Top 5 Tuesday: Colin Farrell

In addition to the new ‘Friday Flashback’ segment, I thought to also include a ‘Top 5 Tuesday’ as well. Not too wordy – just a quick Top 5 list of various filmmakers, actors, movies, and such. And in watching Peter Weir’s inspiring (and beautifully shot) 2010 film The Way Back last week, I was reminded of how impressive and diverse the resumé of Colin Farrell is becoming. I know that he has a reputation for not being the most well-liked of celebrities, but every time I see him speak, he comes off as self-effacing, witty, intelligent, and genuine. I must admit, I like the guy – and more importantly, I like watching him work on screen. His idol Al Pacino (so he has awesome taste to boot) went so far as to call the Dublin-born star “the best actor of his generation” – and that might not be so absurd a thought. How many times have we heard that Johnny Depp or Edward Norton (both great talents) are so great at selecting the projects they work on…that they have such terrific range? This is, for the most part, quite true. But since bursting onto the scene, Farrell should start to be recognized as being in that very same boat. Courageous, smart choices (let us pardon him for Alexander and Miami Vice, shall we) in big-budget and indie films – showing remarkable range. Here are what I think Colin Farrell’s Top 5 Performances are to date:

5. Tigerland (2000)

Farrell really started to open some eyes with his Texan twang in this gritty Joel Schumacher film. The movie follows a small band of recruits inFort Polk, LA during their training before they are shipped off to war. Here, he played Private Roland Bozz, a draftee who opposes the Vietnam War and has a knack for getting into trouble and helping others get discharges. Farrell shows great range here and, though he appeared in The War Zone just a year prior, this was the role that launched his career of working with some of the world’s finest directors.

4. The Way Back (2010)

A great turn in a strong supporting role here. Farrell plays Valka, a Russian criminal who will stab you if you don’t give him your sweater when he demands it. But Farrell also makes sure to give his tough thug a soft side too, which he does gracefully (as he shows when he speaks of his beloved homeland). The film follows a group of prisoners who escape a Russian gulag during World War II only to walk 4,000+ miles to freedom inIndia. The movie is grand in scope with gorgeous art direction and cinematography. Farrell, as part of a terrific ensemble of international actors, stands out in his very complex role. I know he was not nominated for an Oscar, but I do hope he was given the serious consideration he rightfully deserved.

 

3. interMission (2003)

This Irish black comedy (directed by John Crowley) was one of the year’s very best, in my opinion. Again, Farrrell co-stars as a significant piece to a much larger puzzle playing Lehiff, a petty and dysfunctional criminal. The intersecting stories weave seamlessly throughout and, as usual, you can’t take your eyes away from what Farrell is doing on screen – especially in the scenes that involve Detective Jerry Lynch (Colm Meany), a man who has dedicated himself to ridding the streets of Dublin from scum like Lehiff. This movie went under the radar here in the States – and I would highly recommend it for anyone who missed it.  Yes, he has played the “tough guy” a few times, but he always manages to create many layers underneath that give us characters more depth and help us empathize with his plight.

 

2. At Home at the End of the World (2004)

Another huge box-office flop and another film that landed on my Top Ten Films of 2004. Why did no one see this heartwarming, funny, original, and beautifully crafted film (with a great score by Duncan Sheik)? Farrell gives a riveting, uninhibited performance here as Bobby Morrow, a young man who grew up only knowing tragedy – and becomes best friends with the awkward and openly gay Jonathan (Dallas Roberts) in high school. The two couldn’t be more opposite – but that is what makes them inseparable. The film follows their very close friendship through the years – as well as the 3rd party of the trio, Clare (Robin Wright Penn). Farrell creates a tender and “real” character in this moving Michael Mayer film. From the Pulitzer Prize-winning author of The Hours, this film covers a 12-year span – from the suburbs of Cleveland to the Big Apple. A great piece of storytelling – and again, Farrell brings to it, a great sense of warmth and humanity. 

1. In Bruges (2008)

Can you believe Farrell tried to talk writer/director Martin McDonagh out of casting him for this superb film??? Thank God, McDonagh didn’t listen. Not only is this a brilliant film (McDonagh’s first feature length), but Farrell once again gives a tremendous performance, this time playing Ray, a novice hitman who has been racked with guilt since botching his first assignment. He is sent by his boss Harry Waters (a wonderfully over-the-top Ralph Fiennes) to stay in Bruges with his elder accomplice Ken (Brendan Gleeson) until they receive further instructions. Really, Harry has ordered Ken to rub out Ray for the blown assignment. This is without a doubt a must-see film — and one of the best comedies to come out in recent years. Farrell’s chemistry with Gleeson throughout the film is terrific, which is absolutely key to making this original black comedy work. Farrell garnered a Golden Globe award for his stellar performance here — whatever that’s worth, as those awards are beyond ridiculous, but he creates a character we can completely empathize with…he makes us laugh throughout, but also adds such pathos to the confused hitman that we can’t help but feel sorry for him. I can’t say enough about this fantastic movie — and Farrell clearly shines, as he usually does. Now it’s time he starts getting noticed for doing so with each film he appears in.

Peter Eramo’s “Top 25 Comedies of the Decade”: The Finale!

              

OK, here it finally is…the last part of my “Top 25 Comedy Films of the Decade” (2000-2009) list!!! The final five films are as follows:

#5. Wonder Boys (dir. Curtis Hanson)

A chaotic mid-life crisis joy ride, if there ever was one. Carnegie Mellon professor Grady Tripp (Michael Douglas) is just one small crisis away from having a complete nervous breakdown. In the course of one weekend, we are introduced to all of the highly unusual characters that make up his harried life – his third wife leaves him, his girlfriend, the Chancellor (Frances McDormand, always so damned good) is pregnant, and his editor Terry (Robert Downey, Jr.) arrives on the scene, peeking and probing, waiting for Grady’s book that has been in the works for over seven years. Talk about writer’s block! Actually, the manuscript is over 2,600 pages long. Add to this the advancements of one of his female students and James Leer (Tobey Maguire), another of Grady’s students who is something of a literary prodigy on top of being a pathological liar and kleptomaniac. Oh yeah, James also shoots the Chancellor’s dog in the midst of all the confusion. It all looked so much easier seven years ago when Grady’s first novel was a sensation and he was, well, a “wonder boy.” What the hell happened to this guy? 

Wonder Boys” is not only one of the finest comedies of the decade, but one of the better films to come out period. Michael Douglas gives what I think may be his finest performance (not at all hyperbole). He is completely natural throughout. He doesn’t look for any laughs…he plays it straight and the laughs simply come. His chemistry with the impressive cast that surrounds him is pitch-perfect, creating a real-life character in this slice-of-life film – a character who we have great sympathy for and laugh at simultaneously. As his agent who is desperate for his client’s new work, Robert Downey, Jr. turns in yet another complex and quirky performance. Tobey Maguire is very funny too as the clearly troubled young writer. His pairing with Tripp makes for a nice father/son combination here. Steve Kloves does a masterful job at adapting from the Michael Chabon novel — very real characters caught in highly compromising situations. This movie is a true winner – smart, impulsive, sweet and really, really funny.

#4. The Invention of Lying (dir. Ricky Gervais & Matthew Robinson)

One of my Top films of 2009, without question — for its intelligent script, non-stop laughs, and terrific cast. Absolute entertainment. The film is set in an illusory world where no one has ever told a lie. That is, until Mark Bellison, a writer who is about to be fired (Ricky Gervais), creates one on the spur of the moment for personal gain. Mark is overweight, under-successful, short and comes from a poor gene pool. He is in love with Anna (Jennifer Garner) who is way out of his league as she is looking for the perfect mate with ideal genes to create perfect, good-looking children without snub noses. Of course Mark begins to take advantage of his discovery little by little until one day, the hospital staff overhear him speaking to his mother on her deathbed as he describes what Heaven is truly like. He’s just making it up as he goes along, but everyone within earshot believes him of course and Mark not only becomes famous, but a prophet of the people as well.

What Gervais and Robinson have created here is one of the better comedies I have seen in years. In its vision and scope, I was constantly reminded of the better films of Albert Brooks and Woody Allen throughout. Gervais gives an endearing, hilarious performance and manages to also include his own personal opinions on God, religion, love and the backwards priorities of our society. An entirely original film, I was blown away at how funny and clever it was. The film also features some great cameo appearances and excellent supporting work from Rob Lowe, Tina Fey, and Jonah Hill. Gervais is certainly making a name for himself here in the States (see “Ghost Town” too)— I only hope that people begin to recognize that this is a major force in comedy now. And not only is this one downright hilarious movie, but on top of that, it has a heart to match.

#3. Wedding Crashers (dir. David Dobkin)

John Beckwith (Owen Wilson) and Jeremy Grey (Vince Vaughn) are best of friends, business partners, and above all, self-confirmed womanizers. They make a habit out of crashing weddings and taking full advantage of all the romance in the air by bedding a gullible, beautiful hottie looking for her slice of the love pie. They even have their own long list of rules to abide by (Rule #1: Never Leave a Fellow Crasher Behind) and as the film begins, the anticipation is in the air because wedding season is just about here.

Chances are you’ve seen this movie already, if not once, then several times. All I know is that if I happen to catch it playing on TV, I can’t take it off. It’s too friggin’ funny and has some wonderful performances in it. Brash, sarcastic, foul, derisive, Vaughn is in top comedic form (“Tattoo on the lower back? Might as well be a bullseye”). His rapport with Wilson is a very strong one and we immediately buy into how close they are as well as when the two have their little break up. How the two scope out, then pounce on their prey is great fun to watch. They’re con men. But they’re not looking for money. They just want to get laid and never see the woman again. That is, until John meets Claire Cleary (Rachel McAdams) at a family wedding as the wedding season is drawing to a close. He is instantly smitten with Claire, who happens to be the daughter of the very influential Treasury Secretary William Cleary (Christopher Walken) and breaks every rule in his Crasher Rulebook in trying to win her heart by attending a weekend party at the Cleary family compound (and dragging his reluctant friend with him). The funny just gets funnier during the weekend with an incredible cast of characters. Walken plays it straight for the most part, but is still such a joy to watch and his relationship with his loving daughter Claire is a very endearing one. Who steals the show here is the dazzling Isla Fisher, who plays Claire’s seemingly unbalanced, sex-crazed sister who falls hard for Jeremy. How Vaughn reacts to and deals with the maniacal Fisher (“I’ll find you!”) makes for some of the funniest moments in the film. Keir O’Donnell plays the son of the renowned politician and is completely creepy, yet we just feel so bad for him. Again, the scenes he has with Vaughn are a riot. Bradley Cooper makes a great bad guy here who we simply cannot stand and Will Ferrell’s mythic Chazz is a great surprise (“hey Mom! Can we get some meatloaf??!!”).

Overall, the general plot is nothing so very new — but it somehow manages to feel fresh and original. It is certainly great entertainment and funny from start to finish. On top of all the laughs, there is also a sweet love story that, although fairly predictable, is still kind of nice to watch. But most of all, it’s a story about friendship — and that resonates throughout. It’s really very hard not to like this one. Without a doubt the funniest film of 2005, and among the funniest in years.

#2. In Bruges (dir. Martin McDonagh)

I am a tremendous fan of Martin McDonagh’s work as a writer for the stage and think he is one of the very best playwrights to come out in recent years. He already won an Oscar for his short film “Six Shooter” and with “In Bruges,” he makes a phenomenally impressive debut as a feature-length writer/director. McDonagh has a real knack for making violence and brutality outrageously funny and this one is quirky as hell, dark and funny…it simply blew me away.

What holds the film together is the friendship between Ray and Ken, two Irish hitmen. The chemistry between Colin Farrell and Brendan Gleeson is authentic and pleasing to watch as there’s so much going on between the two polar opposites. Farrell’s Ray is young, brash and wants to live it up, while Ken is much more reserved…he is a quiet philosopher and thinks with his upstairs head as opposed to his partner-in-crime, who thinks with the other. But Ray is suicidal and on edge, struggling to come to terms with a previous assignment that went terribly wrong.  They are stuck in the Belgium city of Bruges – sent their by their insane mob Harry Waters (played with delicious cartoon madness by Ralph Fiennes). Because Ray bungled the job, he orders Ken to kill his close associate. So why are they in Bruges? Because Harry, for some reason known only to him, thinks that Bruges is the most magical, heavenly place on earth and wants Ray to see it before he has him killed.

How Ray and Ken deal with being trapped in this city is great fun. Ken wants to see the sights and take it all in, while Ray is just bored to tears. He meets Chloe, who happens to be a thief and a drug dealer, selling drugs to a film crew that is shooting in the city. He then gets mixed up with a Canadian tourist and yes, Chloe’s boyfriend. The film has a terrific pace to it and never lets up. The comedy is in the situations that McDonagh places his characters in and their reactions to everything that goes on around them. McDonagh also has a wonderful ear for dialogue and comedic repartee. It gets pretty violent at times, but you are laughing the whole way through. I remember ranking this the 3rd best film of 2008 and I haven’t met one person who saw this movie that didn’t like it. It’s simply a great film with terrific comedic performances.

#1. Tropic Thunder (dir. Ben Stiller)

In creating this list, I continued to run through each of the comedies I had seen during 2000-2009, and there was not one film I could point out that I thought was funnier or more daring than Ben Stiller’s comedic triumph, “Tropic Thunder.” From its very opening (the hilarious phony movie trailers) til its closing credits (the classic dance sequence done by Tom Cruise as his wonderfully off-putting, foul-mouthed and somewhat nauseating Les Grossman), this film had me rolling. The casting is flawless, the performances all stellar, and the screenplay is satiric, smart and yes, thankfully politically incorrect.

The film follows 5 Hollywood actors as they set out to make the greatest war movie ever made. At the center of this eclectic group is Ben Stiller’s Tugg Speedman, who is  in desperate need of a comeback movie (especially after the joke of a movie that was “Simple Jack“). Robert Downey, Jr. plays multiple Oscar winner and master Australian Thespian (“I don’t drop character till I done the DVD commentary”), Kirk Lazarus who is notorious for always crawling in the skin of the characters he plays and, in playing an African-American soldier here, does so quite literally by undergoing a skin pigmentation process to turn his skin black. He is a wonderful foil to Stiller’s Speedman and their bonding throughout the film — from clashing on the set to true acting colleagues is a fine course to watch. Jack Black plays Jeff Portnoy, a modern-day Fatty Arbuckle who stars in toilet-humor comedies and has a severe drug problem. Jay Baruchel and Brandon T. Jackson round out the platoon, but both do not fall to wayside next to the more well-known comedians. A disheveled Nick Nolte (is there any other kind?) plays the man who wrote the book that the crew is set to film. An honored war veteran and American hero with a big secret, Nolte’s Four Leaf Tayback has hooks for arms and a no-bullshit code of conduct. Steve Coogan plays the man directing the “Tropic Thunder” project and is at a complete loss as to how to handle his star-laden cast. His inspired speech to his cast in the jungle as they set off for the unknown is a great one – before he happens to step on a landmine and his body is splayed across the fields in every which way. In two cameo supporting roles, Matthew McConaughey (who I normally cannot bear to watch) and Tom Cruise simply rock! McConaughey plays Tugg’s agent and closest friend who will do anything for his longtime client. His phone chats with a distant Speedman who is slowly losing his mind while imprisoned by natives are a riot as is his desperate search to get his man a damn Tivo! Cruise steals each scene he is in and I give him full credit for letting it all hang out and just committing to this vile character 100% (“Look, fuckstick, I’m incredibly busy. So why don’t you get the hell out of here before I snap your dick off and jam it into your ass!”). I can’t remember a funnier closing credits than right here. Those moves, those hips, that chest hair! PLAY-AAA!!!

I loved watching all the varied characters do their thing. I loved all of the racial jokes, actor jokes, drug jokes, and yes, the mentally challenged jokes and I credit Ben Stiller for not caving in to public pressure and keeping it all in. I had read that when Downey was offered the role and told what his role would entail, that he thought Stiller was absolutely insane. That usually means you are onto something, and after seeing this film a handful of times, he was. Watching Jack Black tied to a tree and bribing his cast members with oral sex in exchange for drugs is hilarious. On top of that, Downey’s ‘Full retard’ bit is complete insanity. The entire movie is peppered with truly funny lines. Stiller has created a complex, raunchy, intelligent comedy and his direction is spot on. This was a bold and challenging project to be sure, and could have easily gone wrong in so many ways. In Stiller’s capable hands though, he makes what I thought was the funniest damn movie of the decade. Here’s a little Les Grossman for ya:

HONORARY MENTIONS

As I stated in the previous part of this list, there were so many funny comedies that came out during 2000-2009 (much to my surprise). And I had initially started with a Top 10 List, but it just kept growing larger and larger….I finally had to draw the line at 25. In any case, here are some very funny, well-made movies that I truly enjoyed, but did not make the cut. I wish there was room for them all…

Year of the Dog                                                   
Thumbsucker                                                  
Lars & the Real Girl
State and Main
(500) Days of Summer                                 
Bad Santa
Baadasssss!
Team America: World Police                    
You Don’t Mess with the Zohan
Over the Hedge
Stranger Than Fiction                                   
The Hangover
O’ Brother, Where art Thou?
Keeping the Faith
I Love You, Man
Roger Dodger
Borat
Ghost World
Harold & Kumar Go to White Castle
Ghost Town

Best Films of the Decade (2000-2009)

The end of the decade is soon approaching and a number of my film-geek friends have been posting & sharing their lists of the decade’s best films, so as a self-proclaimed film-geek myself, I had to voice my own voluble opinion. This was much more difficult than I had anticipated (one of the reasons for including the long list of ‘Honorable Mentions’ that could have easily been twice as long). I started with about 25-30 and tried to chisel and reason bit by bit. I tried to stay away from what film critics would include just for the sake of showing off their (at times) pretentious “artiness.” I based my decisions on artistic merit, creativity/originality, and most of all, personal enjoyment. In any case, here they are….

10.    The Lookout (dir. Scott Frank)

This movie never really got its due when it was released in 2007. Part bank-heist film and part “Memento” (over-rated…sorry), this movie grabs you from the beginning and never lets up. Joseph Gordon-Levitt establishes himself nicely as a strong lead (as he did again in this year’s “(500) Days of Summer”) and Jeff Daniels is wonderful in a supporting role. If you haven’t seen it, it is great entertainment – smart and slick with great characters and a very tight script. We feel for Levitt’s character from his tragic beginning and empathize with his plight throughout. This is what Hollywood action films should be and probably why it never made much money – it’s actually pretty damn clever, expertly shot and high on entertainment.

9.  Little Children (dir. Todd Field)

When I think of the great filmmakers working in cinema today, the name ‘Todd Field’ doesn’t spring into my mind. However, with TWO films on this very difficult list, perhaps it is about time his name does start popping into the conversation of wonderful, artistic directors. This film is extraordinary. Very tough to watch at times, but for all the right reasons. Jackie Earle Haley got most of the press when the film debuted in 2006 and was rightfully nominated for an Oscar, however, all the actors are at the top of their game here. Phyllis Somerville (as Ronnie’s mother) was simply spectacular and was snubbed of her own nomination. The narration at first was awkward for me, but I quickly got used to it and in viewing the film again, fit nicely. This is a very daring film and Field makes some very strong choices throughout. Great details to each and every shot. Patrick Wilson and Kate Winslet are perfectly cast and have strong chemistry on the screen. It is Jackie Earle Haley though and his performance that haunts us long after the final credits roll. The scene in the car after his date is one of the most disturbing scenes in recent memory. Overall, a dark, yet sadly believable look at suburbia and the ‘little children’ who inhabit it.

8.  The Illusionist (dir. Neil Burger)

I know this film is probably on no one’s list, but I don’t care. I loved it! I distinctly remember walking out of the theatre exclaiming, “That’s the best film I’ve seen in a long time!” Edward Norton is surely one of the finest actors of his generation (“The Incredible Hulk” a rare poor choice) and he does not disappoint here. I am aware that the film is high in melodrama and a bit “schmaltzy” in the romance department, but I bought it from start to finish. At its heart, the film is a wonderful romantic picture. It contains classic good and evil characters, no matter how orthodox they may be. Is Rufus Sewell over the top? Yes! But we HATE him!!! And Paul Giamatti is terrific here, giving us more dimension to his antagonistic character. He is not a “Bad guy” – there is much more to him. And Jessica Biel??? She is absolutely gorgeous here and does a fine job opposite Norton. Beautifully shot period piece, set in turn-of-the-century Vienna. The cinematography here is wonderful and the score, ever effective. The story sucks you in and the magic here is much more entertaining than that of “The Prestige” which came out the same year. This is the better film for you romantics out there. A great final act too that I was not expecting and don’t think many viewers did expect.

7.  Crash (dir. Paul Haggis)

Again, high melodrama. Fine. I’m comfortable with that. Despite what many have said, this deserved its ‘Best Picture’ Oscar and I remember being so relieved that it beat out the even more melodramatic “Brokeback Mountain.” All I know is this – I was not bored for a minute, I was sucked into all of the ever-weaving subplots, I cried in a couple of scenes, and I was sorry to see it end. Haggis’ screenplay is spectacular. It could have easily been very manipulative, especially when it came to the theme of racial relations – and it never fell into that dangerous trap. Matt Dillon creates a wonderful character with many sides – we can understand where this man is coming from after his scene explaining his father’s predicament. The highlight of this powerful film is Michael Pena and the scenes he has with his daughter. The invisible cape stuff? Couldn’t stop crying! And Ryan Phillipe is fine here….for being one of the only ‘innocent’ characters in this collage of events, it makes the ending all the more ironic. I felt all the stories blended nicely and Haggis does a splendid job at knowing when to keep us at the edge of our seats and when to let us breathe. He also manages to make some very profound statements on racy subjects such as race, sex, politics, crime, parenthood, and bigotry without preaching to us. The film is set in Los Angeles, but it could take place in any city, any town in our society. A riveting and at times, magical film.

6.  Sideways (dir. Alexander Payne)

Being in my mid-thirties when this came out in 2004, I think I was able to relate to Miles more than if I was just a student in film school. A very sad statement in itself to be able to relate to Miles at all here, but I think most men in their 30’d and 40’s can certainly do just that and that makes the film even stronger. What can be said about the cast that hasn’t already been said? Paul Giamatti is perfect for this role – he was born to play Miles. His camaraderie with Thomas Haden Church is a pleasure to watch. Church of course is the dissolute and immoral character, but he is talented enough to make his character more than that – and to have us sympathize with him at times. In fact, we sympathize with all four main characters in different ways – a tough feat and a credit to Payne and his cast. Madsen is warm and endearing here – a perfect match for Giamatti’s role. Payne writes a near perfect script here (even stronger than his previous “Election” which was in itself a wonderful picture). Yes, the wine is used as metaphor throughout, but there is much more to it with each viewing. Giamatti’s scene in the fast-food restaurant with his vintage bottle of wine is like a knife to the heart and though the film analyzes two middle-aged men who believe they will never amount to anything – Payne gives us a believable and optimistic ending that is filled with hope. A lovely, intelligent, witty and heart-breaking film that, like a fine wine, will most likely go down better with age.

5.  Matchstick Men (dir. Ridley Scott)

Though I feel that David Mamet’s “House of Games” is the classic con film, “Matchstick Men” holds its own and is superb in its own right. It is, I would think, a very tough challenge to create a “con film” but the script here is so good and the actors so convincing, that we buy the con hook-line-and-sinker. I have problems with Nicolas Cage and his many silly choices, but when he picks the right role, he can do some great work (see “The Weather Man,” “Adaptation” and “Wild at Heart”). He is equally terrific here as the obsessive-compulsive Roy Waller. Cage usually does his best work playing quirky characters. Sam Rockwell is intense and strong as always and Alison Lohman, Bruce McGill, and Bruce Altman complete a very impressive supporting cast. The father-daughter relationship here works, the friendship relationship works – the con works. The film is funny, unpredictable, sweet and when it wants to hit you in the gut – it does so…and hard. Scott does a nice change of pace here from his epic films (“Gladiator” would be on a Top 30 list of the decade I am sure). This film is much more intimate, more delicate, more real. I was not sure why this film did not get the awards recognition I thought it deserved when it came out in 2003 and still can’t figure that one out. It’s hard not to love this picture. Though Waller is put through the wringer, we know that he is finally happy by the end of the ride – and so are we for taking it with him.

4.  There Will be Blood (dir. Paul Thomas Anderson)

You can perhaps count the list of masterpieces made from 2000-2009 on one hand, if that. This is undoubtedly one of them. A masterpiece in every sense of the word (amazingly, Anderson’s second, following the ever-daring “Magnolia”). And on this little list of mine, this may be the only one I can confidently use such a word (perhaps my #2 film can fall in that category, I’m not sure). So why is this not my number one film then? In creating this list I went with artistic merit, surely – but also other factors as well. This is not a film I can watch at any time. One needs to be ready for it…to brace themselves for the epic that follows. I do believe it to be the best piece of filmmaking of the decade. That said, this is the kind of film that will be studied by film students decades from now – extraordinary on every level. Based on Upton Sinclair’s novel, Anderson’s adaptation of the story that revolves around family, greed, religion and oil is an achievement of the highest quality. Anderson has always been a courageous filmmaker and continues here. He trusts his audience – always has. He lets us sit in a darkened theatre for 20 minutes, following Daniel Plainview in the mines without a word of dialogue. And we watch. The score (by Jonny Greenwood) is unforgettable and brilliant. Robert Elswit’s cinematography may be the best I have seen in years. This is the film that should have taken home the Oscar for ‘Best Picture,’ but I presume that voters thought the Coen Brothers were overdue and went in their direction (and I am not knocking the Coen Brothers at all – they’ve been making some of America’s finest films since their debut in 1985 and in my opinion, have only made one bad film). The nucleus of this wonder is of course the character of Daniel Plainview – it all revolves around him. And what better actor to be up for this mighty challenge and play him than Daniel Day-Lewis? With Brando’s passing – and Newman’s that followed, he may very well be our finest screen actor working today. 95% of actors are cast in roles and never immerse themselves into their characters – or “become” the character. Remember when DeNiro and Nicholson used to do that? Daniel Day-Lewis is one of the handful of actors that are chameleon-esque and become someone new – the definition of acting. In Daniel Plainview, he creates a character for the ages. As long as there is cinema, we will always remember Daniel Plainview – one of the greatest screen characters in the history of film. I know this mini-review seems to be littered in hyperbole, but it’s not at all. Every aspect of this motion picture deserves the highest of praise. Day-Lewis is terrifying – one of the most charismatic screen villains of all time. The performance goes up there with Brando’s Terry Malloy and Vito Corleone. I do think Anderson could have done better than casting Paul Dano opposite Day-Lewis…he is fine here and does an admirable job – but Daniel Day-Lewis is perhaps too much for him in their scenes together. There are many classic lines and scenes peppered throughout. Anderson has truly made a towering achievement that deserves its place alongside other American epic classics such as ‘Ben-Hur,’ ‘Gone With the Wind,’ ‘The Birth of A Nation,’ ‘Doctor Zhivago’ and ‘Reds.’

3.  Eternal Sunshine of the Spotless Mind (dir. Michel Gondry)

One of the most original and creative films to come out during the decade, for sure. Charlie Kaufman’s screenplay is as unique as they come and Gondry handles the story with deftness and care. Kate Winslet and Jim Carrey are wonderful here and both characters break your heart throughout their relationship. The premise is one that anyone who has had their heart broken can relate to – but it’s only through their process of loss do both characters realize what they had in the beginning. As bizarre and inimitable as the story seems, we can relate to much of this film and live vicariously through them. Is there someone in my past I’d like to wipe out of memory? Absolutely. This film though is a gentle reminder that even our most painful memories are ones that we should still hold close to heart – better to have a slice of the pie than never to have had none at all. Carrey gives a terrific, sincere performance and matches Winslet (no easy feat) throughout. The film has a bit of everything – but at its core is romantic a relationship that we root for. A strong supporting cast is led by Tom Wilkinson, David Cross, and Kirstin Dunst. This film is nothing short of a delightful gem – it tugs at your heart and, unlike the process the two characters go through – stays in your memory for a long, long time.

2.  In The Bedroom (dir. Todd Field)

A perfect, perfect motion picture. There is not a line spoken nor a shot taken that should be removed from this film. With “Little Children” and this tremendous achievement, Todd Field proves not only that he is a filmmaker to be reckoned with, but that he is a master at adapting written works. Here, it is a short story by Andre Dubus. It is one of the finest, strongest adaptations in recent film history. In fact, the first 70 or 80+ minutes of the film is all his creation based on what is given in the short piece by Dubus. He creates his own world founded on what is given to him in the short story “Killings” and it blends perfectly. Field gets the very most out of each actor while establishing the New England setting so vividly, so beautifully – you can almost smell the clam chowder coming off the screen. The cast is brilliant. Tom Wilkinson is extraordinary. One of the finest performances of the decade, for certain. Sometimes you don’t need to see someone play a psychotic, a mentally disturbed or challenged person, or someone larger than life to witness magnificence in the craft of performance. Wilkinson reminds us of this. He is our center here and keeps everything grounded around him. His scenes with his son are touching and genuine; the ones with Sissy Spacek are explosive. One in particular (when they are interrupted by a Girl Scout selling candy) is a remarkable watch that deserves additional viewings. Marisa Tomei is the ideal actor to take on the role of Natalie and she is a marvel to watch here, opposite Nick Stahl. Stahl may not be so very well known, but he is a fine actor (see the very powerful “Bully”) and gives his character exactly what it needs in order for the plot to follow through. Because it is, after all, a revenge film at heart. Though unlike any revenge film you have ever seen. This film is a constant reminder to me that the entire art of filmmaking begins with a story and a script. You get a great story and tight, creative and solid script, you are already ahead in the game. Big Hollywood blockbusters with CGI and special effects are all well and good – but it is films like “In the Bedroom” that remind me why I love film. I have seen this film numerous times and it never gets stale to me. There is humor sprinkled throughout, touching moments, moments when you just want to shake sense into the characters and moments when I can never stop the tears from coming. It is an experience to sit through Field’s wonderful work here and to witness the phenomenal cast at work – this includes great work by William Wise (as Wilkinson’s good friend who will do anything to help him in his time of need) and William Mapother who has his own challenging role. His Richard Strout is a great accomplishment. He is surely our villain here and is the reason for the Fowler family’s anguish – but in Strout, he gives reason (for lack of a better word), substance and a bit of empathy to his violent and reckless actions. I can watch this film anytime – to watch Wilkinson at work – he does not make a wrong move at any time here…every line spoken, every nuance, every expression is affecting and real. This film remains a testament to the idea that good works are based on great writing, skilled performances, and beautiful imagery – from the opening shots to its dark, startling last scene you are in this New England town and observing great art.

  •   Almost Famous (dir. Cameron Crowe)

I went with sheer pleasure in deciding this as my top pick of the decade…that, and the fact that it’s some pretty damn good filmmaking. I absolutely love this movie and am reminded of it each time I catch it. It is the ultimate coming-of-age story put on film and set to a glorious soundtrack. In just over two hours time, we watch William Miller, the young boy, become a man who has seen it all – and lived to tell about it. Patrick Fugit does a great job in the role as our naïve and besotted protagonist. Cameron Crowe’s dialogue reminds me of James L. Brooks in that he has so many ingenious and memorable lines in his films – and this one is no exception. His ear for screen dialogue is truly a gift – and he knows how to make his audience laugh or cry at his will. His ear for music is equally as impressive. Crowe has always incorporated music quite brilliantly in his films (with the exception of the highly disappointing “Elizabethtown”) and in this film it is used impeccably. The scene in the tour bus set to Elton John’s “Tiny Dancer” is one of the greatest uses of a song to film I have seen in recent memory (tied with how “Falling Slowly” is utilized in the brilliant little indie,“Once”). As for the performances, everyone shines. Philip Seymour Hoffman makes the most out of his small role, stealing every scene he is in. Frances McDormand is hysterically funny (“Rock stars have kidnapped my son!”) and though we may not agree with her ideas about rock-n-roll music or how she raises her two children, we can certainly empathize with and have compassion for her. As the two frontrunners of the  Stillwater band, Jason Lee and Billy Crudup are very well cast and dazzle us with their performances. Kate Hudson’s Penny Lane is a great creation – she is impetuous, romantic, reckless, loyal and heart-breaking. This semi-autobiographical film is an absolute joy and I believe Crowe’s strongest work. Every note is hit with precision and care. We experience all the highs and lows as William Miller experiences them – we go on tour with him and certainly root for him to achieve his ambitious goal. Crowe obviously loves his music and we are reminded of some true classics here. It is a rock-n-roll film – but so much more than that. If you haven’t seen it, do yourself a favor and watch it in one sitting. It’s contagious and a great example of why I go to the movies. Debuting in 2000, it still stands as my absolute favorite of the decade as we approach 2010…Thanks, Cameron!

16 Honorable Mentions – in no particular order, though all 4-Star Films:

The Dreamers (dir. Bernardo Bertolucci)
21 Grams (dir. Alejandro Gonzalez Inarritu)
Swimming Pool (dir. Francois Ozon)
Before the Devil Knows You’re Dead (dir. Sidney Lumet)
Into the Wild (dir. Sean Penn)
Away From Her (dir. Sarah Polley)
Munich (dir. Steven Spielberg)
Die Falscher (The Counterfeiters, dir. Stefan Ruzowitsky)
Dancer in the Dark (dir. Lars von Trier)
Les Invasions Barbares (The Barbarian Invasions, dir. Denys Arcand)
A History of Violence (dir. David Cronenberg)
Wonder Boys (dir. Curtis Hanson)
Requiem for A Dream (dir. Darren Aronofsky)
The Reader (dir. Stephen Daldry)
In Bruges (dir. Martin McDonagh)
District 9 (dir. Neill Blomkamp)

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