stunning.
3. Seabiscuit, Gary Ross (also Movie of the Summer)
Just like the horse and it’s partially blind jockey, the movie was kind of an underdog in itself. It's hype made it vulnerable to critic's blows in a blockbuster-heavy summer, and it’s plot about a race horse story didn’t sound appealing to attract more than 21 million dollars worth of viewers on opening weekend. The movie however, is the real deal: an entrenching story that moves viewers past the Disnefied-type underdog-triumphs-above-all plot. Set against a period backdrop intertwined with historic footage, autumn-hued cinematography and Thomas Newman's heavy score, the movie feels well-crafted on every end. The underrated Jeff Bridges and Chris Cooper fill out character roles alongside Tobey Macguire who brings to his character more ferocity and toughness than even his superhero persona Spiderman had. Small casting editions like Elizabeth Banks as an industrial magnet’s young new wife and William H. Macy providing some comedic relief are a plus.
4. Mystic River, Clint Eastwood
Like Unforgiven, Bridges with Madison County and Bird, Eastwood might frame his movies within the realm of certain genres, but his stories are all about human emotions. The movie does reek a little bit with stars Tim Robbins and Sean Penn crying out for Oscar nominations, but the movie is a display of good acting more than anything else, the performances are too powerful to brush aside. One of the underpraised performances is by Laura Linney as Penn's wife who gives a speech that's subtly diabolical.
5. Master and Commander, Peter Weir
This film brings history to life in a way few movies do. Set in 1805, the movie follows a British ship led by Captain Jack Aubry (Russell Crowe) in pursuit of one of Napoleon’s fleet. Whether it was the accuracy of Patrick O’Brien’s novels or Director Peter Weir’s devotion to detail in his recreation of life at sea, I felt as if I were on the ship myself. I might have also felt this way because of the film’s unwavering vision to its subjects rather than conventional Hollywood storytelling. For example, in a story set at sea, we would naturally be looking forward to seeing exciting naval battles. While we do get our share of exciting naval action, we mostly experience the HMS Surprise, where every minute of the movie takes place, spending their time waiting and trying to maintain their sanity so that when a battle actually does come, you realize the magnitude of it. The human element of the movie, of course, is the multi-layered relationship between Crowe and Bettany, a duo seen before in Beautiful Mind that does not disappoint.
6. Finding Nemo, Andrew Staunton
With a sense of imagination that only a child could have, Pixar has finally struck gold. The highest grossing animated movie in history, and deservedly so, Finding Nemo is a real gem for both kids and their parents. Its first move in the right direction is setting the picture underwater. Amid a previously unseen and pleasantly quirky world of spaced-out sea turtles and 12-step program sharks, the movie presents a heartwarming story about a father’s search for his son. Add in witty dialogue and extraordinary performances by Ellen DeGeneres and Albert Brooks and you got a movie that’s too good to miss.
7. X-Men 2: X-Men United, Bryan Singer
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Night crawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we’re treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors.
8. House of Sand and Fog, Vladim Perelman
A tragedy of Shakespearean proportions, House of Sand and Fog is a profound and moving study of what often gets lost in the pursuit of the American dream. Jennifer Connelly and Ben Kingsley would easily be deserving of oscars in any given year for their work here as two opposing foes in a battle for rights to a house. To Kingsley, an Iranian immigrant who was once an Iranian general, the house represents having finally attained the status of being a real American family. For Connelly, a recovering drug addict, the house represents all that she has to hold onto from a privileged life she grew up in.
9. Pirates of the Carribean, Gore Verbinski
Pirate lovers have been waiting for a movie like this since the days of “Waterworld” and “Cutthroat Island.” Set in Port Royal, an island historically associated with pirates, and based on a Disney world ride, the movie follows Orlando Bloom as a sword smith with a dark past, who enlists the help of famed pirate (Depp) to rescue the object of his affections (Knightly). To go in more detail would take hours because, unfortunately the plot’s long-winded and has more twists and turns than one can keep up with in one sitting. Nevertheless, while Pirates veers into the basic formulas and clichés of any other pirate movie, it does so with purpose and style to make a quality ride out of a familiar outing. The movie also has some truly original elements, most notably Depp’s performance as Jack Sparrow, a name you’ll remember long after you see this movie.
10. Lost in Translation, Sophia Copolla
The meaning of the film's title is double: Not only is the film set in Japan where the main characters can’t speak the language, let alone grasp the culture, but they are lost in their own lives as well and don't have anyone to express it too until they find each other. Bill Murray plays an actor who goes through a midlife crisis, realizing how low he has sunk by having to do Japanese television commercials. At the hotel bar, he meets Charlotte, played by Scarlett Johannson, who’s having a quarter life crisis and they end up bonding through their mutual alienation to the world. Murray, who needed over 100 consecutive February 2nds to finally start caring about people in Groundhog Day, and Johannson, a non-conforming teenager in Ghost World, were both great candidates for portraying apathy. The film’s weakness is that it moves too slowly at times, but I think that’s because director Sofia Copolla’s portrayal of a meaningful relationship is so much more real than anything else I’ve seen. Just like watching this film, to have a relationship in real life takes time and patience and Copolla’s brilliance is her unwavering vision here.
-2003 was the Year of the Epic, in my opinion. Last Samurai, Master and Commander, Cold Mountain, Lord of the Rings were among the 10 most successful films of the year. Also, admirable failures like The Missing and the Alamo was originally scheduled for this year.
-This was Scarlett Johannson's breakout year. Before 2003, she was best known as Thora Birch's best friend in Ghost World
-Also, a good year for comic actor Bill Murray and offbeat actor Jonny Depp. When Jonny Depp's Pirates of the Caribbean broke the $300 million barrier, in a kid's movie nonetheless, it signaled an arrival of sorts for the reclusive artist, followed up with another acclaimed performance in Once Upon a Time in Mexico. Depp was awarded a Screen Actor's Guild win, and Golden Globe and Oscar nominations. Bill Murray's Lost in Translation was considered the best performance of his career and was the 1st Saturday Night Live alumni to get an oscar nomination for lead actor (not counting Rob Downey Jr.)
-Pure comedic actors Jack Black and Will Ferrell also cemented their status as go-to guys for bankable screen comedies with Black's School of Rock, a perfect part for his hard-rocking persona. Will Ferrell's Elf grossed over $150 million domestically and cemented his status as a movie star.
-There was a lot of diversity that was recognized in that year's Oscar nominations: Djimon Hotsou (In America) of West Africa, Shoreh Aghdoshloo (House of Sand and Fog) from Iran, Benicio Del Toro (21 Grams) of Mexico, Ken Watanabe (Last Samurai) of Japan, Ben Kinglsey (House of Sand and Fog) who is half-Indian, Jude Law (Cold Mountain, from England), and from down under, Kiesha Castle-Hughes (Whale Rider) of New Zealand, and Naomi Watts (21 Grams) of Australia
-It was also the summer of the sequel: X-Men 2, Dumb and Dumberer, Charlie's Angels 2, Spy Kids 3-D, Legally Blond 2, Tomb Raider 2, and the Matrix Reloaded. Although today, that sounds about average, it was about 2003 when sequels and blockbusters were really saturating the summer market. Only 2 of these did halfway decently at the box office (Matrix and X-Men) or by any other measure.
There was a lot of diversity in
Top 10 Films of 2003
1. Cold Mountain, Anthony Mingellia
An extraordinary epic, Cold Mountain is more of an “odyssey”/”oh brother where art thou” type of picture, than a civil war picture. Jude Law, in a performance that exceeded my expectations of what I thought was possible of him, plays a confederate soldier who deserts and heads home to Cold Mountian, North Carolina at the request of a girl (Kidman) with whom he shared just a single kiss before leaving. The people that Inman (Law) encounter along his trek, shed light onto the cruelty of man when times get tough and the fragility of life. As the film switches back and forth between Imman, and the difficulty back home on the farm for Kidman and her helping hand Ruby, played memorably by Rene Zellwenger, you’re taken on an gut-wrenching ride that will have both very bright and dark parts. The score, which combines elements of bluegrass and stirring classical, is exceptional as well.
2. Last Samurai, Ed Zwick
Being released alongside so many other great war epics, The Last Samurai probably won't get the recognition it deserves, but that should not detract from its achievements. Set in 1870s Japan, this is an epic set around a washed-up Civil War veteran played by Tom Cruise. Whether you think he's too much of a pretty-boy or not, Cruise can still create magic on screen, even if he plays the same kind of guy over and over. To refresh your memory, Cruise starts his films (Rain Man, Jerry MaGuire, etc) as an arrogant jerk before meeting an inspirational figure, that leads him to a journey of self-discovery where he changes himself and turns into a true hero. This movie is the same, but within the context of a war epic, Cruise is just what the doctor ordered, and just as Hoffman and Cuba Gooding Jr did exemplary work alongside him, Cruise brings out the best in costar Ken Wattanbe, who had an extroadinary presence, in an already emotionally stirring relationship. The story is beautifully told and visually the set design is stunning.
3. Seabiscuit, Gary Ross (also Movie of the Summer)
Just like the horse and it’s partially blind jockey, the movie was kind of an underdog in itself. It's hype made it vulnerable to critic's blows in a blockbuster-heavy summer, and it’s plot about a race horse story didn’t sound appealing to attract more than 21 million dollars worth of viewers on opening weekend. The movie however, is the real deal: an entrenching story that moves viewers past the Disnefied-type underdog-triumphs-above-all plot. Set against a period backdrop intertwined with historic footage, autumn-hued cinematography and Thomas Newman's heavy score, the movie feels well-crafted on every end. The underrated Jeff Bridges and Chris Cooper fill out character roles alongside Tobey Macguire who brings to his character more ferocity and toughness than even his superhero persona Spiderman had. Small casting editions like Elizabeth Banks as an industrial magnet’s young new wife and William H. Macy providing some comedic relief are a plus.
4. Mystic River, Clint Eastwood
Like Unforgiven, Bridges with Madison County and Bird, Eastwood might frame his movies within the realm of certain genres, but his stories are all about human emotions. The movie does reek a little bit with stars Tim Robbins and Sean Penn crying out for Oscar nominations, but the movie is a display of good acting more than anything else, the performances are too powerful to brush aside. One of the underpraised performances is by Laura Linney as Penn's wife who gives a speech that's subtly diabolical.
5. Master and Commander, Peter Weir
This film brings history to life in a way few movies do. Set in 1805, the movie follows a British ship led by Captain Jack Aubry (Russell Crowe) in pursuit of one of Napoleon’s fleet. Whether it was the accuracy of Patrick O’Brien’s novels or Director Peter Weir’s devotion to detail in his recreation of life at sea, I felt as if I were on the ship myself. I might have also felt this way because of the film’s unwavering vision to its subjects rather than conventional Hollywood storytelling. For example, in a story set at sea, we would naturally be looking forward to seeing exciting naval battles. While we do get our share of exciting naval action, we mostly experience the HMS Surprise, where every minute of the movie takes place, spending their time waiting and trying to maintain their sanity so that when a battle actually does come, you realize the magnitude of it. The human element of the movie, of course, is the multi-layered relationship between Crowe and Bettany, a duo seen before in Beautiful Mind that does not disappoint.
6. Finding Nemo, Andrew Staunton
With a sense of imagination that only a child could have, Pixar has finally struck gold. The highest grossing animated movie in history, and deservedly so, Finding Nemo is a real gem for both kids and their parents. Its first move in the right direction is setting the picture underwater. Amid a previously unseen and pleasantly quirky world of spaced-out sea turtles and 12-step program sharks, the movie presents a heartwarming story about a father’s search for his son. Add in witty dialogue and extraordinary performances by Ellen DeGeneres and Albert Brooks and you got a movie that’s too good to miss.
7. X-Men 2: X-Men United, Bryan Singer
With much of the exposition out of the way, the second installment of the X-Men is much freer to develop its characters and engage in some summer fun along the way. The film benefits from its large and talented ensemble, which includes a number of new heroes and villains entering the scene. New characters include a vanishing monk named Night crawler (Alan Cumming) and a conflicted teenager with firepower named Pyro (Shawn Ashmore). Of course, we’re treated to a brand new villain (Bryan Cox), which adds a new dimension to the battle of good vs. evil as the good guys and bad guys are forced to enter into a temporary alliance and some riveting complications result thereafter. Overall, Bryan Singer has the challenging task of navigating the complexities of this comic and showing the appealing side of this band of misfits, and he comes through in flying colors.
8. House of Sand and Fog, Vladim Perelman
A tragedy of Shakespearean proportions, House of Sand and Fog is a profound and moving study of what often gets lost in the pursuit of the American dream. Jennifer Connelly and Ben Kingsley would easily be deserving of oscars in any given year for their work here as two opposing foes in a battle for rights to a house. To Kingsley, an Iranian immigrant who was once an Iranian general, the house represents having finally attained the status of being a real American family. For Connelly, a recovering drug addict, the house represents all that she has to hold onto from a privileged life she grew up in.
9. Pirates of the Carribean, Gore Verbinski
Pirate lovers have been waiting for a movie like this since the days of “Waterworld” and “Cutthroat Island.” Set in Port Royal, an island historically associated with pirates, and based on a Disney world ride, the movie follows Orlando Bloom as a sword smith with a dark past, who enlists the help of famed pirate (Depp) to rescue the object of his affections (Knightly). To go in more detail would take hours because, unfortunately the plot’s long-winded and has more twists and turns than one can keep up with in one sitting. Nevertheless, while Pirates veers into the basic formulas and clichés of any other pirate movie, it does so with purpose and style to make a quality ride out of a familiar outing. The movie also has some truly original elements, most notably Depp’s performance as Jack Sparrow, a name you’ll remember long after you see this movie.
10. Lost in Translation, Sophia Copolla
The meaning of the film's title is double: Not only is the film set in Japan where the main characters can’t speak the language, let alone grasp the culture, but they are lost in their own lives as well and don't have anyone to express it too until they find each other. Bill Murray plays an actor who goes through a midlife crisis, realizing how low he has sunk by having to do Japanese television commercials. At the hotel bar, he meets Charlotte, played by Scarlett Johannson, who’s having a quarter life crisis and they end up bonding through their mutual alienation to the world. Murray, who needed over 100 consecutive February 2nds to finally start caring about people in Groundhog Day, and Johannson, a non-conforming teenager in Ghost World, were both great candidates for portraying apathy. The film’s weakness is that it moves too slowly at times, but I think that’s because director Sofia Copolla’s portrayal of a meaningful relationship is so much more real than anything else I’ve seen. Just like watching this film, to have a relationship in real life takes time and patience and Copolla’s brilliance is her unwavering vision here.
Subscribe to:
Posts (Atom)