2012

Barbara (Director: Christian Petzold)

Nominees: Zero Dark Thirty, Moonrise Kingdom, Searching For Sugarman, The Invisible War, Cosmopolis, Avengers, Looper, Amour, It's Such a Beautiful Day

Oscars pick: Argo
Nominees: Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty

Oscar's baby, Argo, directed by Ben Affleck, was gripping and I liked it well enough. I just thought it pushed the manipulation/tension buttons too hard. After a while, I was like "Just get 'em into the damn air Ben!" Yeesh, I was half expecting a man to show up on the wing of the plane, to keep the suspense rolling.

Looking over the Academy's nominations: I enjoyed Lincoln, Django Unchained, and Life of Pi. The others were mostly just okay. Silver Linings Playbook, for example, started off fantastic, but it slipped into conventional rom-com waters at the end and stop being special.

Two from Oscar that stood out for me...

Amour. I'm not a Michael Haneke fan, but this was very well done. It dragged a bit, the director was likely shooting for a certain measured rhythm, kin to what Dryer would do. But I don't find Haneke as accomplished with the technique. The story is brutal. I've seen many films about death, but I've rarely seen one a raw and painful as this. Still, the director also injects a rare (for him) warmth into the relationship.

I also admired Zero Dark Thirty - the nail-biting look at the hunt for bin Laden. I reject the notion that this is pro-torture, as much as I rejected the criticism that Hurt Locker was pro-war. It simply presents the act as fact. I'm glad the writer and director didn't play the apologist, but instead simply shows us this action and these people, and the cost this hunt exacted on them. The filmmakers take some dramatic license with the material, but not to the detriment of the whole, you still get a sense of what happened. Beyond that, it's prime filmmaking. I think it's a better paced, tighter directed, and scripted picture than Kathryn Bigelow's Hurt Locker, and it was my pick among the Oscar nominees.

Outside of Oscar, I liked Don Hertzfeldts unique and imaginative existentialist comedy, It's Such a Beautiful Day. Both intimate and cosmic - its simple line drawings carry so much weight and wisdom and yes, beauty. It speaks about the mundane repetitions that fill up our lives - and the strange thoughts and observations we carry in our heads, as it follows the days and life of Bill, a man who is slowly losing his grip on reality. The droll humor is both darkly funny, a little sad, and filled with contemplative truths about mortality, and how the little joys, even those that are seemingly insignificant, are what makes life wondrous. It was formed out of three shorts Don filmed over the years but works smartly as a whole. Just a brilliant piece that really spoke to me.

2012 was a difficult one to pin down, and I've switched this around a few times over the years, but I believe I've finally found one that will stick. Christian Petzold's Barbara, an absorbing cold war drama about an East German physician who is exiled to a remote area as punishment after applying for an exit visa.

MUBI notebook author, Ignatiy Vishnevetsky, summarized Christian's style as practical but not utilitarian because each shot has a sense of purpose. He went on to add... "Petzold is a genre director whose work eschews conventional devices and techniques; his films, essentially thrillers, operate by never giving a viewer cues—visual, musical, or tonal—as to what sort of film they're watching. His plots read like pulp but play like natural, logical developments of the setting and characters". I kept this in mind as I watched and noted the directorial qualities Ignatiy highlighted in his review.

The film is among the director's finest, though on first viewing it can seem too precise, too emotionally detached, and cool. Every hair tucked in place, neat and combed, clothing pressed and perfect - however, another look reveals that there is indeed a lot of feeling boiling under that surface veneer. If the movie doesn't shout at you, doesn't wave its arms about, or aggressively pull at the heartstrings, that doesn't mean it's missing a beating heart. Much like its protagonist, skillfully played by Nina Hoss, it holds its emotions close to the vest. It (and she) has to, as someone could be watching and recording her every move, even a friendly colleague is a potential threat. The paranoia is tangible, but not brazenly presented, there's nuance and subtlety throughout... still, you feel it - whether it's anger over the dehumanizing politics, or the frustration in seeing the pain and sadness that envelopes characters who lack the freedom to live where they chose... even the sacrifice is underplayed, moving, but not overwrought.

While the film is carefully directed and planned - through it all, Barbara is tense, affecting, and bares its soul, quietly, but beautifully and with honesty.

Other films I enjoyed in 2012 listed here... Letterboxd Top 100+

Best Actor: Mads Mikkelsen, The Hunt (also A Royal Affair)
Honorable Mentions:
Jean Rochefort, The Artist and the Model * Philip Seymour Hoffman & Joaquin Phoenix, The Master * Daniel Day-Lewis, Lincoln * Denzel Washington, Flight * Jean Louis Trintignant, Amour * Christoph Waltz, Django Unchained * Tim Roth, Broken * Fabrice Luchini, In the House 

Best Actress: Marion Cotillard, Rust and Bone
Honorable Mentions: 

Waad Mohammed, Wadjda * Quvenzhané Wallis, Beasts of the Southern Wild * Eloise Laurence, Broken * Rachel Mwanza, War Witch * Cosmina Stratan & Cristina Flutur, Beyond the Hills * Saskia Rosendahl, Lore * Nina Hoss, Barbara * Keira Knightley, Anna Karenina * Emmanuelle Riva, Amour * Cho Min-soo, Pieta

Supporting Actor: Leonardo DiCaprio, Django Unchained

Supporting Actress: Anne Hathaway, The Dark Knight Rises & Les Misérables






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2011

Hugo - in 3D (Director: Martin Scorsese)
Nominees: A Separation, Midnight in Paris, House of Pleasures, Take Shelter, Source Code, Trust, Moneyball, The Artist, The Rabbi's Cat, Hotarubi no Mori e

Oscars pick: The Artist
Nominees: The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, Tree of Life, War Horse

2011 was a year where film looked nostalgically upon itself, in The Artist, My Week With Marylyn, Hugo and, in casting a wider net to include art and music, Midnight in Paris.

I waited longer than Oscar did to finally award Scorsese -- such an odd thing considering his brilliant contributions to the world of cinema. My favorites from the man came in strong years where I preferred another -- and in weaker years, what he offered wasn't his best (or rather, a favorite of mine). He just never seemed to be at the right place at the right time... until now.

Hugo is about things and people who are forgotten and rediscovered (the story concerns an orphaned boy who endeavors to repair an automaton his dad was working on before he died). And it's centered around one of film's great innovators, the father of special effects if you will, George Méliès – which is why if ever there was a picture that should have been filmed in 3D, using every FX trick in the book, it's Hugo. The movie is a love letter to the magic of motion pictures and to the people who make dreams come alive (and used every invention at their disposal to do so)

The 3D is remarkable, not only for the depth of field, but also for those scenes that mirror silent film techniques (a character falls and you see footsteps above her, as in Hitchcock's The Lodger) as well as modern flourishes, such as a beautiful moment where papers spin around our young lead actors. Scorsese also has fun with it, especially with close-ups (as in a scene in a bathtub). I'd add, that much like Herzog with Cave of Forgotten Dreams, Martin didn't use it as a gimmick, but as an essential piece of the filmmaking puzzle. And I'm selecting Hugo as a theatrical 3D feature, my first under that criterion. The effect was woven into the production and was as key to the storytelling process as score, editing, lighting, and so forth. (For me, it's just not the same watching at home in 2D).

Anyhoo -- Performances are strong, direction and Oscar-winning cinematography from Robert Richardson is without peer - and I like that the movie isn’t cynical. It's a good family film with a good heart. In one scene, after Hugo takes his young friend Isabelle to see her first motion picture, she later thanks him and adds... "It was a gift." That sums up this movie and the film going experience in total, perfectly.

There were several films that mounted a serious challenge to Hugo. Chief among them two amazing foreign films: A Separation -about the breakup of a marriage- which addresses complex moral issues as well as complex relationships and societal issues. And House of Pleasures. Which Roger Ebert described as, "a morose elegy to the decline of a luxurious Parisian bordello, circa 1990, a closed world in which prostitutes and their clients glide like sleepwalkers through the motions of sex."

I also adored Woody Allen's magical Midnight in Paris, which is my favorite from the director since Crimes and Misdemeanors in 1989.

Oscar winner The Artist was a joy, and while it wasn't my "Best Picture"  I thought it was a cute, pleasant romantic comedy.

Other's I liked in the year include, The Skin I Live In, Harry Potter, The Descendants, Tree of Life, Super, The Adjustment Bureau, Martha Marcy May Marlene, Tinker Taylor Soldier Spy, Contagion, The Ides of March, Incendies, The Adventures of Tintin, Limitless, Griff the Invisible, Rio, Another Earth, Mozart’s Sister, Project Nim, Le Havre, Tyrannosaur, Buck, X-Men First Class, and Ann Hui's warm and human A Simple Life, which features some nice acting from Deanie Ip and Andy Lau.

Best Actor: Michael Shannon, Take Shelter
Honorable Mentions:
Gary Oldman, Tinker Tailor Soldier Spy * Sam Shepard, Blackthorn * Brendan Gleeson, The Guard * Michael Fassbender, Shame * Peter Mullan, Tyrannosaur * Peyman Moaadi, A Separation * Naseeruddin Shah, Michael * Matthias Schoenaerts, Bullhead * Jean Dujardin, The Artist * Aksel Hennie, Headhunters * Anders Danielsen Lie, Oslo, August 31st

Best Actress: Tilda Swinton, We Need to Talk About Kevin
Honorable Mentions:
Meryl Streep, The Iron Lady * Elizabeth Olsen, Martha Marcy May Marlene * Charlize Theron, Young Adult * Lauren Ambrose, About Sunny * Olivia Colman, Tyrannosaur * Lubna Azabal, Incendies * Adepero Oduye, Pariah * Rachel Weisz, The Deep Blue Sea * Viola Davis, The Help

Supporting Actor: Shahab Hosseini, A Separation

Supporting Actress: Carey Mulligan, Shame

Special Award - Best Ensemble: Tinker, Tailor, Soldier, Spy - Gary Oldman, Colin Firth, Ciaran Hinds, Mark Strong, Benedict Cumberbatch, Kathy Burke, Roger Lloyd Pack, Tom Hardy, John Hurt


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2010

Winter's Bone (Director: Debra Granik)
Nominees: In A Better World, True Grit, Rabbit Hole, Blue Valentine, Skeletons, Black Swan, Let Me In, I Saw the Devil, 13 Assassins

Oscars pick: The King’s Speech
Nominees: The Black Swan, The Fighter, Inception, The Kids Are All Right, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone

2010 was all about the ladies. A lean year that nevertheless yielded several outstanding films... but only a handful I'd categorize as great. And women directed my two at the top.

Winter's Bone
Incredible film - which offers something we need more of in the movies; strong, complex female characters. Jennifer Lawrence plays a girl from the Ozarks who is searching for her missing drug dealer father, in order to keep from losing the family home. The production is understated -kind of Earthy poetic- there an undercurrent of ever-present tension and a sense of danger. While it tells a bleak, hard story, it still provides a feeling of hopefulness.

Lawrence was a revelation. She is utterly convincing playing Ree - young but tough - Determined to keep her family together and hold on to their small spot of land, and struggling to keep herself free from the drugs that are so part of the culture she’s grown up in.

I like the authentic look and tone of the piece; it was filmed in the hardscrabble Missouri hills, using real houses and casting of local people. It feels genuine, the homes looked lived in, the people are weather-worn, with unpolished faces full of character. The distinct language, even overall sound is a landscape that lends texture to the film. I've seen it described as 'hillbilly gangster rural noir', which sounds as good a description as any, but it also has elements of fable – it's the model of the quest-type saga: The journey rife with hardship - secrets unearthed – the mentor guide, and an obtained talisman that will set our hero free.

In A Better World
Susan Bier's well deserved Oscar winner for Best Foreign film is about revenge (and abuse of power). And all the forms it takes. But it's also about empathy and forgiveness. Susan takes no sides, gives no pat answers, she simply allows the characters do what they will. It's up to them to react or turn the other cheek. Some find Bier’s movies contrived, and they are to a degree, but for a purpose. I find her moral conundrums thought-provoking and moving. Her stories stick with me. I can't stop pondering them, and this film was no exception.

The Kings Speech was okay, nice acting, but it didn’t deserve the best picture or direction Oscars. The critics choice, the Social Network, I didn't care for. I found Arron Sorkin's script artificial, manipulative, heavy-handed. Plus I simply don't enjoy spending time with all these entitled dickweeds and could care less about their story.

Note: This is the first year I nominated remakes of Felix nominated originals (True Grit, Let Me In)

As to my best actress? Rabbit Hole addressed a difficult subject. I felt the script was wise and the performers did it justice. It avoided many of the clichés I expected them to drift into. Kidman and Elkhart worked really well together ---- At the risk of getting overly personal - my little sister died young and I saw my mother and father go through a lot of this kind of thing. And to me, it felt like an honest portrayal of the subject. Diane Wiest has a scene with Kidman where they talk about whether the pain ever goes away, which was a poignant moment that struck a tearful chord of truth.

Supporting actress? It's funny to see how many of us place Steinfeld in this slot when she's really the protagonist; with more screen time and lines of dialogue than anyone in the film. I think it's because she (Mattie) places herself in the side-kick position. She needs Rooster to find and deal with Chaney. He even saves her life. It's like Walter Huston in Sierra Madre. He has as much screen time as Bogart, but he's seen as the sidekick. And sidekicks get the supporting nods.

I struggled mightily to find my actor - there are lots of good ones, but not any that stood far above the rest. I went with the leads in the brutal, bloody revenge thriller I Saw the Devil. I originally was going to go with Min-sik alone, but as with my previous twin victors, one was just not as great without the other. He and Byung-hun were inseparable.

Best Actor: Choi Min-sik & Lee Byung-hun, I Saw the Devil
Honorable Mentions:
Paul Giamatti, Barney’s Version * The cast of "In a Better World" * Javier Bardem, Biutiful * Christian Bale, The Fighter * Ryan Gosling, Blue Valentine * Ewan McGregor, The Ghost Writer * Colin Firth, The King's Speech * George Clooney, The American * Robert Duvall, Get Low

Best Actress: Nicole Kidman, Rabbit Hole
Honorable Mentions:
Natalie Portman, Black Swan * Jennifer Lawrence, Winter’s Bone * Michelle Williams, Blue Valentine * Lesley Manville, Another Year * Juliette Binoche, Certified Copy * Yoon Jeong-hee, Poetry * Alma Blanco, La Yuma * Catherine Keener, Please Give

Supporting Actress: Hailee Steinfeld, True Grit

Supporting Actor: John Hawkes, Winter's Bone







Other movies I liked include: Tuesday, After Christmas, Love in a Puff, The Arbor, Cafe Noir, A Cat in Paris, Easy A, Kick-Ass, Megamind, Inception, How to Train Your Dragon, Mysteries of Lisbon, Cyrus, Welcome to the Rileys, Troll Hunter, Barney’s Version, Shutter Island, Another Year, Fair Game, Flipped, The Secret World of Arrietty, The Illusionist, Defendor, The American, The Runaways, The Kings Speech, The Disappearance of Alice Creed, Cave of Forgotten Dreams, The Eclipse, Please Give



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2009

Up in the Air (Director: Jason Reitman)
Nominees: A Serious Man, The Secret of Kells, The Secret in Their Eyes, An Education, The Girlfriend Experience, Fantastic Mr. Fox, Sin Nombre, Broken Embraces, Mother, Moon, It Felt Like a Kiss, Mr. Nobody

Oscars pick: The Hurt Locker
Nominees: Avatar, The Blind Side, District 9, An Education, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air

In 2009 there wasn't one monster work of genius, but rather a block of superb movies that were pretty much on equal footing. And after years of debate and several re-watches, my current pick is...

Up in the Air is a savvy, genuine tale that sees George Clooney playing a guy without ties, who flies across the States just to fire people. Hard, funny and moving – it was a picture that stayed with me. And is one that will mean different things to different people. But I like how critic Jonathan Romney summarized it: “Up in the Air is as eloquent about today's executive culture as The Apartment was about that of 1960. It is a brutal, desolate film – but also a superb existential rom-com, and the most entertaining lesson in contemporary socio-economics that you could hope for.”

As with other Jason Reitman flicks the title sequence is colorful and adds to the tenor of the feature (Saul Bass would be proud), the score is full of character, the script perceptive with language as sharp as a tack.

The film boasts a charismatic cast (along with George there’s Anna Kendrick, Vera Farmiga, and a host of familiar faces in small roles). I liked their interactions and the rapport that builds between them. Ryan Bingham is a great character for Clooney. He’s an asshole with a lifestyle choice that doesn’t leave room for any deep, significant relationships (even with his family). But he’s charming and I liked his arc of development. I enjoyed watching this person go from where he is at the start of the picture to where he is at the end. I actually felt for the guy and hoped he’d settle down with Farmiga’s Alex. They were good together, and she was such a key part of his growth. Their final phone call was a punch in the gut.

Yes, the songs and cinematography can be rather obvious, though they do capture the mood and tone, the camera work for example - what these people do is cold, and that’s reflected in the harsh lighting, and the various shades of blue. When the story shifts to the wedding the colors warm up -even though it’s a snow-filled winter- with brown, orange and rose-tinted hues filling the screen.

Up in the Air is balanced, beautifully structured. It addresses change soberly and smartly. Add it all up and in my humble opinion it's the director's finest work - watching it again, a decade later, and it still impresses.

Oscar-wise I wasn’t as wowed by its Best Animated Feature winner, Pixar's UP, which –like WALL-E - had a brilliant opening sequence, before de-evolving into the standard Pixar madcap chase sequence. I’m getting bored with the formula. I disliked best picture nominee The Blind Side, liked A Serious Man better on a second viewing -- thought District 9 and Inglourious Basterds were both decent.

Big winner The Hurt Locker was at times brilliant, but it got into a repetitive groove –guy would do something intense followed by a quiet scene at the base- back and forth with this until I grew numb to it all. The film does finish strong with a scene in the States and had a great finale. I did admire the Hurt Locker, though I don't consider it the years best (but how cool that a female director finally got some Oscar props.)

Best Actor: Sam Rockwell, Moon
Honorable Mentions:
Viggo Mortensen, The Road * Tom Hardy, Bronson * Ben Foster, The Messenger * Michael Sheen, The Damned United * Jeff Bridges, Crazy Heart * Jeremy Renner, The Hurt Locker * Hugo Weaving, Last Ride * Michael Stuhlbarg, A Serious Man * Steve Evets, Looking for Eric * Filippo Timi, Vincere * Ricardo Darín, The Secret in Their Eyes

Best Actress: Kim Hye-ja, Mother
Honorable Mentions: 

Giovanna Mezzogiorno, Vincere * Carey Mulligan, An Education * Penélope Cruz, Broken Embraces * Katie Jarvis, Fish Tank * Sylvie Testud, Lourdes * Sophie Okonedo, Skin * Helen Mirren, The Last Station * Blanca Engström, Flickan * Kerry Fox & Anamaria Marinca, Storm * Lotte Verbeek, Nothing Personal

Supporting Actor: Christoph Waltz, Inglourious Basterds

Supporting Actress: Vera Farmiga, Up in the Air

Other movies I enjoyed in 2009


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2008

Synecdoche, New York (Director: Charlie Kaufman)
Nominees: The Dark Knight, Let the Right One In, Still Walking, Man on Wire, Wendy and Lucy, Goodbye Solo, Gran Torino, Waltz with Bashir, The Curious Case of Benjamin Button, Slumdog Millionaire, The Wrestler, Two Lovers

Oscars pick: Slumdog Millionaire
Nominees: The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader

Going over the year I was finding one wonderful movie after another. I accumulated so many that I finally had to force myself to stop at 13 nominees (which doesn’t include the popular WALL-E – a film I thought was phenomenal at the start before it slipped into the standard Pixar formula - extended slapstick chase sequence stuff and all. Among animation releases, Waltz with Bashir (nominated for Best Foreign Language Film) and Sita Sings the Blues were its betters – though Sita was ineligible for Oscar consideration as it was tied up in legalities over the use of PD music).

08 offered small treasures – Like the warm and funny Somers Town, which simply follows two boys who become friends and fall for a beautiful waitress. And Wendy and Lucy, which features Michelle Williams at her finest. What I liked about Williams in films like Synecdoche and Blue Valentine and here, in the neorealistic Wendy and Lucy - is that she is authentic and lacking in any Hollywood gloss. There’s not a false note in her performance, no artifice or ostentation. She is as honest a performer as I’ve ever seen. Wendy isn’t a high octane, emotionally charged, big tears n’ screams, flashy type performance - the kind that grabs Oscar’s attention. It’s simply as real and as true as life itself – and with every gesture and look, William’s subtly conveys the loneliness, hurt and frustration within her character.

As to the big blockbusters? The Superhero genre saw the release of the two of its very best – the bright and funny Iron Man, and the grim, thematic masterpiece, The Dark Knight, which overshadowed “Begins” and set a new standard for comic book movie maturity and excellence. It was also buoyed by standout Oscar-winning performance from Heath Ledger as the demented Joker and is highlighted by one breathtaking scene after another (e.g. the car chase through Gotham)

My favorite foreign fare was Let the Right One In. A Swedish vampire film about the friendship between a withdrawn, bullied boy and a little girl... who isn't a little girl. It's sparse, stylish, haunting - very atmospheric and in a strange way, beautiful. Not a good vampire flick if all you want is slam bam violence and gore in your horror films (though that is present)... but if you can appreciate the poetic melancholy infused throughout the piece, you might become as enthralled by it as I was.

"Let the Right One In" is ranked among my top 10 favorite films from the decade

Not far behind it was Hirokazu Kore-eda's thought-provoking Still Walking – a film that recalls Ozu's examinations on the family dynamic, especially in the way the camera work and movement were so fascinatingly choreographed.

There were also great documentaries, among them Man on Wire. Which is a look at a high wire performer who crossed the twin towers.

Best picture winner Slumdog Millionaire? Yeah, I liked it a lot and am okay with it winning, but I liked other movies more. At the top of the list is Writer Charlie Kaufman's directorial début Synecdoche, New York - and while It divided viewers and crashed at the box office - I think it's the best film in a year loaded with movies I prize.

And yet, how to describe something so unorthodox, so... huge in scope? It's bizarre, unsettling - time is out of balance (some characters age, while others don't). It’s about loss and missed opportunities and self-destructive tendencies -- and it expresses ideas about the mundane, empty nature of life, and the need to live it to the fullest.

Philip Seymour Hoffman plays a troubled theatrical director, Caden Cotard, who searches for authenticity by re-creating his world in a play, set in a massive warehouse+. So you have an exploration of a life within a life within a life. It's an ambitious film that attempts to examine existence in all its intricacies. I was awestruck and challenged to think. With its many layers, it imparts something new with each viewing.

The picture can be irritating, solipsistic - it's bitingly funny and sadly tragic - It's confounding and wonderful. It's extremely detailed (look in the backgrounds, note small items like the two newsstand sets, one completely functional, the other –indicating your in the set within the set, just being built). It's impossible to view this passively and without introspection. It's a film that is very personal, and because of that, it's not something one can be completely objective about. People loathe it, or they hail it as the greatest film of the decade. I personally am so blown away by it, that it overshadows even my high regard for Let the Right One In and the Dark Knight. It's the 8 ½ of our age and my winner for the Felix.

+Cotard, as reviewer Aaron Hillis put it, “Is deteriorating physically, artistically, romantically, spiritually... (he is) wrestling with onscreen angst from the deepest, most depressing of human worries: the finite constraints of creativity, love, and mortality, and whether existence itself is at all relevant.

Best Actress: Michelle Williams, Wendy and Lucy
Honorable Mentions:
Melissa Leo, Frozen River * Sally Hawkins, Happy Go Lucky * Kristen Scott Thomas, I've Loved You So Long * Maria Heiskanen, Everlasting Moments * Tilda Swinton, Julia * Karoline Herfurth, A Year Ago in Winter * Yolande Moreau, Séraphine * Kate Winslett, The Reader

Best Actor: Philip Seymour Hoffman, Synecdoche New York (top)
Honorable Mentions:
Michael Fassbender, Hunger * Brendan Gleeson & Colin Farrell, In Bruges * Mickey Rourke, The Wrestler * Josef Bierbichler, A Year Ago in Winter * Clint Eastwood, Gran Torino * Sam Rockwell, Snow Angels * Vincent Cassell, Mesrine I & II * Richard Jenkins, The Visitor

Supporting Actress: Viola Davis, Doubt

Supporting Actor: Heath Ledger, The Dark Knight (pictured above)







Other movies I enjoyed (and not mentioned above) include: The Chaser, Quantum of Solace, Ghost Town, Mrs. Pettigrew Lives for a Day, In Bruges, Chocolate, Frozen River, Summer Hours, Happy-Go-Lucky, Wanted, Revolutionary Road, Doubt, Everlasting Moments, Frost/Nixon, Bolt, Departures, A Christmas Tale, The Bank Job, Definitely, Maybe, The Cove, The Class and the Visioneers.


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2007

Once (Director: John Carney)
Nominees: 4 Months, 3 Weeks and 2 Days, The Counterfeiters, Juno, Lust/Caution, There Will Be Blood, The Diving Bell and the Butterfly, My Winnipeg, Persepolis, You, The Living, Munyurangabo, Yella, The Assassination of Jesse James by the Coward Robert Ford

Oscars pick: No Country for Old Men
Nominees: Atonement, Juno, Michael Clayton, There Will Be Blood

I can’t jump on the No Country for Old Men bandwagon – It has a brilliant set-up and moments of pure cinematic bliss, but the film falls apart for me in its final act. I get that the old guys talking are the philosophical point of the film -- but you could have had that AND the big dramatic confrontation you were setting up throughout the film as well. Killing your protagonist off-screen was a bad move; it destroyed the dramatic pulse that was building to a fever pitch. For me it was akin to listening to an orchestra play, and as they approach the stunning crescendo… the musicians shrug, set down their instruments, walk off stage and then talk you through the music. Still, it was nice that the Brother's Coen finally received some Oscar love. The movie sparked a lot of healthy adult debate, and a lot of healthy (and unhealthy) adult minds went to see it, so that was encouraging at least.

Certain American critics were incensed when it lost the Palme d’Or to 4 Months, 3 Weeks and Two Days at Cannes. But I agree with the selection. 4 Months is a devastating and discomforting story that centers on an illegal abortion in 1980s Romania (and the time and place and politics are essential to the story). Anamaria Marinca gives a striking, minimalist performance - playing a student who is wrangled into fixing her incompetent friend's messes. In doing so, she finds herself dragged through an emotional nightmare. This isn't a fun movie; it's brutally painful and starkly filmed. At times it made me sick to my stomach. Not only for what it shows - but also for what you're not shown, or what you hear (that terrible sound in the pitch black hall of an apartment complex). But it is so accomplished in telling its story -so unforgettable- that I was very tempted to give it the Felix. I would have done so if not for one lovely tale that -as RT puts it- "set the standard for the modern musical".

If 4 Months shatters, Once beguiles.

Set in my beloved Ireland - Once is a delicate, tender love story about fellow musicians/kindred spirits – who are also in troubled relationships with others. It's a small film, the direction and script are unpolished, and because the leads are musicians and not actors you get some off-key delivery of lines. But that’s to the films advantage as well as its charm -- the bond between these two felt natural, real.

The characters were fully formed people (he's self-effacing, she's frank) who I liked and could relate too – which helps facilitate the connection I have with it. But it also offers so many small treasures: The scene in the music store when they first play together (the Oscar-winning number "Falling Slowly", which is described by the director as the equivalent of their love scene). The bit when she writes lyrics for his music, and -after buying batteries for her walkman- makes the trek back home, wearing her PJs and large fluffy slippers, singing the track as she goes. I liked the moment on the bus where he's answering her questions through singing and playing his guitar (something I've done on a number of occasions). And I enjoyed watching these two wander around Dublin, getting to know one another, as she drags the vacuum he fixed for her like a puppy on a leash.

While there's not much story, and what there is, is related mostly via the brilliant songs, it is wise in its observations on the nature of relationships. Not everything is cut and dried, just as it is with real-life love, which can be difficult to define and place in a nice, neat box. Sometimes a heart can be split into two places and belong to two different people. The relationship here isn't physical, though there is an obvious attraction. It's primarily based on respect and kindness and the shared love for music.

It's a beautiful beautiful story, a beautiful relationship backed by beautiful tunes. The formula for its success is as simple as that.

Of the remaining Oscars noms, I absolutely hated Atonement and wish Once had garnered its slot. Michael Clayton wasn't bad; There Will Be Blood is impressive. Juno was a special one. Whip-smart and funny, with a good heart.

And finally, a word about my Best Supporting Actress, Cate Blanchett in I'm Not There:
Cate’s Bob Dylan (here called Jude Quinn) is a caustic, angular, hollow-cheeked, self-invented chameleon who cuttingly brushes aside any attempts to define him. Dismissive of almost anyone (except David Cross as Allen Ginsberg) - at a party she introduces... "Norman this is Brian Jones, from that groovy covers band!" Her sections in the film are at times Felliniesque, and her lanky, otherworldly Dylan is more than words and facial expression. Cate throws her entire body into the role, making the performance a dynamic, barely containable exercise that leaps off the screen and shakes audiences to the core.

Other features I didn't nominate but liked include, Across The Universe, Enchanted, Eastern Promises, Waitress, I’m Not There, The Visitor, Reign Over Me, Shoot Em Up,The Darjeeling Limited, Charlie Wilson’s War, The Lookout, Mesrine: Killer Instinct pt 1, Before the Devil Knows Your Dead, Breach, The Savages, Gone Baby Gone, Chop Shop, Dedication and Edge of Heaven.

Best Actor: Casey Affleck, The Assassination of Jesse James by the Coward Robert Ford
Honorable Mentions: 

Philip Seymour Hoffman, Before the Devil Knows You're Dead, The Savages and Charlie Wilson’s War * Daniel Day-Lewis, There Will Be Blood * Mathieu Amalric, The Diving Bell and the Butterfly * Tom Hanks, Charlie Wilson's War * Gordon Pinsent, Away from Her

Best Actress: Anamaria Marinca, 4 Months, 3 Weeks and 2 Days
Honorable Mentions:
Marion Cotillard, La Vie en Rose * Laura Linney, The Savages * Jeon Do-yeon, Secret Sunshine * Tang Wei, Lust Caution * Ellen Page, Juno * Amy Adams, Enchanted * Bijou Phillips, What We Do Is Secret * Julie Christie, Away from Her * Nina Hoss, Yella 

Supporting Actress: Cate Blanchett, I’m Not There

Supporting Actor: Javier Bardem, No Country for Old Men

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2006

Pan's Labyrinth (Director: Guillermo del Toro)
Nominees: Notes on a Scandal, The Host, Wristcutters: A Love Story, The Lives of Others, After the Wedding, Paprika, Volver, The Departed, Letters from Iwo Jima, Babel, Red Road

Oscars pick: The Departed
Nominees: Babel, Letters from Iwo Jima, Little Miss Sunshine, The Queen

Del Toro's masterpiece is without question the finest film of the year. Critic Simon Foster said it best... "In juxtaposing the realism of a Fascist state’s adherence to spirit-crushing violence with the soaring fantasies of an innocent’s dream world, director Guillermo del Toro has created one of the most damning indictments of dictatorial politics ever filmed. Yet what ultimately emerges from his extraordinary Pan's Labyrinth is intrinsically humanistic; a celebration of the strength of spirit mankind possesses to overcome such evil."

I started using that quote after trying to sum up the film in my own words and finding myself buried under a pile of lengthy, overwritten paragraphs. It's such a contemplative, stimulating piece of film. Thankfully Foster was able to sum it up succinctly for me.
   
Why do I feel del Toro is our best fantasist today? There's an honest sense of wonderment and a lack of pretension in his work. He can address important issues without it coming off self-important; his heroes might falter in the face of grave situations, but they do so without turning into whiny emo irritants. He's a master at capturing a story's thematic elements and presents them deftly. His films can be a wild roller coaster ride when the situation calls for it (Blade II), but he usually handles that with equal aplomb and understands how to go big, without getting bloated. The Warner brother's style cartoon humor in Hellboy II set off warning signals -- could that wonderful ‘big kid’ mindset of his turn into stupid childishness the way it has for George Lucas?  Let's hope not -- and let us hope he continues to return home and make movies like this and the Devil's Backbone – I think they keep him sober and grounded, while still allowing him to play in magical realms.

Oscar finally gave Martin Scorsese his due - The Departed is a good -if an over the top- picture, that's less a police procedural and more an exploration of the psychology of two men pretending to be who they aren't. It features some standout performances from Damon, Nicholson and especially DiCaprio, who is finally starting to look like an adult. It’s not Martin's best but it is worthy of high praise.

I liked Oscar's other nominees, though Little Miss Sunshine didn't knock me out.

Acting!
Mühe's performance in The Lives of Others is understated, but don't let the lack of showiness fool you. This is a great performance. He plays a Stasi agent investigating a couple, and at first, Gerd is a man with few emotions, his face is a mask. Slowly but surely though, he grows a conscience - and the transformation is restrained, yet powerful. Sadly, Ulrich died a year after making this film, at the age of 54 from stomach cancer

My actresses are all brilliant, but Notes on a Scandal features Dame Judi at her best. Teacher Barbara Covett isn’t an easy character; on the surface, she’s just a mean, bitter, unlikable... well, bitch (excuse my French). That would have been enough for most movies. Make her an unpleasant psychopath. But Judi adds nuances – for one: There’s the desperate loneliness, and damn if I can’t relate/feel sorry for her in that pain. The scene about the cat – she’s both a major irritant and psychotic (and funny in an absurd way... "Someone has died!" she cries), but there’s also genuine loss and anguish etched on Dench’s features.

The film is an acting tour-de-force. The interplay between Blanchett and Dench is like manna from Heaven for anyone who appreciates great acting. And it helps that the ladies, and especially Judi, speaks some amazing, cutting dialog.

Best Actor: Ulrich Mühe, The Lives of Others
Honorable Mentions:
Mad Mikkelsen, After the Wedding * Clive Owen, Children of Men * Christian Bale, The Prestige * Ben Affleck, Hollywoodland * Leonardo DiCaprio, The Departed * Forest Whitaker, The Last King of Scotland * Ryan Gosling, Half Nelson * Alan Rickman, Snow Cake * William H. Macy, Edmond * Peter O'Toole, Venus * Guy Pearce, Factory Girl

Best Actress: Judi Dench, Notes on a Scandal
Honorable Mentions:
Penélope Cruz, Volver * Kate Dickie, Red Road * Helen Mirren, The Queen * Ivana Baquero, Pan’s Labyrinth * Cate Blanchett, Notes on a Scandal * Maggie Gyllenhaal, Sherrybaby * Shareeka Epps, Half Nelson * Jodie Whittaker, Venus * Sienna Miller, Factory Girl

Supporting Actress: Rinko Kikuchi, Babel

Supporting Actor: Jackie Earle Haley, Little Children
I was also impressed with Stephen Graham in This is England






Other movies I enjoyed include - Casino Royale, Half Nelson, Black Book, The Good German, Stranger Than Fiction, 10 Items or Less, Hollywoodland, the Bridge, Factory Girl, Volver, Friends with Money, The Fountain, The Queen and loudQUIETloud: A Film About the Pixies, Hana, 12:08 East of Bucharest

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2005

The Death of Mr. Lazarescu (Director: Cristi Puiu)
Nominees: Pride & Prejudice, Grizzly Man, Munich, Little Fish, The Gits, L'enfant, The Devil and Daniel Johnston, War of the Worlds

Oscars pick: Crash
Nominees: Brokeback Mountain, Capote, Good Night and Good Luck, Munich

In reassessing ‘05 I still found the Academy's top contenders, Crash and the overwrought, choppily paced soap opera Brokeback Mountain, frankly, overrated. Good Night and Good Luck was soft and superficially rendered. Of Oscar's nominees, only Munich impressed me. (Capote was fair).

That's not to say the season was bereft of goodies: Among them - 2 musical docs: The Gits - a heartfelt look at the life and murder of Seattle Grunge artist Mia Zapata. And a respectful exploration of a strange man's "15-minutes of fame" in, The Devil and Daniel Johnston.

There were dramas such as Little Fish, a raw character piece about a former heroin addict (wonderfully played by Cate Blanchett) who is trying to get her bearings and stay straight. And from Belgium, L’Enfant, the story of an amoral thief who does something unthinkable.

‘05 gave us interesting spins on classic noir, crime stories. Like the hilarious Kiss, Kiss, Bang, Bang with its superb casting of Robert Downey Jr. Val Kilmer and Michelle Monaghan - and Brick, which sets its hard-boiled tale in a High School.

There were literary adaptations as well, from Joe Wright's take on Jane Austen's Pride & Prejudice. With Kiera Knightly’s spot-on turn as Elizabeth Bennett. And of course, Christopher Nolan’s grand, humanistic riff on the dark knight detective in Batman Begins.

Among the years most memorable was my winner, The Death of Mr, Lazarescu, which is about an old man who feels ill one night and calls for an ambulance. But instead of receiving the immediate medical attention he needs, he winds up on a journey through hell. (It’s no accident that one of his names is Dante).

Sometimes called a black comedy, and while there are amusing lines of dialogue and whatnot, there’s nothing really funny about this situation. The film exposes the absurdity of a broken health system that allows people to fall through the cracks. Hospitals are understaffed, doctors and nurses are buried under red tape. Beyond that, the picture speaks to life and humanity in general. People can be well-meaning, compassionate, or they can be total assholes. They gossip and lecture, humiliate one another and get wrapped up in their own personal dramas, which doesn't allow much time for anything else, even a sick man -- Or it can just be the matter of a job being a job, and jobs are a pain in the neck... whether your a janitor or a healer or an ambulance driver.

The movie frustrates and hurts in its brutal honesty. And the documentary-style storytelling, filmed using shaky hand-held cameras, makes it feel lived in and real. But make no mistake, this is a well thought out, brilliantly constructed social commentary - a cry for human kindness and empathy and a better-organized system of treating those in need.

Other movies I liked (not previously mentioned) include Constantine, Serenity, The Brothers Grimm, Sky High, Walk the Line, Angel-A, Linda, Linda, Linda, A History of Violence, Sin City, The Corpse Bride, Millions, Mrs. Henderson Presents, Caché, The Proposition and many of these mentioned below...

Best Actor: Romain Duris, The Beat That My Heart Skipped
Honorable Mentions:
Philip Seymour Hoffman, Capote * David Strathairn, Good Night, and Good Luck * Bill Murray, Broken Flowers * Issey Ogata, The Sun * Jérémie Renier, L'enfant * Tommy Lee Jones, The Three Burials of Melquiades Estrada * Ray Winstone, The Proposition * Daniel Auteuil, Caché

Best Actress: Keira Knightley, Pride & Prejudice
Honorable Mentions:
Luminița Gheorghiu, The Death of Mr. Lazarescu * Sarah Polley, The Secret Life of Words * Gwyneth Paltrow, {Proof} * Julia Jentsch, Sophie Scholl: The Final Days * Cate Blanchett, Little Fish * Ellen Page, Hard Candy * Jennifer Connelly, Dark Water * Nathalie Baye, The Young Lieutenant * Juliette Binoche, Caché

Supporting Actress: Amy Adams, Junebug

Supporting Actor: Hugo Weaving, Little Fish







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2004

Eternal Sunshine of the Spotless Mind (Director: Michel Gondry)
Nominees: Million Dollar Baby, Brothers (Brødre), My Summer of Love, Maria Full of Grace, 2046, Life Aquatic With Steve Zissou, The Aviator, Before Sunset, Moolaade, Nobody Knows, Sideways

Oscars pick: Million Dollar Baby
Nominees: The Aviator, Finding Neverland, Ray, Sideways

Eternal Sunshine of the Spotless Mind is an imaginative tale, as spot-on and devastatingly honest a look at love as has ever been filmed. Jim Carrey has never been better and Kate Winslet is a captivating independent spirit – they play former lovers who have gone through a procedure to erase the memory of their relationship from their minds. Thing is, Carrey is fighting to hold on to these priceless moments.

While I saw a lot of superb movies in '04, there were few that offered as singular, distinctive and elevated a viewing experience as what writer Charlie Kaufman and director Michel Gondry cooked up with Eternal Sunshine. I exited the theater gobsmacked. Sunshine is an original, thoughtful examination on the value of memory. It’s touching but also a surreal super freak-out and a tad scary. It doesn't take the cheap and predictable road on its ending. The couple doesn’t vow to change and make it work come hell or high water... they know the landmines waiting for them, but it's, okay.

This one was a real, real close call - as I adore Million Dollar Baby, the Clint Eastwood directed story about a broken-down manager and his phenom (Hilary Swank). The boxing and training scenes, the look at this fringe culture was transfixing. But Eastwood, who delves into life's gray areas better than anyone, and screenwriter Paul Haggis (working from a story by F.X. Toole) makes this more than boxing. It's about missed opportunities, regret, and redemption.

While the material is familiar, it's given a telling that is fresh and takes an unexpected turn at the end... and what a crushing turn it was. There are few movies that leave me as emotionally gutted as Million Dollar Baby.

Baby and Sunshine were movies that took me someplace new, had me experiencing a whole different level of emotional or intellectual high. And on film-making technique, they excel.   Emotional and intellectual resonance was the overall buzzwords this year. Susan Bier's brilliant wartime story Brothers was another that knocked the breath from my lungs (it features one of the saddest, heartbreaking final lines in cinema history) - and Moolaade from Senegalese writer and director Ousmane Sembène (which addresses the subject of female genital mutilation) strikes a similar chord.

Acting? This was an incredible season, which made it so, so difficult to pick just one. Honestly, I wish I could have called a 5-way tie for Best Actor (and the men behind them are no slouches.) In the end, I was most impressed with Mathieu Amalric. Here's the reason why...

Those eyes – Amalric’s eyes are alight with intelligence and weary amusement. They are expressively child-like and alternatively incredulous. When we meet Ismaël, he’s being hauled off to a Psyche ward – and from the start, the performance is hilarious, full of unbridled kinetic energy – but it is also filled with hurt and the ability to hurt. As John Cribs pointed out - "Ismaël is locked up in a mental ward, not because he’s certifiably crazy but because his uniqueness threatens the world order around him." Mathieu embodies that uniqueness brilliantly and his characters turbulent, artistic mind is a wonder to behold. Ismaël Vuillard isn't always a nice man, but he's never boring and Mathieu's skilled at keeping him from becoming a completely distasteful figure, even in his worst moments, he remains charming and likable.

Best Actor: Mathieu Amalric, Kings and Queen
Honorable Mentions:
Jim Carrey, Eternal Sunshine * Don Cheadle, Hotel Rwanda * Bruno Ganz, Downfall * Bill Murray, Life Aquatic with Steve Zissou * Javier Bardem, The Sea Inside * Ulrich Thomsen, Brothers * Paul Giamatti, Sideways * Christian Bale, The Machinist * Birol Ünel, Head-On * Leonardo DiCaprio, Aviator 

Best Actress: Imelda Staunton, Vera Drake
Honorable Mentions:
Kate Winslet, Eternal Sunshine of the Spotless Mind * Hilary Swank, Million Dollar Baby * Catalina Sandino Moreno, Maria Full of Grace * Julie Delpy, Before Sunset * Fatoumata Coulibaly, Moolaadé * Sibel Kekilli, Head-On * Emmanuelle Devos, Kings and Queen * Natalie Press & Emily Blunt, My Summer of Love

Supporting Actress: Ziyi Zhang, 2046

Supporting Actor: Clive Owen, Closer

Other movies I enjoyed? Spider-Man 2, Garden State, The Incredibles, Hellboy, Harry Potter and the Prisoner of Azkaban, House of Flying Daggers, Sky Captain and the World of Tomorrow, Hotel Rwanda, Kings and Queen, Super Size Me, Mean Girls, Howl’s Moving Castle, Primer, A Very Long Engagement, The Chorus, Duck Season, Ray, and Downfall

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2003

Lost in Translation (Director: Sofia Coppola)
Nominees: Memories of Murder, Tie Xi Qu: West of the Tracks, Cold Mountain, Oldboy, End of the Century: The Story of the Ramones, The Best of Youth, Spring Summer Fall Winter…and Spring

Oscars pick: Lord of the Rings: Return of the King
Nominees: Lost in Translation, Master and Commander: Far Side of the World, Mystic River, Seabiscuit 

Sofia Coppola directed Bill Murray and Scarlett Johansson at their very best, in a movie about those beautiful connections that -while brief- stay with you for a lifetime. Brian Orndorf wrote – ”A relationship picture with elegant connective tissue; it's brittle and real, focused on the nuances of body language and unspoken desire, while indulging in a cheeky bit of knowing absurdity when the mood strikes."

That's a most brilliant movie summary, what more can I add?

I like how honest it is, how achingly tender the bond that develops between these two people.  I like the sense that even though they are in this crowded city surrounded by people, there's a loneliness that’s only capped when they are together.  It doesn't over-romanticize it, or overplay the little joys or hurts that come with any relationship. It doesn't overplay or over-explain anything. It just allows it to breathe and be observed.

I know of some folks who dislike it, dislike the measured pacing and minimalist story (the Oscar-winning script was basically 20/30 pages of notes) - but it's a special film for me - one that moves me every time I see it. I think I relate to that sense of feeling lost, needing to move, to do something -anything- though you're not sure of the how's or what's or where's needed to make such a decision. But you make a connection with someone and for a while, it's all, okay. Other movies have addressed this idea, but none so effectively as Translation; none linger and leave as deep an impression.

While I admire it for subjective reasons, it is also praiseworthy on the objective -- as in the contributions of editor Sarah Flack and cinematographer Lance Accord (I love the way this film is framed. There are picture postcard perfect shots throughout).  Their skillful involvement helped shape the look and rhythm of the film. All told – it's not only the best of the year but also my 'film of the decade'.

Oscar winner, LOTR: Return of the King didn't do a whole lot for me. It didn't help that the ending was a big stick - it refused to bow out until it had beaten me senseless with all that forced pathos. LOTR was a nice adventure with great production values, but I don’t feel that translates into "Best Picture of the year".

My top actor? It could be no other. I love Bill in just about anything, but he exceeded even my great expectations and showed a fuller, deeper side to his talents in Translation. There's not an abundance of dialogue, but he can say a lot through body language and expression. And without those grace notes, I don’t know that the film would have been as successful. Lisa Schwarzbaum wrote, "working opposite the embracing, restful serenity of Johansson, Murray reveals something more commanding in his repose than we have ever seen before. Trimmed to a newly muscular, rangy handsomeness and in complete rapport with his character's hard-earned acceptance of life's limitations, Murray turns in a great performance"

Best Actress: Toni Collette, Japanese Story
Honorable Mentions: 

Evan Rachel Wood, Thirteen & The Missing * Scarlett Johansson, Lost in Translation & Girl with a Pearl Earring * Cate Blanchett, Veronica Guerin & The Missing * Naomi Watts, 21 Grams * Jennifer Connelly, House of Sand and Fog * Patricia Clarkson, The Station Agent & Pieces of April * Anna Geislerová, Zelary

Best Actor: Bill Murray, Lost in Translation (pictured top)
Honorable Mentions:
Paul Giamatti, American Splendor * Choi Min-sik, Oldboy * Peter Dinklage, The Station Agent * Song Kang-ho, Memories of Murder * Ewan McGregor, Big Fish * Ben Kingsley, House of Sand and Fog * Rémy Girard, Barbarian Invasions * William H. Macy, The Cooler * Daniel Brühl, Goodbye, Lenin!

Supporting Actress: Marie-Josée Croze, The Barbarian Invasions

Supporting Actor: Nick Nolte, Hulk (pictured above)








Other movies I enjoyed includes X-Men United, Hulk, American Splendor, A Mighty Wind, The Missing, Underworld, Finding Nemo, The Station Agent, Elf, Bon Voyage, Owning Mahowny, Big Fish, The Barbarian Invasions, Down to the Bone, Zelary, The Human Stain, Down with Love


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2002

Talk to Her (Pedro Almodóvar)
Nominees: The Man Without a Past, Lilya 4-Ever, The Quiet American, Hero, City of God, Chicago, Spider-Man, About Schmidt, Dirty Pretty Things, Russian Ark, Twilight Samurai, Infernal Affairs

Oscars pick: Chicago
Nominees: Gangs of New York, The Hours, LOTR: Two Towers, The Pianist

I thought Chicago was fine entertainment, and for me, it was the best of the Oscar noms. It has great music, great performances, and a lively spirit that won me over. I do agree with the criticism that the direction had its problems. The MTV-style edits undercut the dance sequences (modern directors need to watch old Fred Astaire movies and learn how to film a dancer, by letting the dancer do most of the work, not the cameraman and editor)

While I don’t hate it, the love the Pianist receives eludes me, because nothing happens in it. I didn't get a great feeling of drama nor was I interested in this guy. He mostly just hides from the Nazis and that's it. I've seen this subject covered extensively and with so much more life and intensity. It's from Roman Polanski so the direction and camera work is assured – nevertheless, I was underwhelmed by the story, and found the telling rather dispassionate.

So I agree with Oscar (at least within the scope of their nominees) that Chicago was the best picture, but for director, I would have gone with Pedro Almodóvar (who received his first and only Best Director nod).

As for the rest of Oscar's brood? I wasn’t hot for the highly touted The Hours, LOTR: Two Towers or Scorsese's broad and cartoonish Gangs of New York. 

I prefer others, such as City of God – Which is a gripping look at a crime-riddled slum in Rio de Janeiro through the eyes of an aspiring young photographer. The piece bristles with the uneasy prospect of violence waiting in every frame. The characters are plentiful and brought to life vividly. 

Zhang Yimou's beautiful-looking Hero, is distinguished by its bittersweet romance and acts of heroism in which vengeance is swayed through words and self-sacrifice, rather than by the sword.

Beyond those (and my other nominees), there were three that I couldn't get out of my head:

The Man Without a Past is an odd, funnily deadpan and sweet Finnish film from director Aki Kaurismaki. It's about a man who loses his memory after he is robbed and beaten. He later befriends some poor folks and falls for a gal who works for the Salvation Army. MWAP is one of the quirkiest romantic comedies I've ever seen. For one, hardly anyone smiles in it -it’s like a cast full of Buster Keaton's- and that makes the dialog all the more hilarious. The bits where the protagonist introduces the Salvation Army Band to rock and roll (and gets them gigs to play for the poor and homeless) is a charming hoot and is one of several memorable sequences. It's an eccentric flick, minimalist in style, but full of wise observations about the nature of man. It might not be to everyone's taste, but it is consummate filmmaking.

The Quiet American - Director Philip Noyce's powerful adaptation of Graham Greene's complex novel, is a love triangle set in the tumultuous backdrop of 50s Vietnam. Michael Caine earned a well-deserved Oscar nomination playing the jaded British reporter, Thomas Fowler. His performance is abounding with nuance and the eloquent dialog he's given captures Greene at his finest. Brendan Fraser is solid as the idealist Alden Pyle. Pyle is a more fully rounded character here than he was in the novel (where he was simply a paper caricature representing America's arrogance). The piece is poignant without stumbling into sappy melodrama, intense without sacrificing its heart. Beautifully photographed and framed - The political mystery, murder, and romance is woven together in a seamless, spellbinding way, and it carries a genuine emotional impact

Talk To Her - As with most films by Pedro Almodóvar, "Talk" is a frank, funny and at times, uncomfortable look at relationships. In it, two men who pine for women in comas, meet in a hospital – they become friends and share stories of their beloveds, though, for each, that love is unrequited. As expected Almodóvar presents some disturbing angles, but he also draws up fascinating personalities and a thought-provoking story.

Three years after the Oscar win for All About My Mother comes yet another powerhouse - the director was really at his peak, putting on display everything that defines his work: The absurdity and breaking of taboos, the colorful set design, the soapy romantic entanglements, and the fully formed characters. It's quintessential and essential Almodóvar.

Though it's tough to have multiple equal favorites, I elected to go with Talk as my best picture.

Other movies I enjoyed on the year include: The Ring, Heaven, Lovely and Amazing, Bloody Sunday, Blade II, The Bourne Identity, Stuart Little 2, Whale Rider, Bend it Like Beckham, Raising Victor Vargas, Oasis, The Good Girl, Auto Focus, Far From Heaven, The Son (Le fils), He Loves Me, He Loves Me Not, and 24 Hour Party People.

Best Actor: Michael Caine, The Quiet American
Honorable Mentions: 

Jack Nicholson, About Schmidt * Adrien Brody, The Pianist * Tony Leung Chiu-Wai, Infernal Affairs * Nicolas Cage, Adaptation * Mads Mikkelsen, Open Hearts * Ralph Fiennes, Spider * Robin Williams, One-Hour Photo * Ray Liotta, Narc * Chiwetel Ejiofor, Dirty Pretty Things * Hiroyuki Sanada, The Twilight Samurai

Best Actress: Oksana Akinshina, Lilya 4-Ever
Honorable Mentions: 

Salma Hayek, Frida * Naomi Watts, The Ring * Kati Outinen, The Man Without a Past * Catherine Keener, Lovely & Amazing * Samantha Morton, Morvern Callar * Julianne Moore, Far From Heaven * Renée Zellweger, Chicago * Jennifer Aniston, The Good Girl * Audrey Tautou, Dirty Pretty Things

Supporting Actor: Paul Newman, Road to Perdition

Supporting Actress: Catherine Zeta-Jones, Chicago


Note: My Hon Mentions for the actresses was overflowing and I was running out of room, but I also liked the cast of The Hours (Kidman, Moore, Streep, Janney, Richardson, Collette, etc)


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2000

Yi Yi (Director: Edward Yang)
Nominees: Traffic, Almost Famous, O Brother, Where Art Thou? Memento, Crouching Tiger, Hidden Dragon, Peppermint Candy, The Day I Became a Woman, In the Mood for Love, Amores Perros, The Captive

Oscars pick: Gladiator
Nominees: Chocolat, Crouching Tiger, Hidden Dragon, Erin Brockovich, Traffic

2000 got off to a rocky start, with Oscar selecting the paper-thin Gladiator as its best picture. My brother loves this film -- I say it's no Spartacus and didn't even deserve a nomination, let alone the award. Of the Academy's choices, they should have gone with Traffic. They gave Soderbergh the directorial award but screwed him on the Best Picture. I didn't care too much for Soderbergh's Erin Brockovich, I found it hackneyed -- and if Brockovich really is like that, then she's an abrasive cliché.

If not Traffic, then the Academy should have selected Ang Lee’s wuxia film, Crouching Tiger, Hidden Dragon (which they gave the foreign award to). Aside from that, they left off too many goodies, such as Cameron Crowe's love letter to the music biz, Almost Famous or the Coen Brother's hilarious odyssey, O Brother Where Art Thou? which featured a winning soundtrack collection of folk, county, bluegrass, and gospel tunes - and had folks digging on the classic, "I Am a Man of Constant Sorrow".

Out of them all, there was one delightful find that jumped to the top of the pops, Edward Yang’s Yi Yi.

The title means "Individual" in Chinese and is the first word in their dictionary. The movie runs nearly 3 hours and at a deliberate pace, but if you're patient the story offers rich rewards. It's a contemplative piece about average everyday people who wrestle with the meaning of life. Beautifully acted and directed, with a script that’s inspired. Yi Yi is about as deeply moving and insightful a film as I've ever seen.

Blogger Simon Ferrari considers it the 'film of the decade' and noted how the movie addresses,” …the clash in East Asia between tradition and westernization, morality and technology, youth and age. About the disintegration and reconciliation of a sprawling family", he continues by adding, "Its cinematography is finely-tuned, with entire conversations caught in reflections on glass surfaces, long takes, and incredible depth of field. It is funny, heartbreaking, perfect."

Nick Rogers said that it... "scratches the identifiable itch to reach out for what we've loved, set free and had come back, perhaps still not meant to be: jobs, lovers, freedoms, opportunities."

Yi Yi is one of those movies that sticks with you. Days, even weeks later it would return to my mind. Characters like the little boy pictured above, who takes photographs of people backs because he wants to show them what they cannot see. A thought that reflects the philosophy of the entire film – there is another side to every story, there are things in life that we do not see clearly.

Movies I didn't nominate but like a lot, include: Girlfight, Best in Show (and a shout out to that cast), Ginger Snaps, Unbreakable, X-Men, Quills, You Can Count on Me, Panic, State and Main (Macy is great here, but Phillip Seymour Hoffman and Rebecca Pidgeon steal the show), Audition, Two Family House, The Big Kahuna (with Danny DeVito at his best), to name more than a few

And other actors I liked... David Thewlis, Paul Bettany, and Malcolm McDowell in Gangster No 1, Samuel L. Jackson in Unbreakable, Sol Kyung-gu in Peppermint Candy, Chow Yun-Fat in Crouching Tiger, George Clooney in O Brother Where Art Thou? Kate Winslet in Quills, Ériq Ebouaney, Lumumba.

Best Actor: Tom Hanks, Cast Away
Honorable Mentions:
Mark Ruffalo, You Can Count on Me * Guy Pearce, Memento * Ed Harris, Pollack * Willem Dafoe, Shadow of the Vampire * Geoffrey Rush, Quills * Stellan Skarsgård, Aberdeen * Tony Leung Chiu Wai, In the Mood for Love * Javier Bardem, Before Night Falls * William H. Macy & Donald Sutherland, Panic * Lee Byung-hun, Joint Security Area * Kōji Yakusho, Eureka * Eric Bana, Chopper

Best Actress: Ellen Burstyn, Requiem for a Dream
Honorable Mentions:
Laura Linney, You Can Count on Me * Bjork, Dancer in the Dark * Gillian Anderson, The House of Mirth * Zhang Ziyi, Crouching Tiger, Hidden Dragon * Marie-Josée Croze, Maelström * Lena Headey, Aberdeen * Maggie Cheung, In the Mood for Love * Marcia Gay Harden, Pollock * Aoi Miyazaki, Eureka * Sylvie Testud, The Captive

Supporting Actress: Jennifer Connelly, Requiem for a Dream

Supporting Actor: Emilio Echevarria, Amores Perros







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