Sunday, January 13, 2008

Best of 2007

For cinephiles the world over, 2007 was a very good year, certainly one of the better in recent memory. One need not look further than a collection of critic's top ten lists to see the vast variety and diversity of the year's releases. In fact, with the exception of No Country for Old Men, no one film has been universally adored but countless have large and passionate backings. More often than not, the films that end of lasting in the lexicon of classic cinema are those the most talked about/argued over. Surprisingly, the latter may have been Knocked Up, a fairly straightforward comedy with loads of heart, a smart eye and ear for popular culture and a male/female dichotomy that was positively stunning. Still, it was not without it's detractors (all of which seemed to be middle aged women), and they have been outspoken over their dislike of Judd Apatow's comedy. It will be the continued discussion that the film provokes (it hasn't seemed to die down since its June release) that will assure its place in the developing canon of the 21st century. If a film can stay in the public eye and discourse as Knocked Up has, it must be doing something right. In Knocked Up's case, it's doing almost everything right.

There seemed to be something for everyone at the multiplexes and arthouses alike this year and with a few exceptions, even the big budget blockbusters seemed to please. Even an avowed hater of Michael Bay, I found Transformers enjoyable and exciting, if not rigid and un-original. Still, it hit more than it missed. I loved the goofier tone that Spider-Man 3 adopted, even if the disco strut of Tobey Maguire irritated some to no end. It was a glimmer of the source comic's playfulness that I found lacking in the second installment. For the film geeks in all of us, Grindhouse allowed us back into the seedy second run theatres of the 70's with schlock galore, only this time, we could enjoy it with our $15 worth of food and not having to wonder what lewd acts were performed in your very seat, just a few screenings prior.

Most of all, 2007 seemed like a year where filmmakers felt able to take risks and in general, when that happens, the output tends to be exciting and rewarding. One has to feel grateful that even when a shelved film like The Assassination of Jesse James by the Coward Robert Ford ends up being one of the year's best, one is enjoying a rare cinematic year. Directors and writers seemed to leave their inhibitions at the door and allow themselves the room to stretch out and really test themselves. For that, I thank them for a year full of entertainment.

While 2007 may have been overly inundated with Iraq pictures, there were enough worthwhile offerings that one could skip those films and still be able to find something to see. If one did choose that though, they would have missed out on Paul Haggis surprisingly level headed and even handed In the Valley of Elah or Charles Ferguson's stunning No End in Sight. While even I skipped Redacted, it has achieved its fair share of discussion and in a time like this, where the future looks increasingly bleak, talking about an issue can never be a bad thing.

All in all, it was a year in which each of us were hopefully able to see something that entertained or touched us. That taught us something or made us want to jump to action. Hopefully it made us alittle more human, with a greater understanding of what it means to be who we are. If 2007 did even a fraction of that, then a good year it was indeed. Without further ado, here are my top 20 films of 2007. So take a look, let me know what you think and try to see a couple of the films listed below. Many are still in theatres and the rest should be fairly easy to find on DVD. Enjoy, and here's to an equally good 2008!


20. Ratatouille- The best animated film of the year, Ratatouille is another smash for Pixar who churns them out at an unprecedented rate. A much stronger film than Cars, Ratatouille displayed the now expected innovative animation that Pixar frequently displays as well as their trademark heart and warmth.


19. American Gangster- Another Ridley Scott classic, American Gangster features a couple of tremendous leads in Denzel Washington and Russell Crowe and a strong sense of time and place, bringing Vietnam War era Harlem to vibrant life. Big budget award bait that didn't disappoint.


18. The Wind That Shakes the Barley- Ken Loach's Palme D'Or winning stunner packs an emotional wallop matched by few other films. While the finale rings slightly hollow, the rest of the film is so well conceived and executed, only the most hardened cynic would have trouble not being moved by the film's events.


17. Away from Her- A warm and humane look at the terrible affliction that is Alzheimer's, Away from Her works due to Julie Christie's masterful performance, which is sure to be in contention come Oscar nomination time in late January.


16. Grindhouse- It may have been a commercial failure but this Quentin Tarantino/Robert Rodriguez double feature was an artistic triumph, a film that worked to legitimize a genre of cinema that has been long overlooked. It may not be for everyone, but for those willing to go with it, there is an abundance of movie going joy to be found in the three hour runtime (not to mention the best chase scene since Bullitt).


15.
Zwartboek- A return to form for Paul Verhoeven, Zwartboek (Black Book) is the type of war film that they just don't make anymore. In other words, filled with twists, turns and full out entertainment, but not without the type of subversion that one has come to expect from a Verhoeven feature.


14. Michael Clayton-A legal thriller that actually thrills both the mind and body, Michael Clayton is the type of morally complex discussion starter that will stick with its audiences well after the credits. Anchored by tremendous work from George Clooney and Tom Wilkinson, a must see for adults looking for an intelligent change of pace.


13. Hot Fuzz- Edgar Wright and Simon Pegg's follow up to Shaun of the Dead is even more spot on in its satire, to a point where if the audience is not overly aware of the subject matter they are spoofing, much of the film's comedy will be completely lost. A gleefully anarchic finale launches Fuzz into the comedic stratosphere and onto this list.


12. No End in Sight- A tremendous look at the folly that has become the Bush Administrations handling of the war in Iraq, Charles Ferguson's directorial debut is a stunning and welcome documentary in substance, not style. Unlike Michael Moore, who's recent work has fallen victim to his overblown public image and snarky narration, Ferguson's film is a quietly angry film that relies on first hand accounts and primary documents to make a decisive and completely believable argument that should be required viewing for every American of voting age. The best documentary of the year


11.
The Bourne Ultimatum- If there is a better director of edge of your seat, you-are-there action than Paul Greengrass, I don't think I've found him. Easily the best installment of the superior Bourne trilogy, this is not only the action film of the year, but maybe the best since John Woo was working in Hong Kong.


9A/9B. Juno/Knocked Up- A two way tie from a pair of films that dealt with an unexpected pregnancy from different sides of the gender divide (and my oh my, what a divide this is), both illuminate their themes in ways that speak volumes about our society. At first glance, neither strike you as anything profound but both treat their subjects and characters with such humility and heart, its difficult not to fall for the one/two punch. Watch them in close vicinity to another and they reveal much about the nature of love and maturity, two things that may be closer at their cores than many want to admit. With fine work from each ensemble cast and wonderful scripts by Diablo Cody and Judd Apatow, these are the comedies of 2007.


8. Control-In a time where biopics desperately work to glamorize or mystify our musical heroes, Control harks back to the Kitchen Sink British dramas to tell the story of Ian Curtis in stark black and white. Rather than adding to Curtis' already staggering legend, it works to deconstruct it, painting the leader of post punk pioneers Joy Division as a man who desperately wants to retain a sense of normalcy in his life. The conclusion is as heartbreaking as one would expect, thanks to powerful performances from Sam Reily and Samantha Morton as well as magnificent direction from Anton Corbijn.


7.
The Assassination of Jesse James by the Coward Robert Ford- One knows they are in a great cinematic year when even the films studios are hesitant of releasing end up being bona fide masterpieces. Despite sitting on the shelves for almost two years, Andrew Dominik finally was able to get his film released and the results are the best true western since Unforgiven. Breathtaking from its opening frame, TAOJJBTCRF is a magnificently shot stunner, with one sequence that drew audible murmurings of awe from audiences. At its center are Brad Pitt, Casey Affleck and Sam Rockwell, all of which carry the heavy philosophical and emotional weight of a two hour, forty minute film with ease and poise. Slow, meditative and unquestionably brilliant, this is a west that cinephiles can be proud of.



6. Atonement- When a romantic melodrama can legitimately moving, its reason to take notice. When the aforementioned moving romantic melodrama can be exciting, potent and profound, its a cause of unbridled celebration. Joe Wright imbues this adaptation of Ian McEwan's novel with a sense of danger that is too often missing from period pieces and in doing so, masterfully creates a film for the ages. The two stars, James McAvoy and Keira Knightly are wonderful together, as is Saoirse Ronan, who contributes the child performance of the year. Watch for a single stunning shot at the Battle of Dunkirk which last minutes and weaves through the mass confusion at the evacuation point. Add the emotional ending and one has a work of art that compliments the originally novel brilliantly.


5. No Country for Old Men- A potent meditation on mortality masquerading as a white knuckle thriller, few films this year glow with such uninterrupted intensity from start to finish as No Country for Old Men. A front-runner for a Best Picture Oscar, the Coens have a bona fide masterpiece on their hands here and in it, some of the best performances they have ever directed. Javier Bardem is terrifying as an ice cold killer and Tommy Lee Jones makes the absolute most of his limited screen time, giving his character a lived in gruffness that is equally defiant and resigned. Much has been made of the film's ending, some think it’s out of place and brings no closure. Those who say so are quite frankly wrong, the film's conclusion is haunting and perceptive. Come for the chase, leave with the message.


4.
Eastern Promises- Just when I thought David Cronenberg couldn't match his last work (A History of Violence), he goes and does just that with this portrayal of the Russian Mob in London. At the film's core is a splendidly brave performance from Viggo Mortensen, who continues to surprise just about everyone. Not one to ride his role of Aragorn into the history books, Mortensen is compiling a challenging and rewarding filmography. Naomi Watts is his equal her, grabbing onto the involving material and running with it. Helming it all is Cronenberg, who is provocative yet humane. He knows how to push his audience's buttons but never to the point of alienation. Eastern Promises may be his greatest success yet, a moving and exciting thriller that is thematically rich, leaving the audience longing for more as soon as the final credits hit the screen.



3. Zodiac- On first viewing, David Fincher's look at the epic investigation around the Zodiac killer was too long, meandered too much and felt too mellow. On second viewing, the pacing was perfect, the story was tightly wound and the bed sheets needed changing. I stood up from that second time astounded that I had just watched the same film that had so bored me in the theatre. If there is ever a film that shows the power of multiple viewings, this is it. The acting is all around superb with Jake Gyllenhaal and Robert Downey Jr. standing out in particular. Zodiac displays the traditional visual flair of other David Fincher projects but with a more restrained realistic quality that positively warps the viewer back to 1960's/70's San Fran without feeling overwhelming in 70's nostalgic camp. Zodiac is a landmark police procedural that I suspect will gain prominence with each passing year, as people go back to watch it a second and third time.

2. This is England- Shane Meadows' examination of Thatcher-era skinhead culture is a emotionally wrenching masterpiece, a small film that greatly exceeds its aims in every way possible. What could have been no more than a British American History X is instead a unique work, filled with spot on period details, a killer soundtrack and a series of performances that are nothing short of astonishing. Add on a powerful anti-racism message and the results are devastatingly successful, a film that was widely (and unfairly) ignored by American audiences but has the smarts, heart and attitude to stick around until it finally receives its just due. With the semi-autobiographical This is England, Meadows vaults to the upper echelon of working British directors and signals an emerging talent on the world scene that can't be ignored.



1.
There Will Be Blood -I'll be the first to admit that There Will Be Blood snuck up on me. Last year, I compiled a list of the best working American directors and PT Anderson was a name that I toyed with but couldn't bring myself to put on there. While Boogie Nights is an undeniable classic, Magnolia seemed overly ambitious and Punch Drunk Love (while underrated) seemed too reserved. How wrong was I. With There Will Be Blood, Anderson storms back onto the scene with a magnificent look at turn of the 20th century oilmen. Greatly aided by Daniel Day Lewis' best of year performance, There Will Be Blood is discomforting and strange, yet compulsively watchable. Its difficult to find a character worth liking but even more so to find one that is not utterly fascinating.


From the groundbreaking score by Jonny Greenwood (of Radiohead fame) to the splendid cinematography, this is an ambitious work that feels like one of the better American films in a long while. While it may undoubtedly rub some audience members the wrong way (it is unashamedly bizarre at moments), those willing to allow themselves entry into its twisted psyche will find a film that is a period piece with a thoroughly modern feel. At the heart of its thematic clash of oil and religion are a number of questions that are not only relevant today but largely dominate political discussion. While watching it, I couldn't help but feel that this will be remembered as not only the film of 2007 but possibly the film of this, still young, 21st century.

Sunday, January 6, 2008

Quick Update

Hello everyone, I apologize for the lack of updates recently. It's been crazy around here with the holidays and all but fear not, the 2nd Annual Film Outsider Year End Extravaganza is on its way! I'm hoping to have it up sometime this week, certainly no later than next Saturday. In the meantime, there is a massive amount of incredible films out there today, so get out to the theatres before the abyss that is the January and February dump off of crap begins. I hope everyone had a great holiday season and I look forward to any feedback you might have on the Year's wrap up when it hits later this week. 'Til then, enjoy the flicks!