Another 11 months past the expiration date, another venerable top ten of the year list from yours truly. I'm starting to think that this may be the best way to compile these lists because they are created so long after the fact that it gives each film a chance to settle in my mind and pretty much be on equal footing with each other. There are no emotional/instantaneous reactions that could make the list tainted for future generations. We all damn well know we wouldn't want that now would we? Or maybe I'm just trying to make myself feel better. Probably the latter.
Anyway, what a craptastic year. The Oscars were so fucking boring and if that happens, then you KNOW something is rotten in the state of Denmark. At the time, I chalked it up to not really having a horse in the race, but as I glean all 114 movies from 2008 I watched, I realize that aside from maybe the top 5, the best of the rest would struggle to make top tens in most other years. But 2008, I don't blame you! It's not your fault, you play the hand your dealt.
10) 4 Months, 3 Weeks, and 2 Days - What's that you say? A tale of two girls getting a black market abortion in 1980s Romania? Sounds about as fun as sitting in bumper-to-bumper traffic with the radio stuck on Ja'Rule's greatest hits. But if fun is what you're looking for, you've gone down the wrong path my friend, but I do believe there's still room for you in the theater showing G.I. Joe, so if you hurry, you can still make it. Instead, what we have is a harrowing, uncompromising look at the oppression these women and many others were/are forced to suffer through for their basic human rights. Winner of the 2007 Golden Palm at Cannes and with good reason. The images and performances haunt you long after the credits have rolled.
9) The Curious Case of Benjamin Button - And so the evolution of David Fincher continues. This is not to say that Curious Case is his best film yet, but rather, the sphere of his storytelling/directing talents keeps expanding. You'd be hard-pressed to find a more talented director on the planet. Where once we had a kinetic, primarily style-based director, we now have someone who is learning to funnel his best assets into good, solid narratives and a greater emphasis on not only the thematic content of his films, but also the emotional quotient. And while the first half is significantly stronger than the second, the end result is still a film that manages to be compelling while striking the proper emotional balance between cloying and detached.
8) Taxi to the Dark Side - It's ironic that in the same year that acclaimed, superhero documentary filmmaker Errol Morris releases a documentary on Guantanamo, Alex Gibney releases this film. The irony is that between his work on this film and Enron: The Smartest Guys in the Room, Gibney could very well be the new Errol Morris. I'm not ready to write off Morris yet by any means, but hey, Steve Young eventually replaced Montana...I'm just sayin'. The brilliance in Taxi... is that the film explores all aspects of not only Guantanamo, but the mentality/philosophy our government has towards torture. Guantanamo is merely an example used to illustrate this mindset and while it's clearly not unbiased, it's hard to ignore the issues the film raises even if you beg to differ.
7) In Bruges -Probably one of the most hilariously entertaining films of the year. And when Colin Farrell takes time off from acting like a deuche and mugging for the camera in garbage like Alexander, he's not half bad as an actor. And where can I score invites to that sweet midget/strippers/cocaine party?
6) Frost/Nixon - When Ron Howard isn't busy adapting Dan Brown/Dr. Seuss books and telling Mel Gibson to scream, "GIMME BACK MY SON!!!", he can be a pretty damn compelling filmmaker. Take for instance a film like Frost/Nixon, which is ostensibly one long glorified boxing match of an interview, yet it is about as engaging and fascinating a film you could find in 2008. It helps that the picture is greatly augmented by the work of the two leads in Frank Langella and Michael Sheen, both of whom turn in superlative work. I know that Langella got all of the accolades (and rightfully so), but Sheen's work shouldn't be dismissed here either because for all of the internal struggle that Langella's Nixon experiences throughout the film, he is matched by the evolutionary character arc of Sheen's Frost. I guess the only battle here wasn't just between Frost and Nixon, how meta!
5) Iron Man - Since comic book movies have just been stacking the deck against each other for the past 8-9 years, it wouldn't be accurate to call Iron Man the best comic book movie (more on that later) ever made, but best first comic book movie in a franchise? Up until this point, that honor belonged to the first Spider-Man, but now I feel comfortable passing that baton to IM. Then again, it probably wouldn't exist in its present day form without a film like Raimi's to pave the way, but that's irrelevant now. The point is, Jon Favreau and co. made an addictively entertaining and relevant film based on a third rate superhero (in the pantheon of comic book superheroes that is) with as charismatic a lead as you'll ever find in Robert Downey Jr.
4) Forgetting Sarah Marshall - The best romantic comedy in god knows how long. I could try to figure out the last "rom-com" that even approached FSM's level of comic aptitude and pathos, but what's the point? A preview for the latest Kate Hudson atrocity is enough to make me wanna gouge my eyes out, no point in sifting through all the garbage just to make a minor point. The thing that grabs me about FSM is aside from it being a very funny film, the soul and the truthfulness in the story are what stand out to me the most. You can tell this is written from the point of view of a guy who has had his heartbroken and been through all the emotional turmoil that everyone else has in that situation. It's one thing to say everyone has experienced something similar (what's unique about that?) and it's another to put it on film in a manner that is simultaneously poignant and hilarious. I mean, isn't what makes movies/music/art/etc. so influential and important in our lives? Feeling that connection is the ultimate reward.
3) The Wrestler - In one of the eeriest examples of art imitating life (or is it vice versa?), Mickey Rourke plays a burnt out wrestler taking one last shot at glory. While it's still a crock of shit that Rourke did not win the Best Actor Oscar for his work here, he still carries this film every step of the way. He is a huge part of its greatness and when you see someone bare their soul the way he does, it's hard to really care about outside accolades, just enjoy the experience for what it is. I was literally sad for him after walking out of the theater.
2) Synecdoche, NY - Speaking of devastating, if I've ever seen an example of a writer/director swinging for the fucking fences, it's the brilliant Charlie Kaufman in Synecdoche, NY. While certainly not for everyone as it has no discernible narrative to speak of, this meditation on life/death and the value of art is one of the most thought-provoking films you'll ever come across. I've watched it a few times already and I could watch it 1,000 more times and still walk away with something new or a new angle on it altogether every time. To say more would be to launch into a 10,000 word rambling, stream-of-consciousness essay on our existence and the ephemeral footprint we leave through our experiences and through artistic expression...always changing, always shifting, a constant work in progress...yeah, that kinda describes the film too.
1) The Dark Knight - Similar to last year, this is more of a co-number one and two ranking and perhaps time will sort all of that out, but for now, this is how it looks. Remember when I mentioned something before about the best comic book movie ever made? Well, THIS is the best comic book movie ever made. An honor previously held by Spider-Man 2 and not to disparage that film, but while SP2 was the more emotionally resonant film, TDK is a more realistic examination of what it means to be a hero in our times, in our world where evil truly exists and the eternal struggle isn't some cut and dry/point A to B resolution, but rather a series of compromises and ugly nuances of "morality". Explosions and chase sequences and Heath Ledger's brilliantly maniacal turn as the Joker are all lots of fun, but what makes TDK a cut above the rest is how it is so unafraid to confront the realities of crime and punishment. This isn't Bush's Amurica where you can tell whoever to nuke dem sonsofbitches. The idea of a third one terrifies me...how the fuck is Christopher Nolan gonna top this?
Runners-Up: Cloverfield, Wall-E, The Edge of Heaven, Chop Shop, Snow Angels
Individual Awards:
Best Actor: Mickey Rourke - The Wrestler: Good competition this year, but aside from how much Rourke bared his soul so emphatically, what puts this over the top is he probably meant more to his film than any other actor did to their respective films this year.
Runners-Up: Richard Jenkins - The Visitor, Sean Penn - Milk, Phillip Seymour Hoffman - Synecdoche, NY, Robert Downey Jr. - Iron Man, Frank Langella - Frost/Nixon
Best Actress: Sally Hawkins - Happy-Go-Lucky: Bravely bizarre performance in a film that isn't shy about making you feel uncomfortable. Hawkins' performance wore me out just watching it, but I'd be lying if I wasn't blown away by how she was able to glide up and down the emotional spectrum so gracefully and naturally.
Runners-Up: Anne Hathaway - Rachel Getting Married, Meryl Streep - Doubt, Kristin Scott Thomas - I've Loved You So Long, Angelina Jolie - Changeling, Anamaria Marinca - 4 Months, 3 Weeks, and 2 Days
Best Supporting Actor: Heath Ledger - The Dark Knight: Duh.
Runners-Up: Robert Downey Jr. - Tropic Thunder, Michael Shannon - Revolutionary Road, Russell Brand - Forgetting Sarah Marshall, David Strathairn- My Blueberry Nights, Brendan Gleeson - In Bruges
Best Supporting Actress: Penelope Cruz - Elegy and Vicky Cristina Barcelona: Maybe it's cheating to reward someone for their work in two movies, but I can do what I want, so fuck off. For a time, it was hard to believe that Cruz was the same actress in her original Spanish films and in American films since she was so good in the former and less than impressive in the latter. That no longer seems to be the case as evidenced in these two films alone (amongst others), she really shows her range.
Runners-Up: Rosemarie Dewitt - Rachel Getting Married, Kate Winslet - The Reader, Marisa Tomei - The Wrestler, Elsa Zylberstein - I've Loved You So Long, Viola Davis - Doubt
Other Miscellaneous Awards (or lack thereof):
Worst Film of the Year: Always one of my favorite categories as the competition is always stiff. The funny thing about the worst films of the year is that they are like ninjas, they can strike at any moment, when you least expect them or when you most expect them, and even then, you're powerless to stop them. You think you can beat Michael Bay or Joel Schumacher? No way, jose. They're still making movies and getting rich off of you! Uh, scoreboard. Anyway, my point is the best films are generally concentrated at the end of the year (fall/winter movie season), while the worst films could strike in the doldrums of January & February, they could sneak by with their "award-season" street cred in the fall/winter movie season or you could just go to the theater in July, put on a blindfold and walk into any of the 24 theaters at your local AMC and soak up the genius that is the latest animated film involving penguins in some form or fashion or maybe even be treated to the latest Twilight opus, the possibilities are endless! Anyway, less talk more rock, here are some films that despite my best quality screening efforts, somehow slipped past the metal detectors:
- Shamalamadingdong decided to team up with botany nerds and Mark Walhberg's voice to attack your senses in The Happening. I knew it would be bad, I just had to see it with my own eyes. I have no one to blame, but myself.
- I thought the first Chronicles of Narnia was decent. I never read the books, so I guess I watched the first one out of some misguided attempt at trying to retroactively fit in with the cool C.S. Lewis crowd. I don't even remember the name of the second one, but I'm pretty sure the title is about as long as the movie, which I think clocked in right around 5 hours and 32 minutes. I'm all for suspension of disbelief, but when I see 8 year old kids wielding swords and kicking the shit out of monsters and soldiers who looked like they trained with the Spartans, I just can't take it. I think I got a lot of ironing done while this was on, so there's always that.
- Oh Spike, it's on again off again with you isn't it? Spike Lee is one of our best modern day American filmmakers, but let's look at what he's done since 2002. 25th Hour (great film), She Hate Me (I think I gave it worst film of the year in 2004), Inside Man (solid, genre film), When the Levees Broke (best film of 2006), and now, Miracle at St. Anna. You see a pattern here? How one man can go from making some of the best films of the last 30 years to making some of the worst just blows my mind, but it is what it is. Still got lots of love for ol' Spike. I look forward to his next documentary, Matt Schaub Doing Work, it's gonna be epic.
- Australia. Yeah, didn't see this one coming. Wolverine stars in an 8 hour epic set in the outback with Nicole Kidman, lots of singing and dancing ensues. You have been warned.
- Lost Boys 2: The Tribe was horrible, but that went straight to DVD and had parts where Corey Feldman would show up in a headband and camouflage uttering lines like, "Did somebody order the stake?!". It's kinda not fair. Hey, I don't show up at dad's pitch games trying to knock one out of the park. Respect the game.
- But enough foreplay, we may not have had Michael Bay in 2008, but we did have Adam Sandler! Can someone remind me when this guy was last funny? I think at the time the Fresh Prince of Bel-Air was one of the higher rated sitcoms on television. You Don't Mess With Zohan is one of those comedies that makes you actively angry with how not funny it is. Oh look, Sandler is having sex with old Jewish women in the bathroom, OH! MY! GOD! My sides, stop stop! Every summer, you can count on the weather warming up, the Mets to fall apart, and Adam Sandler to unleash yet another hopelessly unfunny and out of touch "comedy".
Most Underrated/Underappreciated Film of the Year:
No clear cut winner this year as I'm inclined to mention films like Hellboy 2, which was pretty damn good especially when compared to its completely inferior predecessor or Zack and Miri Make a Porno, which was way funnier than Kevin Smith had any right for it to be considering...well, it's a Kevin Smith film that wasn't made in the 90s. All that being said, I think a film that deserved to be seen more was Tom McCarthy's The Visitor. Richard Jenkins did get love from the Academy for his work and rightfully so, but much like McCarthy's previous film (the masterpiece that is The Station Agent), the name of the game here is restraint and honesty in filmmaking. Nothing ever feels forced or artificial, which makes the more intense moments that more emotionally resonant and potent.
My Cheesy, "Power of the Movies" Moment Award:
Be Kind, Rewind. The part when they screen their homemade epic involving the whole neighborhood on the wall of the video store. I have no idea why, I just found it to be very moving. Have any of us ever done anything like that? Of course not, but I'm sure everyone can remember the experience of watching a great movie in a theater when all of the outside factors were perfectly conducive to the best cinematic experience possible. Or maybe that's just me.
Better Than Most Horror Films You'll See In a Given Year Award:
The Signal. Not a masterpiece, but a good solid piece of intense filmmaking.
The "Damn, the first half was so much better than the second half" Award:
Hancock. What a crock to have a very funny, entertaining film turn into the most serious thing you've ever seen (okay, I'm just exaggerating for effect) for its final 40 minutes. Wrong time, wrong film. Pick a tone and stick with it, geez.
Don't You Fuckin' Forget, Brilliant Comedic Acting Is Not Easy Award:
Steve Coogan for his brilliant work in Hamlet 2. Steve Coogan is usually pretty great, but his hilariously manic performance in Hamlet 2 is a prime example of a comedic lead taking a role to new heights. The film seems like it'd be mildly funny as is, but Coogan's performance elevates the entire film. He is to Hamlet 2 what Mickey Rourke is to The Wrestler and he deserves to be recognized for it.
The Makes Me Wanna Take a Long Hot Shower After Watching It Award:
Blindness. Good film and unafraid to show the base ugliness of human nature. Uplifting stuff.
Best Ending to an Otherwise Merely Decent Film Award:
Let the Right One In. Perfect in terms of theme, tone, and execution. Too bad the rest of the film is unworthy of it.
Evidence That Emo/Indie Kids Are Getting Old Enough to Make Films Award:
Nick and Nora's Infinite Playlist. Kat Dennings deserves better than this.
The Great Concept, but Should Have Been a Much Better Film Award:
JCVD. Shot in a part documentary/part action film style with the man, the legend, Van Damme playing himself as a character who gets stuck in a hostage situation and needs to fight his way out Bloodsport-style. Only problem is the film is light on the action and narrative momentum and heavy on strange filters/lighting and de-mythologizing action stars. Normally, I'm all for stuff like that, but in this case, maybe I just wanted to see some sweet roundhouses one more time. I wonder what Michael Dudikoff is doing these days.
Best Supporting Actor Award:
Clint Eastwood's persistent growling in Gran Torino. *rimshot* Heyoooo!
Guilty Pleasure Award:
Definitely, Maybe. It's no secret that I have a soft spot for Ryan Reynolds, I can't help it. But I didn't expect this. A very solid and surprisingly moving romance. It'll still be one of those movies where if someone is like "Have you ever seen this movie?". I'll just say, "uh...no, what is that?".
Monday, November 02, 2009
Sunday, October 25, 2009
Television Power Rankings
Let's take a breather from the breakneck pace I've established with the yearly Reduxes...reduxe...reduxan? Ah yes, reduxan. I know, you don't have to tell me, you barely have time to refresh your browser before I've posted a new entry full of internet delights and cyberworld pleasures that not only please the eye, but also massage the depths of your soul. Take heart, dear pretend reader, for the well of inspiration never runs dry on this blog! As I've mentioned before, the era in which we currently live has produced television that has become a bastion of creativity and innovation that threatens to make film altogether obsolete. Want proof? Try watching The Wire ya weenie. That being said, I still plan to stay the course with modern day cinema and keep the faith that the quality output each year is enough to stave off the hatred and apathy that crap like Transformers and Twilight can elicit.
As a result, I've decided to periodically (and obviously, I use that word very loosely) produce "Power Rankings" for TV for shows that I keep up with, which you can be assured is very extensive. What can I say? I take my job very seriously. And just to clarify, "Power Rankings" are not overall rankings of what I think of a show. They are an elaborate composite of a show's current and in theory, predictive momentum/quality. They use them in sports all the time and jocks are as desperate/pathetic as anyone, so you know it's legit. In other words, they speak to how a show is currently doing and where they stack up in the pantheon of other programs (yeah, I said it). If they were rankings of favorite shows, that wouldn't shift very often because movement on a list like that would require years of credibility/awesomeness or vice versa to make any noise or significant difference. I'm a loyal guy, what can I say? So, as Icelanders say, let's get the fuck on with it (they probably don't say that, but they should):
14) Flash Forward - Yikes. See kids, this is what happens when you only care about story and not one shit about characters or even worse, cliche-proofing your characters. This is creeping into Heroes territory which I gave wayyyyy too much benefit of the doubt for too long and goddammit, I won't make the same mistake again! In conclusion, you're on thin ice, motherfucker!
13) Bored to Death - Sometimes, I feel like I'm watching this show on a completely different plane from its "intended audience". They bill it as a comedy, I find it sparingly funny. Zach Galifianakis is completely wasted and while I initially found it endearing, now I'm just waiting for something to make me give a shit. And to think Arrested Development was canceled due to lack of viewership on a network that had several seasons of Parker Lewis Can't Lose and Models, Inc makes me nauseous. But, I digress.
12) Community - The pedigree is right. Joel McHale appears to be a solid comedic lead. Now it's time to start being funny. Or at least, funny enough to make me look forward to watching this as opposed to just seeing it as something I need to erase in order to make more room on my DVR. I guess my problem is that the show treats its secondary characters as characters we've come to know and love over the years and therefore, their random pairings and idiosyncrasies should be just unbelievably hilarious to us, but they're not. It has this sense of entitlement that really bothers me and it's like it's just mooching off the groundwork that shows like The Office and 30 Rock have carefully laid and it pisses me off. Or maybe I should just calm down. But I don't think so.
11) 30 Rock - Speaking of 30 Rock! Now we're getting into the good stuff. Don't get me wrong, 30 Rock is ALWAYS (and I do mean ALWAYS) good for at least a few awesome one-liners per episode, but these first two episodes have not been up to snuff. They are still better than most of the crap on TV, but they have no one to blame but themselves for the high standards they have set. Hey, Tom Brady (you knew a sports reference was coming, just admit it) even had a slow start this year. Nothing to worry about, 30 Rock will come through and they will be justly rewarded on the vaunted power rankings accordingly later this season.
10) Tosh.0 - Daniel Tosh is hilarious. This show is an excuse to be even more hilarious and contains many moments of hilarity in and of itself. As a result, it has done nothing but reap hilarity upon our soil for its entirety. But at the end of the day, the ceiling is only so high for a show ostensibly sponsored by YouTube. Still love my boy D-Tosh though!
9) Parks and Recreation - Talk about stepping up your game. The only reason I stuck with this show, despite its putrid first season, was because of my undying love and commitment to The Office and its brilliant braintrust (which, if you haven't figured out, is the same for this show). My patience has been rewarded as P&R has settled into a nice groove and has proven that Chris Pratt and Aziz Ansari are comedic forces to be reckoned with.
8) Modern Family - I had no interest in this show whatsoever when I first saw the promos. It looked like another generic ABC Home Improvement-style "family comedy" and while we all desperately miss the omnipresence of Tim Allen (*gag*), it looked like it belonged in the CBS comedy suck-a-thon along with garbage like Two and a Half Men and Big Bang Theory (don't even make me remember Everybody Loves Raymond). How wrong I was. Incredibly quick witted and heartfelt without being cloying (basically, everything Community was billed as being) and Ty Burrell is already one of the funniest characters on television. Big props to this new Arrested Development-style comedy. P.S. I love Sofia Vergara.
7) Dexter - In a nod to a higher ranking because of benefit of the doubt, in comes Dexter. I've been skeptical about this show for a while because even though the first two seasons were ridiculously compelling television (as was the 3rd season, but suffered from the law of diminishing returns), it never takes any chances whatsoever and insists on feeding us the same dish over and over again. I don't give a fuck about any characters not named Dexter's love life/personal predicaments and I REALLY don't give a fuck about Deb's 20th boyfriend and the ensuing problems. However, the latest episode helped restore some of my faith as it was top quality Dexter and gives me tentative hope. It's a tenuous grasp you have and a slippery slope, don't fuck it up! Pretend like you're on HBO and take some chances, goddammit.
6) Californication - As strong a start to any of its previous seasons in my mind. Hank Moody's "witticisms" are as scathing as ever and the women are as hot as ever. Here's what I have come to want from this show: Quick-witted dialogue, a small sampling of heartfelt exchanges/reflections, and breasts, lots of breasts. So far, so good. And Kathleen Turner is fucking disgusting. Best anti-smoking ad ever.
5) It's Always Sunny in Philadelphia - Not much explanation needed. One of the best comedies to ever grace television screens is still bringing it as strong as ever. And this wouldn't complete without at least mentioning "Nightcrawlers". There, I said it.
4) The Office - The only reason this is above It's Always Sunny... is b/c of the wedding episode. While this season has been typically awesome and up to the usual standards, the wedding episode exhibited what The Office does so well. It took a sentimental plot and somehow, someway managed to not Friends/Grey's Anatomy it out. They still made it hilarious, but altogether moving and rewarding for longtime Office fans. The writers of this show continue to amaze me in how they maintain the high level of comedy and manage the inherent sentimentality of the show in a digestible, genuinely touching way. When it's all said and done, this will be one of the greatest TV shows ever, if it's not already.
3) Curb Your Enthusiasm - It's one thing to rest on your laurels and try to coast as one of the funniest/best comedies on TV over the past decade. It's another to completely take it all to another level in your 7th freakin' season. But Larry David will always be miserable and we all reap the benefits from that reality. Every episode has been fantastic so far and we're sadly halfway through the season already. No one does misanthropic, meta-humor better than LD. And the more Leon, the better.
2) Mad Men - One of the frequent complaints buzzing around the internet is that this season has been slow to develop. Perhaps it's beginning to suffer from all the awards/acclaim/expectations, but for anyone who has actually watched Mad Men from the beginning to the present, this show is all about the slow burn. And we're starting to see everything come to a head, especially in the last 4 episodes. Personally, I just enjoy being in the presence of these characters and the brilliance of Matthew Weiner (seriously, does this guy need to do anything else to gain your faith?). Maybe things will change once this season ends, but the first 2 seasons are all the evidence I need to know that by the end, we'll all be counting down to August once again.
1) Sons of Anarchy - It's remarkable really. I started watching this show from day one last season because it had solid pre-air buzz and fuck, nothing else worth a shit aired on Wednesdays. The first couple of episodes were okay, but nothing more and then, holy shit. SofA started a wave of momentum that has yet to flag. This season only upped the ante and keeps building and building to a point where I can't stand that I have to wait a week between each episode. It recently beat Jay Leno in ratings and I couldn't be more psyched because if there's one show that deserves more attention, it's this one. Don't worry, when the rest of America finally catches on, you'll either feel cool for being on the ground floor or like a dumbass for not having been on the bandwagon earlier. You have been warned.
My explanations/reasoning were probably a tad long-winded for mere power rankings, but fuck it, you only live once.
As a result, I've decided to periodically (and obviously, I use that word very loosely) produce "Power Rankings" for TV for shows that I keep up with, which you can be assured is very extensive. What can I say? I take my job very seriously. And just to clarify, "Power Rankings" are not overall rankings of what I think of a show. They are an elaborate composite of a show's current and in theory, predictive momentum/quality. They use them in sports all the time and jocks are as desperate/pathetic as anyone, so you know it's legit. In other words, they speak to how a show is currently doing and where they stack up in the pantheon of other programs (yeah, I said it). If they were rankings of favorite shows, that wouldn't shift very often because movement on a list like that would require years of credibility/awesomeness or vice versa to make any noise or significant difference. I'm a loyal guy, what can I say? So, as Icelanders say, let's get the fuck on with it (they probably don't say that, but they should):
14) Flash Forward - Yikes. See kids, this is what happens when you only care about story and not one shit about characters or even worse, cliche-proofing your characters. This is creeping into Heroes territory which I gave wayyyyy too much benefit of the doubt for too long and goddammit, I won't make the same mistake again! In conclusion, you're on thin ice, motherfucker!
13) Bored to Death - Sometimes, I feel like I'm watching this show on a completely different plane from its "intended audience". They bill it as a comedy, I find it sparingly funny. Zach Galifianakis is completely wasted and while I initially found it endearing, now I'm just waiting for something to make me give a shit. And to think Arrested Development was canceled due to lack of viewership on a network that had several seasons of Parker Lewis Can't Lose and Models, Inc makes me nauseous. But, I digress.
12) Community - The pedigree is right. Joel McHale appears to be a solid comedic lead. Now it's time to start being funny. Or at least, funny enough to make me look forward to watching this as opposed to just seeing it as something I need to erase in order to make more room on my DVR. I guess my problem is that the show treats its secondary characters as characters we've come to know and love over the years and therefore, their random pairings and idiosyncrasies should be just unbelievably hilarious to us, but they're not. It has this sense of entitlement that really bothers me and it's like it's just mooching off the groundwork that shows like The Office and 30 Rock have carefully laid and it pisses me off. Or maybe I should just calm down. But I don't think so.
11) 30 Rock - Speaking of 30 Rock! Now we're getting into the good stuff. Don't get me wrong, 30 Rock is ALWAYS (and I do mean ALWAYS) good for at least a few awesome one-liners per episode, but these first two episodes have not been up to snuff. They are still better than most of the crap on TV, but they have no one to blame but themselves for the high standards they have set. Hey, Tom Brady (you knew a sports reference was coming, just admit it) even had a slow start this year. Nothing to worry about, 30 Rock will come through and they will be justly rewarded on the vaunted power rankings accordingly later this season.
10) Tosh.0 - Daniel Tosh is hilarious. This show is an excuse to be even more hilarious and contains many moments of hilarity in and of itself. As a result, it has done nothing but reap hilarity upon our soil for its entirety. But at the end of the day, the ceiling is only so high for a show ostensibly sponsored by YouTube. Still love my boy D-Tosh though!
9) Parks and Recreation - Talk about stepping up your game. The only reason I stuck with this show, despite its putrid first season, was because of my undying love and commitment to The Office and its brilliant braintrust (which, if you haven't figured out, is the same for this show). My patience has been rewarded as P&R has settled into a nice groove and has proven that Chris Pratt and Aziz Ansari are comedic forces to be reckoned with.
8) Modern Family - I had no interest in this show whatsoever when I first saw the promos. It looked like another generic ABC Home Improvement-style "family comedy" and while we all desperately miss the omnipresence of Tim Allen (*gag*), it looked like it belonged in the CBS comedy suck-a-thon along with garbage like Two and a Half Men and Big Bang Theory (don't even make me remember Everybody Loves Raymond). How wrong I was. Incredibly quick witted and heartfelt without being cloying (basically, everything Community was billed as being) and Ty Burrell is already one of the funniest characters on television. Big props to this new Arrested Development-style comedy. P.S. I love Sofia Vergara.
7) Dexter - In a nod to a higher ranking because of benefit of the doubt, in comes Dexter. I've been skeptical about this show for a while because even though the first two seasons were ridiculously compelling television (as was the 3rd season, but suffered from the law of diminishing returns), it never takes any chances whatsoever and insists on feeding us the same dish over and over again. I don't give a fuck about any characters not named Dexter's love life/personal predicaments and I REALLY don't give a fuck about Deb's 20th boyfriend and the ensuing problems. However, the latest episode helped restore some of my faith as it was top quality Dexter and gives me tentative hope. It's a tenuous grasp you have and a slippery slope, don't fuck it up! Pretend like you're on HBO and take some chances, goddammit.
6) Californication - As strong a start to any of its previous seasons in my mind. Hank Moody's "witticisms" are as scathing as ever and the women are as hot as ever. Here's what I have come to want from this show: Quick-witted dialogue, a small sampling of heartfelt exchanges/reflections, and breasts, lots of breasts. So far, so good. And Kathleen Turner is fucking disgusting. Best anti-smoking ad ever.
5) It's Always Sunny in Philadelphia - Not much explanation needed. One of the best comedies to ever grace television screens is still bringing it as strong as ever. And this wouldn't complete without at least mentioning "Nightcrawlers". There, I said it.
4) The Office - The only reason this is above It's Always Sunny... is b/c of the wedding episode. While this season has been typically awesome and up to the usual standards, the wedding episode exhibited what The Office does so well. It took a sentimental plot and somehow, someway managed to not Friends/Grey's Anatomy it out. They still made it hilarious, but altogether moving and rewarding for longtime Office fans. The writers of this show continue to amaze me in how they maintain the high level of comedy and manage the inherent sentimentality of the show in a digestible, genuinely touching way. When it's all said and done, this will be one of the greatest TV shows ever, if it's not already.
3) Curb Your Enthusiasm - It's one thing to rest on your laurels and try to coast as one of the funniest/best comedies on TV over the past decade. It's another to completely take it all to another level in your 7th freakin' season. But Larry David will always be miserable and we all reap the benefits from that reality. Every episode has been fantastic so far and we're sadly halfway through the season already. No one does misanthropic, meta-humor better than LD. And the more Leon, the better.
2) Mad Men - One of the frequent complaints buzzing around the internet is that this season has been slow to develop. Perhaps it's beginning to suffer from all the awards/acclaim/expectations, but for anyone who has actually watched Mad Men from the beginning to the present, this show is all about the slow burn. And we're starting to see everything come to a head, especially in the last 4 episodes. Personally, I just enjoy being in the presence of these characters and the brilliance of Matthew Weiner (seriously, does this guy need to do anything else to gain your faith?). Maybe things will change once this season ends, but the first 2 seasons are all the evidence I need to know that by the end, we'll all be counting down to August once again.
1) Sons of Anarchy - It's remarkable really. I started watching this show from day one last season because it had solid pre-air buzz and fuck, nothing else worth a shit aired on Wednesdays. The first couple of episodes were okay, but nothing more and then, holy shit. SofA started a wave of momentum that has yet to flag. This season only upped the ante and keeps building and building to a point where I can't stand that I have to wait a week between each episode. It recently beat Jay Leno in ratings and I couldn't be more psyched because if there's one show that deserves more attention, it's this one. Don't worry, when the rest of America finally catches on, you'll either feel cool for being on the ground floor or like a dumbass for not having been on the bandwagon earlier. You have been warned.
My explanations/reasoning were probably a tad long-winded for mere power rankings, but fuck it, you only live once.
Sunday, September 06, 2009
2004 Redux
Ok that was quite a break, back to the grind!
2004 (Original List):
10) Before Sunset
9) Dogville
8) Hotel Rwanda
7) Closer
6) Saw
5) Kill Bill: Volume 2
4) Million Dollar Baby
3) I Heart Huckabees
2) Sideways
1) Spider-Man 2
Now here's my 2004 List if I were to write it today:
10) Harold and Kumar Go to White Castle
9) Dogville
8) The Incredibles
7) Closer
6) Anchorman: The Legend of Ron Burgundy
5) Kill Bill: Volume 2
4) Million Dollar Baby
3) I Heart Huckabees
2) Spider-Man 2
1) Sideways
Observations:
- I guess the two things that jump out to the naked eye are the fact that the top 5 films remained the exact same with only one alteration in terms of order and the fact that two comedies made their leap into the top ten.
- With the top 5 remaining the same, I think that speaks volumes about each one of those films. Not only were they excellent upon the initial viewing, but subsequent viewings have, if nothing else, reiterated my original position if not strengthened it. Kill Bill: Volume 2 is still a fascinating mix of action, origin story, and vengeance-laden philosophizing. It's also probably still Tarantino's most heartfelt film to date, as weird as that is to say. Million Dollar Baby is just as resonant and powerful as ever and remains the crowning achievement in Clint Eastwood's latest ridiculous hot streak. I Heart Huckabees is still the most hilarious existential comedy ever created, worrrrdddddd. The only flip-flop was between the top 2 and it is no way a knock on Spider-Man 2. In reality, that and Sideways are pretty much interchangeable in my mind. They both hold a special place in my heart. Nonetheless, I feel that Sideways is an example of one of those rare occurrences when all of the elements in the universe are perfectly synergized to achieve one common goal for the good of humanity...and that is to make a film so tonally perfect, so wonderfully acted, so hilariously poignant, so reflective of real emotion and real human experience. All works of art affect us in different ways. The most powerfully affecting ones come in so many different forms. Much like Lost in Translation, Sideways makes its impact on your soul and heart in a way that few are capable of.
- The other noticeable change is the presence of two comedies in the top ten. I've always felt that comedy is underappreciated when it comes to its place on the overall spectrum of film. Maybe this is due to the nature of comedy and its inherent subjectivity. Common sense says that what one person may find to be hilarious could very well be akin to nails on a chalkboard for someone else. I mean, there are actually people on this planet who miss Jay Leno and hate Conan. I know I know...it's a sick world we live in. Nonetheless, comedy is often overlooked not only by the Academy, but during awards season altogether for the most part. Sure, there are films that have comedic elements to them and may even be satirical in nature, but how often does a film like Old School or Superbad get any kind of award consideration on any level? I'm not saying we should lead a crusade and overvalue comedies b/c they're slighted already, but I just think it's crucial not to take them for granted. Films across all genres elicit all kinds of emotions from us and we keep coming back for more for that exact reason, so isn't laughter just as important (not to mention how comedies are the comfort food of cinema)?
- Amazing that Dogville has retained the exact same spot after 5 years despite having only seen it once. It's not for everyone, but if you allow it to do its job, it's the type of film that stays with you and haunts you for days, weeks, months, maybe even years. And believe me, I'm the last one on the planet who wants to validate anything as far as Lars von Trier's film career is concerned. Barry Bonds was a dickhead, but still a great player. What can ya do.
- This list is kind of the antithesis of the 2003 list in that there is plenty of depth, but the overall strength of the actual top ten isn't as rock solid as 2003's. On the positive side, having to leave off films like Saw, Before Sunset, Metallica: Some Kind of Monster (just to name a few) is a good problem to have.
2004 (Original List):
10) Before Sunset
9) Dogville
8) Hotel Rwanda
7) Closer
6) Saw
5) Kill Bill: Volume 2
4) Million Dollar Baby
3) I Heart Huckabees
2) Sideways
1) Spider-Man 2
Now here's my 2004 List if I were to write it today:
10) Harold and Kumar Go to White Castle
9) Dogville
8) The Incredibles
7) Closer
6) Anchorman: The Legend of Ron Burgundy
5) Kill Bill: Volume 2
4) Million Dollar Baby
3) I Heart Huckabees
2) Spider-Man 2
1) Sideways
Observations:
- I guess the two things that jump out to the naked eye are the fact that the top 5 films remained the exact same with only one alteration in terms of order and the fact that two comedies made their leap into the top ten.
- With the top 5 remaining the same, I think that speaks volumes about each one of those films. Not only were they excellent upon the initial viewing, but subsequent viewings have, if nothing else, reiterated my original position if not strengthened it. Kill Bill: Volume 2 is still a fascinating mix of action, origin story, and vengeance-laden philosophizing. It's also probably still Tarantino's most heartfelt film to date, as weird as that is to say. Million Dollar Baby is just as resonant and powerful as ever and remains the crowning achievement in Clint Eastwood's latest ridiculous hot streak. I Heart Huckabees is still the most hilarious existential comedy ever created, worrrrdddddd. The only flip-flop was between the top 2 and it is no way a knock on Spider-Man 2. In reality, that and Sideways are pretty much interchangeable in my mind. They both hold a special place in my heart. Nonetheless, I feel that Sideways is an example of one of those rare occurrences when all of the elements in the universe are perfectly synergized to achieve one common goal for the good of humanity...and that is to make a film so tonally perfect, so wonderfully acted, so hilariously poignant, so reflective of real emotion and real human experience. All works of art affect us in different ways. The most powerfully affecting ones come in so many different forms. Much like Lost in Translation, Sideways makes its impact on your soul and heart in a way that few are capable of.
- The other noticeable change is the presence of two comedies in the top ten. I've always felt that comedy is underappreciated when it comes to its place on the overall spectrum of film. Maybe this is due to the nature of comedy and its inherent subjectivity. Common sense says that what one person may find to be hilarious could very well be akin to nails on a chalkboard for someone else. I mean, there are actually people on this planet who miss Jay Leno and hate Conan. I know I know...it's a sick world we live in. Nonetheless, comedy is often overlooked not only by the Academy, but during awards season altogether for the most part. Sure, there are films that have comedic elements to them and may even be satirical in nature, but how often does a film like Old School or Superbad get any kind of award consideration on any level? I'm not saying we should lead a crusade and overvalue comedies b/c they're slighted already, but I just think it's crucial not to take them for granted. Films across all genres elicit all kinds of emotions from us and we keep coming back for more for that exact reason, so isn't laughter just as important (not to mention how comedies are the comfort food of cinema)?
- Amazing that Dogville has retained the exact same spot after 5 years despite having only seen it once. It's not for everyone, but if you allow it to do its job, it's the type of film that stays with you and haunts you for days, weeks, months, maybe even years. And believe me, I'm the last one on the planet who wants to validate anything as far as Lars von Trier's film career is concerned. Barry Bonds was a dickhead, but still a great player. What can ya do.
- This list is kind of the antithesis of the 2003 list in that there is plenty of depth, but the overall strength of the actual top ten isn't as rock solid as 2003's. On the positive side, having to leave off films like Saw, Before Sunset, Metallica: Some Kind of Monster (just to name a few) is a good problem to have.
Sunday, April 05, 2009
2003 Redux
Quick note to anyone seeing this first time and being like, "Good golly, miss molly what is going on around here!?": Click here and it'll take you to the initial entry where I explain all of this madness. It's kinda like trying to get caught up on LOST, it's never too late, kids! Now, let's get on with the show.
2003 (Original List):
10) Gerry
9) Matchstick Men
8) Mystic River
7) 21 Grams
6) Old School
5) The Shape of Things
4) City of God
3) Lord of the Rings: Return of the King
2) The Secret Lives of Dentists
1) Lost in Translation
Now here's my 2003 List if I were to write it today:
10) Mystic River
9) The Secret Lives of Dentists
8) The Shape of Things
7) All the Real Girls
6) City of God
5) Old School
4) Lord of the Rings: Return of the King
3) Capturing the Friedmans
2) The Station Agent
1) Lost in Translation
Observations:
- I guess it makes sense that Lost in Translation would maintain its position atop the mountain, it's a juggernaut, what can I say. It also hasn't lost any of its allure. Sure, Scarlett Johannson is a bit overexposed, but the central appeal of the film still remains intact. It's just one of those rare occasions where the synergy of all of the filmmaking elements worked in perfect harmony. It's almost assured a coveted spot on my Top Ten of the Decade list (coming in 2010!).
- The fall of The Secret Lives of Dentists is pretty much a result of the same issue I had with The Pianist. It's not a reflection of the film's quality as both films are terrific, but I simply haven't seen either of them in years.
- Other than that, there are no real risers or fallers that were previously on the list other than TSLoD. The rest of the movement is pretty much just an upward or downward shift by about two spots, pretty negligible really. The big impact comes from three newbies: All the Real Girls, Capturing the Friedmans, and The Station Agent.
- If you haven't seen any of David Gordon Green's films, do yourself a favor and check him out. He's one of the few American auteurs who makes truly unique films that are firmly grounded in reality yet manage to possess a dreamlike quality to them. I feel that All the Real Girls is his best film and any other year in a top ten that isn't so strong, it'd definitely be a top-fiver. Nonetheless, that doesn't diminish its quality, it's a wonderful film.
- Capturing the Friedmans is quite honestly the best documentary I've ever seen. We're truly lucky because as much as we can bitch about how "they don't make 'em like they used to", we are smack-dab in the middle of the golden age of documentaries. Every year, there are a slew of documentaries coming out that are relevant, thought-provoking, and with the advent of DVD, extremely current. As a result, I've seen a shitload of documentaries over the past handful of years and CtF surpasses them all. When I watch a documentary, I want something that makes me asks questions, not some Michael Moore-esque polemic that tells me how to feel or think. I want something that presents an issue to me, shows me all sides, and allows me to draw my own conclusions. CtF aces this test as the whole theme behind it is the elusiveness of truth and how despite all of the information we gather, sometimes the truth is unattainable. I was haunted by this film and couldn't get enough of its story. Immediately after the film, I devoured all of the extra footage on the DVD b/c I wanted to arrive at a conclusion that I was comfortable with, but that never happened. Maybe that's why I love the film Zodiac so much, as it deals with the basic human need to KNOW the rational truth. There's something hard-wired into our DNA that requires an explanation and a satisfactory resolution. When we don't get it, it's like a tick burrowing into our brain that we can't root out. I find that fascinating.
- And then there's The Station Agent. Its ascension to the number 2 spot should surprise no one as I've maybe seen this film more than any other film on this list by far. It's what I'd consider to be a near-perfect film that has established a permanent residence in my psyche. Once in a blue moon, you find a film that tonally hits every note just right and this film does just that. Just goes to show that these lists are organic and forever changing. You can check out a film long after you've already formulated an established list and it just destroys everything in its path. It's the best kind of surprise.
- As soon as I'm done sifting through my other lists, I'll have to see how this one stacks up. This appears to be about as strong as it gets from top to bottom.
2003 (Original List):
10) Gerry
9) Matchstick Men
8) Mystic River
7) 21 Grams
6) Old School
5) The Shape of Things
4) City of God
3) Lord of the Rings: Return of the King
2) The Secret Lives of Dentists
1) Lost in Translation
Now here's my 2003 List if I were to write it today:
10) Mystic River
9) The Secret Lives of Dentists
8) The Shape of Things
7) All the Real Girls
6) City of God
5) Old School
4) Lord of the Rings: Return of the King
3) Capturing the Friedmans
2) The Station Agent
1) Lost in Translation
Observations:
- I guess it makes sense that Lost in Translation would maintain its position atop the mountain, it's a juggernaut, what can I say. It also hasn't lost any of its allure. Sure, Scarlett Johannson is a bit overexposed, but the central appeal of the film still remains intact. It's just one of those rare occasions where the synergy of all of the filmmaking elements worked in perfect harmony. It's almost assured a coveted spot on my Top Ten of the Decade list (coming in 2010!).
- The fall of The Secret Lives of Dentists is pretty much a result of the same issue I had with The Pianist. It's not a reflection of the film's quality as both films are terrific, but I simply haven't seen either of them in years.
- Other than that, there are no real risers or fallers that were previously on the list other than TSLoD. The rest of the movement is pretty much just an upward or downward shift by about two spots, pretty negligible really. The big impact comes from three newbies: All the Real Girls, Capturing the Friedmans, and The Station Agent.
- If you haven't seen any of David Gordon Green's films, do yourself a favor and check him out. He's one of the few American auteurs who makes truly unique films that are firmly grounded in reality yet manage to possess a dreamlike quality to them. I feel that All the Real Girls is his best film and any other year in a top ten that isn't so strong, it'd definitely be a top-fiver. Nonetheless, that doesn't diminish its quality, it's a wonderful film.
- Capturing the Friedmans is quite honestly the best documentary I've ever seen. We're truly lucky because as much as we can bitch about how "they don't make 'em like they used to", we are smack-dab in the middle of the golden age of documentaries. Every year, there are a slew of documentaries coming out that are relevant, thought-provoking, and with the advent of DVD, extremely current. As a result, I've seen a shitload of documentaries over the past handful of years and CtF surpasses them all. When I watch a documentary, I want something that makes me asks questions, not some Michael Moore-esque polemic that tells me how to feel or think. I want something that presents an issue to me, shows me all sides, and allows me to draw my own conclusions. CtF aces this test as the whole theme behind it is the elusiveness of truth and how despite all of the information we gather, sometimes the truth is unattainable. I was haunted by this film and couldn't get enough of its story. Immediately after the film, I devoured all of the extra footage on the DVD b/c I wanted to arrive at a conclusion that I was comfortable with, but that never happened. Maybe that's why I love the film Zodiac so much, as it deals with the basic human need to KNOW the rational truth. There's something hard-wired into our DNA that requires an explanation and a satisfactory resolution. When we don't get it, it's like a tick burrowing into our brain that we can't root out. I find that fascinating.
- And then there's The Station Agent. Its ascension to the number 2 spot should surprise no one as I've maybe seen this film more than any other film on this list by far. It's what I'd consider to be a near-perfect film that has established a permanent residence in my psyche. Once in a blue moon, you find a film that tonally hits every note just right and this film does just that. Just goes to show that these lists are organic and forever changing. You can check out a film long after you've already formulated an established list and it just destroys everything in its path. It's the best kind of surprise.
- As soon as I'm done sifting through my other lists, I'll have to see how this one stacks up. This appears to be about as strong as it gets from top to bottom.
Wednesday, April 01, 2009
2002 Redux
I was recently thinking about how I compose these Top Ten Lists every year and that when I look back at them, I realize they're more snapshots in time than definitive lists. It's difficult to make anything definitive/final when it comes to opinions on things like film, music, literature, etc. simply because tastes are always shifting and perspectives changing (and in theory, hopefully evolving). Nonetheless, I wanted to compare and contrast how I would formulate those same lists now while viewing what they were when I initially wrote them. As a result, I'm going to post my top ten films of the year from each year in recent memory and then I'll post what my list would be now. Unfortunately, I could only find them as far back as 2002, even though I know I've done them since 1999. Oh well, this should be just fine for my purposes here, a good time shall be had by all. All that being said, I now present to you the first edition in a series of several (?), starting with 2002.
2002 (Original List):
10) Blade II
9) Spirited Away
8) Y Tu Mama Tambien
7) Minority Report
6) Punch Drunk Love
5) The Pianist
4) 25th Hour
3) Spider-Man
2) About a Boy
1) Gangs of New York
Now here's my 2002 List if I were to write it today:
10) Roger Dodger
9) Spirited Away
8) Y Tu Mama Tambien
7) Spider-Man
6) 25th Hour
5) Signs
4) About a Boy
3) Minority Report
2) Punch Drunk Love
1) Lord of the Rings: The Two Towers
Observations:
- I guess the biggest change is the fact that Gangs of New York went from being el numero uno to not even on my current list. I chalk this up to the fact that at the time, I was expecting the greatest Scorsese film ever made considering how much I had heard about the film up to that point and how it was his big labor of love/lifetime dream project and on and on. As a result, while I still think it's a very good film, I think my excitement with the fact that I liked it a lot made me overstate how truly great I thought it was. Now, despite all of its successes and a typically brilliant performance from Daniel Day-Lewis, it's a pretty forgettable film. Nearly 7 years later, it hasn't been one of those films that sticks to your ribs. It's a lot more like Chinese food, in and out baby.
- Minority Report and Punch Drunk Love both made significant leaps forward as the former has turned out to be not only one of the best sci-fi/action films in recent memory, but also one of the most prescient (Patriot Act, anyone?) and the latter, I've found to be one of the most bizarrely disarming "rom-coms" I've ever seen. Although calling it a "rom-com" is not really fair, nor does it do it justice. Like D.J. Justice.
- Interesting that both Spirited Away and Y Tu Mama Tambien retained their exact same positions both times around. I'm sure there's something insightful or witty to draw from that, but I don't know what it would be. Or maybe there isn't.
-Signs and The Two Towers were the two films that asserted themselves on the new list and to say I would never give those two films the benefit of the doubt back in 2002 is an understatement. I finally came to my senses with LOTR and ultimately found that entire trilogy to be the best trilogy ever made. In the case of Signs, I've always held a special reservoir of spite just for Shamalamadingdong, but this was a case of putting a good story ahead of his typical parlor tricks and it worked out well for him.
- Finally, The Pianist fell off the list simply because I only saw it once and that was during its initial theatrical run, so in theory I could see it again and it could vault back into my coveted top ten.
- One final observation. I notice that film buffs and critics alike usually like to bemoan any given year as a "terrible" year for cinema or whatever other snippy adjective you wanna throw in there because let's face it, it's always more fun to complain. Nonetheless, I've noticed that most years are pretty similar. I'll have a very solid top ten featuring a couple of excellent films that sit above the rest and then maybe some more other very good ones that didn't quite make the top ten. Even in years when it seems like there just isn't much to get excited about, the top ten list usually turns out solid even if 80% of everything else pretty much sucked. 2002 is a perfect example of this. Not a banner year by any stretch of the imagination, highly forgettable really. Yet at the end of the day, I'm left with a solid top ten and a few others who just barely missed the cut. My point is, while there will always be plenty of shit to go around, there's usually a solid collection of the good stuff to make it all worth it.
2002 (Original List):
10) Blade II
9) Spirited Away
8) Y Tu Mama Tambien
7) Minority Report
6) Punch Drunk Love
5) The Pianist
4) 25th Hour
3) Spider-Man
2) About a Boy
1) Gangs of New York
Now here's my 2002 List if I were to write it today:
10) Roger Dodger
9) Spirited Away
8) Y Tu Mama Tambien
7) Spider-Man
6) 25th Hour
5) Signs
4) About a Boy
3) Minority Report
2) Punch Drunk Love
1) Lord of the Rings: The Two Towers
Observations:
- I guess the biggest change is the fact that Gangs of New York went from being el numero uno to not even on my current list. I chalk this up to the fact that at the time, I was expecting the greatest Scorsese film ever made considering how much I had heard about the film up to that point and how it was his big labor of love/lifetime dream project and on and on. As a result, while I still think it's a very good film, I think my excitement with the fact that I liked it a lot made me overstate how truly great I thought it was. Now, despite all of its successes and a typically brilliant performance from Daniel Day-Lewis, it's a pretty forgettable film. Nearly 7 years later, it hasn't been one of those films that sticks to your ribs. It's a lot more like Chinese food, in and out baby.
- Minority Report and Punch Drunk Love both made significant leaps forward as the former has turned out to be not only one of the best sci-fi/action films in recent memory, but also one of the most prescient (Patriot Act, anyone?) and the latter, I've found to be one of the most bizarrely disarming "rom-coms" I've ever seen. Although calling it a "rom-com" is not really fair, nor does it do it justice. Like D.J. Justice.
- Interesting that both Spirited Away and Y Tu Mama Tambien retained their exact same positions both times around. I'm sure there's something insightful or witty to draw from that, but I don't know what it would be. Or maybe there isn't.
-Signs and The Two Towers were the two films that asserted themselves on the new list and to say I would never give those two films the benefit of the doubt back in 2002 is an understatement. I finally came to my senses with LOTR and ultimately found that entire trilogy to be the best trilogy ever made. In the case of Signs, I've always held a special reservoir of spite just for Shamalamadingdong, but this was a case of putting a good story ahead of his typical parlor tricks and it worked out well for him.
- Finally, The Pianist fell off the list simply because I only saw it once and that was during its initial theatrical run, so in theory I could see it again and it could vault back into my coveted top ten.
- One final observation. I notice that film buffs and critics alike usually like to bemoan any given year as a "terrible" year for cinema or whatever other snippy adjective you wanna throw in there because let's face it, it's always more fun to complain. Nonetheless, I've noticed that most years are pretty similar. I'll have a very solid top ten featuring a couple of excellent films that sit above the rest and then maybe some more other very good ones that didn't quite make the top ten. Even in years when it seems like there just isn't much to get excited about, the top ten list usually turns out solid even if 80% of everything else pretty much sucked. 2002 is a perfect example of this. Not a banner year by any stretch of the imagination, highly forgettable really. Yet at the end of the day, I'm left with a solid top ten and a few others who just barely missed the cut. My point is, while there will always be plenty of shit to go around, there's usually a solid collection of the good stuff to make it all worth it.
Saturday, February 28, 2009
The Sweet Stuff
Need more evidence that Louis C.K. kicks ass? Oh, there it is!
I also just watched an utterly phenomenal film that I somehow managed to miss in the year of our lord that was 2005. It's a German film entitled Head-On and is kinda like what the love child of Wong Kar-Wai and Guy Ritchie (the good version) might resemble. Do yourself a favor and check it out, unless you're content to only feast upon that which Emperor Hollywood feeds you.
Finally, I feel I would be remiss if I didn't mention how this season of Big Love is one of the best seasons of television I have ever seen. If you enjoy light speed narrative momentum, top notch acting/writing, and using your brain, then you need to put this bad boy on your DVR stat. Just trust me.
I also just watched an utterly phenomenal film that I somehow managed to miss in the year of our lord that was 2005. It's a German film entitled Head-On and is kinda like what the love child of Wong Kar-Wai and Guy Ritchie (the good version) might resemble. Do yourself a favor and check it out, unless you're content to only feast upon that which Emperor Hollywood feeds you.
Finally, I feel I would be remiss if I didn't mention how this season of Big Love is one of the best seasons of television I have ever seen. If you enjoy light speed narrative momentum, top notch acting/writing, and using your brain, then you need to put this bad boy on your DVR stat. Just trust me.
Sunday, February 22, 2009
Oscars 2009
Looking back, I just realized that this will be the 5th year in a row of my live Oscar commentary. To think that this all began with a short little hourly commentary on Live Journal and has now exploded into the global, editorial empire you now see before you today is very humbling. I'd just like to thank my family, Chi, Pants, Jesus...and I could go on forever...ok really, let's go on with it!
I guess I should throw some predictions out there. The past two years have not been terribly kind to my ego. Each of the past two years, I've gone 12 for 21 and it usually follows a pattern of: nailing all the major awards (usually with one exception) and getting fucked over by a blockbuster I thought was beloved to sweep the technical awards but in actuality wasn't. I yearn to return to my glory days of 2006 when I went a hearty 15 for 21. Also, if anyone wants to start the Louis Gossett Jr. pool, be my guests. In fact, I insist. Anyway, on with the predictions:
Best Picture: Slumdog Millionaire
Best Director: Danny Boyle - Slumdog Millionaire
Best Actor: Mickey Rourke - The Wrestler
Best Actress: Kate Winslet - The Reader
Best Supporting Actor: Heath Ledger - The Dark Knight
Best Supporting Actress: Penelope Cruz - Vicky Cristina Barcelona
Best Original Screenplay: Milk
Best Adapted Screenplay: Slumdog Millionaire
Best Animated Feature: Wall-E
Best Original Score: Slumdog Millionaire
Best Original Song: Slumdog Millionaire - "Jai Ho"
Best Editing: Slumdog Millionaire
Best Cinematography: The Curious Case of Benjamin Button
Best Art Direction: The Curious Case of Benjamin Button
Best Costume Design: The Duchess
Best Makeup: The Curious Case of Benjamin Button
Best Sound Mixing: The Dark Knight
Best Sound Editing: The Dark Knight
Best Visual Effects: The Curious Case of Benjamin Button
Best Foreign Film: The Class
Best Documentary Feature: Man on Wire
So we're looking at 5 wins for Slumdog and 4 of the more technical nature for ol' Ben Button. Benjamin Button, if you fuck me over, there will be blood. *rim shot* I have this feeling that this is an easy Oscars to predict, but by virtue of me saying that, I know I'm gonna get screwed and only get 4 categories right. So let's get on with it and watch Wolverine gay it up!
7:13pm CST:
So I finish the evening with my best percentage in ages, but there was an absence of enthusiasm and excitement this time around. I can't place my finger on it other than the fact that my two favorite films of the year weren't up for the big prize and Mickey Rourke losing out to Sean Penn cast a little bit of a pall over the evening for me as ol' Mick was the only guy I was really rooting for in this entire production. I still love this time of year and while it left a lot to be desired as far as the quality of what was being represented, I still derive plenty of enjoyment out of this whole shindig. As far as the new format of the show, I still prefer the old way of doing things, i.e. showing film clips of performances instead of having 5 past winners come out and perform oral sex on each of the current nominees just didn't do much for me. One of my favorite things to do is watch award-worthy films and try to figure out which scene will be the "Oscar clip" scene and this year, I didn't get that type of fulfillment. Finally, I still think they should get a funnier, more dynamic host. Nothing against Hugh Jackman, but while he's not in Ellen Degeneres/Whoopi Goldberg territory, he was also very bland and forgettable. I had no problems with Jon Stewart, keep him coming back.
I guess I should throw some predictions out there. The past two years have not been terribly kind to my ego. Each of the past two years, I've gone 12 for 21 and it usually follows a pattern of: nailing all the major awards (usually with one exception) and getting fucked over by a blockbuster I thought was beloved to sweep the technical awards but in actuality wasn't. I yearn to return to my glory days of 2006 when I went a hearty 15 for 21. Also, if anyone wants to start the Louis Gossett Jr. pool, be my guests. In fact, I insist. Anyway, on with the predictions:
Best Picture: Slumdog Millionaire
Best Director: Danny Boyle - Slumdog Millionaire
Best Actor: Mickey Rourke - The Wrestler
Best Actress: Kate Winslet - The Reader
Best Supporting Actor: Heath Ledger - The Dark Knight
Best Supporting Actress: Penelope Cruz - Vicky Cristina Barcelona
Best Original Screenplay: Milk
Best Adapted Screenplay: Slumdog Millionaire
Best Animated Feature: Wall-E
Best Original Score: Slumdog Millionaire
Best Original Song: Slumdog Millionaire - "Jai Ho"
Best Editing: Slumdog Millionaire
Best Cinematography: The Curious Case of Benjamin Button
Best Art Direction: The Curious Case of Benjamin Button
Best Costume Design: The Duchess
Best Makeup: The Curious Case of Benjamin Button
Best Sound Mixing: The Dark Knight
Best Sound Editing: The Dark Knight
Best Visual Effects: The Curious Case of Benjamin Button
Best Foreign Film: The Class
Best Documentary Feature: Man on Wire
So we're looking at 5 wins for Slumdog and 4 of the more technical nature for ol' Ben Button. Benjamin Button, if you fuck me over, there will be blood. *rim shot* I have this feeling that this is an easy Oscars to predict, but by virtue of me saying that, I know I'm gonna get screwed and only get 4 categories right. So let's get on with it and watch Wolverine gay it up!
7:13pm CST:
- I get that they need uber-gay guys to comment on what everyone is wearing, but I really think they should entertain the idea of getting someone who could be classified as "sports bar guy", but you must have him in bro-down mode. Think about it: "Yo Jamie Foxx, bro, what are these duds you're wearing? Right on bro, I love it, I love it. That is a sweet tux, Hugh. Right on bro, *fist pound*, take it easy man. Late."
- It's nice to see Viola Davis reppin' on the carpet sans snot running out of her nose. She cleans up well. Who knew a piece of Kleenex could make such a world of difference?
- I think it's safe to say that Penelope Cruz is the hottest woman on the planet who features such distinct bird-like qualities. Her face has a beak. Just look at it.
- Ok, is anyone else thinking the same thing? Where in the fuck is Louis Gossett, Jr?! If the superstar of Diggstown does not make an appearance, I'm gonna be pissed. I don't know what Oscar commentators are gonna do without the requisite "safe" black guy to make remarks about. It's an old Oscar standby, "Just look at Louis Gossett, Jr in a blah blah blah suit, the epitome of first class". If they don't have that, the whole operation crumbles.
- Alright, an interview with Judd Apatow, Seth Rogen, and Leslie Mann...it's about as Jewish as your television can get.
- I also gotta say, I'm not terribly optimistic about Hugh Jackman as host tonight. I don't know why they don't just stick with Steve Martin or Billy Crystal every year. Steve Martin only needs a couple of months out of the year to make a zany comic farce with either Queen Latifah or some plot involving a lot of children (or both), but other than that, he's available. So is Jon Stewart. Hugh Jackman seems like a nice, affable guy, but he's also Mr. Tony, so you know what that means...lots of sweet singing and dancing. Can't fucking wait.
- Wow, we're about 3 seconds into it and he's already singing. God, I hate being right all the time. It's my cross to bear.
- I guess shit like this is funny to old people and probably rich white people. I'm not even an Oscar critic. I freaking LOVE the Oscars and am not ashamed of it. I'm the ultimate Oscar apologist. People complain that the telecasts are too long, I wish they were longer b/c I love film and if the only thing we can get to celebrate every year is an epic self-congratulatory circle jerk amongst Hollywood's richest and most beautiful, then so be it. Sign me up. All that being said, even I, the harbinger of all things Oscar, thinks this sucks. Ouch, Hugh.
- While this interminable opening prattles on, I want to give a shout-out to the Independent Spirit Awards. If you find the Oscars to be ridiculous and overblown and too much for you, the ISAs may be the perfect antidote for you. It's a lot more laid-back, they're allowed to cuss, and surly bastards like Philip Seymour Hoffman and Charlie Kauffman are always attending so you know there's never a dull moment. For future reference, it's on the Saturday before the Oscars every year on IFC and AMC. Need more evidence that they kick ass? The Wrestler won best picture and director last night. Yeah. Take that.
- I just spotted Philip Seymour Hoffman in the crowd and he's still wearing his beanie. God, I love that man.
- Want a good prop bet? What would you say the over-under is for Oscar montages over the course of the evening? We've already got one in the bag so if the line was 1/2 and you picked the over, you're a genius.
- Alright! Supporting Actress right off the bat? I'm diggin' this. If it were up to me, Viola Davis would win this for completely owning the entire film and only being in it for pretty much one scene. I think she has a shot, but I'm thinking this is Cruz's to lose. She won most of the precursors and I think the Academy wants to give her some love after losing for her work in Volver. As a sentimental favorite, I love Taraji P. Henson, but unfortunately for her, the nomination is the award. Amy Adams seems like she's on the Oscar short list to be nominated every year, so she'll get her due eventually. I'm not liking the lack of film clips. I understand that this method of sucking off each nominee in front of the world is a great ego boost, but I want my clips dammit!
- And there we go, Penelope Cruz is your winner and I am 1 for 1. This kicks ass b/c this was the most unpredictable major category to me and that means I'm off to a roaring start. I don't have a problem with her winning b/c she was excellent in Volver and got overlooked, plus it meant that my prediction was right and who doesn't like to be right?
- Original Screenplay already? Wow, I heard they were really revamping the Oscar broadcast this year, but I didn't expect this much change. It's not bad, I kinda dig it. I think this is Milk's to lose as I think it's a film that Hollywood will want to reward somehow. And there ya go, right again, I'm 2 for 2. I would have gone with the criminally underrated In Bruges or Wall-E.
- I love Hollywood political grandstanding, it's awesomely stupid. Now time for Adapted Screenplay, somebody better fire up that Slumdog train, it's about to start chuggin'! 3 for 3 now as Slumdog takes it down. I probably would have given it to Frost/Nixon, but this is Slumdog's night and it shall slay all in its path. I don't mind, it's a very good film. This whole operation is fucked since the two best films of the year got minimal love. What are these two films you speak of, Jeff? Well, I'll tell you grasshopper. They are none other than The Dark Knight and The Wrestler.
- I love Jack Black, he still knows how to bring it. Speaking of animation, with the exception of Pixar's usual output of genius, the overall landscape has become over-saturated. It's like every fucking weekend, we have some new animal that's gonna talk and fly and learn life lessons. Also, I should mention that Animated Feature is the most guaranteed, surefire, bet your firstborn on it lock of the night with Wall-E. And what do ya know, Joe, we have a winner. 4 for 4 now. I am kicking ass. If Benji Button gets the technical love I think it will, you can all buy me drinks and take me out as my Oscar score will be through the roof. I'll let you make eye contact.
- Most who have read my blogs in the past know this, but I'll go ahead and let everyone know I don't predict the shorts. Predicting the shorts is like betting on an Appalachian State vs. Florida A&M Tuesday night ESPN college football game...it's only for losers and degenerates. Just for grins, gotta love how the Petit Cubes movie won for Best Animated Short. The clip was a guy laying brick (or I guess, cubes). Talk about an action-packed thrill ride! Then the guy who made it accepts the award and manages to speak entire sentences at the exact same decibel level! No higher or lower. He seems like fun, I want to go to Vegas with him.
- Art Direction. Uh Ohhhhh! Looks like my Benji Button technical award prognostication is off to a roaring start! 5 for 5 now. Dammit, why oh why, did I not enter that "Beat Roger Ebert" contest? I've been looking to whoop his ass for a long time now. Anyone know what Art Direction actually is? I didn't think so. For the record, I know it got a bit of a tepid reception, but I thought Ben Button was very good. I felt that the first half was stronger than the second half, but overall, very good. David Fincher always comes through and watching his evolution from kinetic, intense filmmaker to thoughtful, deliberate filmmaker has been fascinating.
- Costume Design. I am owning this show. 6 for 6 as The Duchess takes it down like John Malkovich in Rounders. Little Oscar tip I've learned over the years...if it's Costume Design and there's a period piece involved, even a little seen one like The Duchess, bet the house on it. People are dumb. They see big frilly costumes and they put a check mark next to it, it's that simple. No one ever said Hollywood was smart.
- Best Makeup. The Benji Button technicial award pain train keeps gaining momentum. 7 for 7 now.
- A montage dedicated to romance? Wow.
- At least they showed clips from Forgetting Sarah Marshall. Almost makes it all worth it.
- Ben Stiller is a funny guy, but this Joaquin Phoenix bit was done last night at the Independent Spirit Awards. Nice try, Ben! Is Natalie Portman still 12 years old? Also, the first drink has been poured!
- Cinematography. This is an interesting category as it directly pits Ben Button against Slumdog. Even The Dark Knight could be a sleeper, but if I'm right about Ben Button and it's technical adoration, this will be the tell-tale category, I think. Well there we go as Slumdog takes it. This should be a sign to all that if you didn't believe it before, believe it now b/c Slumdog is going to destroy everything in its path tonight. I'm now 7 for 8.
- I have to take issue with this win too. Maybe I'm beginning to feel some of that Slumdog backlash I've been hearing so much about? I don't know. But it's almost like they were thinking about cinematography, they saw Slumdog, and they were like "Oh, India! It must be great cinematography!" Whereas like every David Fincher film, Ben Button was a dynamic piece of work with phenomenal technical acumen. Bleh. Or maybe I'm just bitter b/c my attempt at perfection was thwarted.
- The Judd Apatow-Pineapple Express short film was just what the doctor ordered. If only the rest of this shit was as funny. Speaking of, James Franco's performance in PE should not be overlooked. Doing good comedy is not easy and he aced it.
- Don't say I didn't warn you. Hugh Jackman = Mr. Tony = way too much singing and dancing.
- Jesus christtttttttttt, when will it endddddddddddd??????
- I just heard them say "motion of the ocean" as one of the lines in the song. Wow.
- I won't lie. I make fun of the montages, but a sick, filthy, disgusting part of me actually derives some enjoyment from them. It's almost like watching an old sports reel on ESPN, reliving classic moments in the medium. It's difficult not to enjoy something like that on at least a minor level.
- And here we go with Supporting Actor. Get ready, Ledger family. I love how they bring out 5 past best supporting actors from years past with icons like Alan Arkin and Christopher Walken...oh, and of course, Cuba Gooding, Jr. The acclaimed star of Boat Trip. It still breaks my heart to think that Heath Ledger is gone and Freddie Prinze, Jr. is still roaming this planet and poisoning celluloid at every turn. As my main man Billy Joel once said, "Only the good die young". The worst part was that he was really hitting his stride, at least this will be a fitting tribute to him.
- I love that Cuba is the one presenting Robert Downey Jr's nomination...he's the "safest" black guy they could find. Good times all around. Although I have yet to see Revolutionary Road, Michael Shannon will always have a special place in my heart for his kickass/disgusting work in Bug.
- And there we have it as Heath Ledger takes it. 8 for 9 now. Is it just me or does everyone look like they're going to cry? This is the saddest damn thing. And don't even get me started on the fact that he should have won for Brokeback Mountain, but we don't speak of that year and the curse/famine it has wreaked upon our once great lands.
- Ok, that was depressing as hell. Time for Man on Wire to win and have that nut Philippe Petit cheer us all up! I liked MOW, but I didn't love it. I'm actually surprised it is as universally loved as it is. Either way, I don't mind it winning Best Doc, assuming it does.
- Good first line from Bill Maher, "Great, everyone's crying and I get to go on!". Reminds me of a classic C-81 show where we were invited to play a show, not realizing it was a memorial service for a dead teenage girl...after everyone watched sad videos and told of their favorite memories, we had to go on stage and play. It was awesome. But, I digress.
- There we go, Man on Wire takes Best Doc. 9 for 10 now. Get up there Philippe!!! This man MUST SPEAK. There he goes. Of course that fool does a fucking magic trick, followed by balancing the Oscar on his face, god bless that man!
- An Action of 2008 montage? But of course, Academy.
- It was actually a pretty good year for action/adventure movies, esp. considering if I can get one good one per year, then I'm happy. But this year, we had Iron Man, Wanted, The Incredible Hulk, The Dark Knight and even the new Indiana Jones, which really wasn't bad, it was just a classic example of a film crumbling in the public eye due to colossal/unreasonable expectations. C'mon folks, be realistic/reasonable!
- Good recovery for Benji Button as it takes Visual Effects, 10 for 11 now. It makes sense, the entire film centered around one remarkable special effect. Even so, while I agree with the decision, it also reflects the fact that the Academy is a loonnggggg way from taking a comic book film seriously.
- Best Sound Editing goes to The Dark Knight, back to kicking ass at 11 for 12 now. This is about as legit as The Dark Knight is going to be as far as Father Oscar is concerned. I think it'll be this year's The Bourne Ultimatum/The Matrix. A film that gets nothing significant, but a host of minor technical awards like the aforementioned Sound Editing award.
- Ok, so let me get this straight. TDK wins Sound Editing, but freaking Slumdog gets Sound Mixing?! Whatever. 11 for 13. And someone tell this dude to get ahold of himself, it's an Academy Award for Sound Mixing that is clearly a case of coattailing on the part of Slumdog as it appears this movie is going to destroy everyone's face tonight. Haha, I love how he spent his whole speech trying not to faint like a 12 year old girl at a Backstreet Boys concert and as a result, the other two guys didn't get to say anything. What an egomaniac. I think I may end up hating Slumdog by the end of the night. Backlash in full effect!
- Best Editing was easy. Another rule of thumb, culled from Jeff's Encyclopedia of Oscar Knowledge and How to Win Your Office Oscar Pool, anytime you have a film like Slumdog that is steamrolling to victory, it will have editing in the bag. Book it. 12 for 14 now. I only got 12 right TOTAL in each of the past two years, so that gives you an idea of how I'm performing this year. Who wants to touch me?
- Lifetime Achievement award for Jerry Lewis. *birds chirping*
- Anyway, moving on...Best Score SHOULD go to Ben Button, but it won't. Which is too bad because it's a great score. It'll surely go to Slumdog because it's Indian-influenced which makes the Academy appear more culturally hip/sensitive, so that white guilt will drive it. I love the Oscars, but boy do I hate the politics. Go with what deserves to win you ass clowns. Wishful thinking, I know. I do like this way of presenting each nomination, one of the few presentations that has been an improvement over past telecasts. Otherwise, I like to stick with the old school formula as far as how the Oscars run.
- Did Alicia Keys put on a plastic face? I'm serious, that thing isn't moving.
- Of course, freaking Slumdog. 13 for 15. At least I knew to expect it.
- I must say that the Oscars is a lot less fun when you don't have a film to really get behind. The two best films weren't even nominated for Best Picture and most of the awards were easy to call (or so I believed and it looks like I was right), so there's no suspense and no one to really root for. I guess I got spoiled by last year when we had two bona fide American masterpieces with No Country For Old Men and There Will Be Blood getting lots of love. Now, it just feels like going through the motions. At least they condensed these three shitty songs into one little medley. Get ready for another Slumdog lovefest, by the way.
- I guess I'm just not impressed by masses of people dancing. It has never done anything for me. My first thought is always, wow you put a lot of effort into something that I don't give a shit about (esp. since ya know, it's all about me). Also, let me say that the fact that the Boss' "The Wrestler" was ineligible for Best Song is a crock of shit. It's a great song and fits the film better than any of these pieces of crap. BTW, what did I tell you? Slumdog again for Jai Hooooooooooooooo. 14 for 16 now. I wonder who is going to win best picture? Seriously, I have no clue.
- Whoa. Ok, NO ONE saw that one coming. It was a two horse race all the way between The Class and Waltz with Bashir for Best Foreign Film and lo and behold, Departures from Japan takes it, very underdog of them. 14 for 17.
- I don't have a problem with this upset b/c Best Foreign Film is one of the few categories where everyone who votes has to have watched all the nominees so at least you feel like you're getting a more honest winner. BTW, that was a sweet acceptance speech. One day when I win my lifetime achievement award for being awesome, I'm gonna say the same thing, "I'm berry berry happy!". The end.
- Ah yes, the classic Dead People Montage. I wish they did these in order of importance or most popular, that'd piss a lot of people off. Roy Scheider died? I had no idear. Oh Ricardo Montalban, we hardly knew ye. Stan Winston died too?! Damn I'm out of the loop. Anthony Minghella dying was a definite tragedy. He still had good stuff in him. And don't get me started on Paul Newman...that right there is fucking depressing. If you haven't, watched Paul Newman's films from the 60s and 70s, that is greatness in action.
- Wow, Best Director is being presented early, that's weird. Anyone wanna guess this one? C'mon, give it a whirl. Man, one day, David Fincher needs to win Best Director. THAT would be a sweet surprise. Fucking shocker, Danny Boyle takes it. 15 for 18.
- I won't lie, I am having a severe case of Slumdog-backlash-itis. But don't let that fool you, it is a very good movie and Danny Boyle, while I wouldn't consider him an elite director, he is ambitious and takes chances, so at least he's interesting. All things considered, I should be proud of the Academy for propelling a film like Slumdog to sweep the awards it has, I mean, it's not exactly the stereotypical Oscar bait. I guess my overall lack of enthusiasm has more to do with what a boring year it was for film and for the fact that The Dark Knight and The Wrestler didn't get their proper due. I think if Mickey Rourke wins and gives a speech that is anything remotely close to what he did at the ISAs, I'll be happy. Even so, if Sean Penn wins, at least there's a good chance he'll say something art-fagulous and pissy...gotta love these temperamental, artistic types!
- Best Actress is an interesting race, but given that we have this new method of propping up Hollywood millionaires for announcing nominees this year, we should see a lot of cry babies. Should be a blast.
- That being said, I don't think I'd be upset with any of the nominees winning. They're all spectacular. Quick sidenote, WOW Sophia Loren! I always thought she was staving off old age pretty well, but I guess she has finally gotten over the hill. She apparently fell asleep at a Darque Tan for 8 weeks and then had a vile of botox injected everywhere. Yikes.
- Kate Winslet takes it, long overdue. She's only one of the best actresses on the planet, it's never too late, Academy! 16 for 19.
- While I'm not crazy about The Reader as a film, Kate Winslet was terrific even if it really was a supporting performance, not a lead. But who gives a shit, Winslet is finally getting her due. Unfortunate the Academy works like this, but it does, so get over it.
- Good representation for the Best Actor clan. Adrien Brody's surprise win for The Pianist is still one of my all-time favorite Oscar moments. I also must point out that Richard Jenkins and Frank Langella getting recognized for their great work is well-deserved. As cheesy as it sounds, this is one of those rare occasions where every nominee deserves it so much, that it's a shame there has to be a winner. That being said, take it down, Mickey! You're my boy blue!
- I had a feeling this would happen. There's a lot of talk that Sean Penn is not beloved around Hollywood, but I don't think that's true. He clearly has the ultimate respect of his peers and deservedly so, he's spectacular. And he was great in Milk. However, I just really wanted Mickey to win this one. How poignant and wonderful would that have been? BTW, 16 for 20 now.
- 17 for 21 is how I finish as Slumdog completes its domination. Closing thoughts forthcoming.
So I finish the evening with my best percentage in ages, but there was an absence of enthusiasm and excitement this time around. I can't place my finger on it other than the fact that my two favorite films of the year weren't up for the big prize and Mickey Rourke losing out to Sean Penn cast a little bit of a pall over the evening for me as ol' Mick was the only guy I was really rooting for in this entire production. I still love this time of year and while it left a lot to be desired as far as the quality of what was being represented, I still derive plenty of enjoyment out of this whole shindig. As far as the new format of the show, I still prefer the old way of doing things, i.e. showing film clips of performances instead of having 5 past winners come out and perform oral sex on each of the current nominees just didn't do much for me. One of my favorite things to do is watch award-worthy films and try to figure out which scene will be the "Oscar clip" scene and this year, I didn't get that type of fulfillment. Finally, I still think they should get a funnier, more dynamic host. Nothing against Hugh Jackman, but while he's not in Ellen Degeneres/Whoopi Goldberg territory, he was also very bland and forgettable. I had no problems with Jon Stewart, keep him coming back.
Monday, February 16, 2009
Stupid Sexy Flanders...
Before the Oscars descend upon us in all their glory this weekend, I thought it'd be nice to throw out some diversions I found entertaining/amusing/whatever. After all, the internet is a wild, wonderful place and frankly, I just felt inclined to do so. In advance, you're welcome.
- What makes more sense than a LOST drinking game? If you answered, "Nothing on this god-forsaken planet", then you are correct. Coming soon, a Mad Men drinking game where you take a drink every time someone on the show drinks (oh sweet irony!), smokes, or says something offensive and un-p.c., the last man standing by the first commercial break deserves to be crowned king and hoisted upon shoulders.
- Do you also find Amy Winehouse disgusting and repugnant? Then get ready to drink in an eyeful of this. Something about juxtaposing a fiend like Winehouse next to a woman so affectionately referred to as "Meatwad disguised as a blueberry" really makes me laugh. I guess it also helps to know the background of someone like Winehouse who is ALWAYS being caught on camera doing crap like this (and always topless...*shudder*), so it makes sense to see her playing drunk naked Scrabble. Just another day in the life for ol' A-Wine.
- I know "Sugalumps" has been the big, trendy superhit for Flight of the Conchords this season, but I thought their latest dance-flavored masterpiece from this past Sunday's episode was even better. Affectionately titled, "Too Many Dicks".
- I'm not the biggest Tarantino fan you'll ever meet. He's made some excellent films (Reservoir Dogs, Pulp Fiction) and some not so excellent films (Kill Bill Vol. 1, Death Proof), but holy shit does Inglourious Basterds (yes, that is the proper spelling) look kickass. If you're about ready to vomit from having to watch another generic war movie like I am, I have a hunch that Mr. Tarantino isn't looking to make We Were Soldiers Part 2.
- Limp Bizkit AND Blink 182 are back together?! Could this be the greatest year in music history? I think so.
- On a less sarcastic note, Green Day has a new album coming out in May. It's been almost five years since American Idiot so you can probably count on May as being the month that you get your ass rocked.
- Oh, almost forgot! Superdrag has a new album coming out on St. Patty's Day, so those two cancel out Blink 182 and Limp Bizkit reuniting (I think). Whew, I was worried for a second.
- I don't know what it is about the exchange of, "So you're in The Day The Earth Stood Still?" "Yes" "Why?" that makes me laugh so hard (what can I say? I like simple). More from between two ferns...
I'll be back later this week with Oscar predictions and of course Oscar Sunday, only the greatest day of the year.
- What makes more sense than a LOST drinking game? If you answered, "Nothing on this god-forsaken planet", then you are correct. Coming soon, a Mad Men drinking game where you take a drink every time someone on the show drinks (oh sweet irony!), smokes, or says something offensive and un-p.c., the last man standing by the first commercial break deserves to be crowned king and hoisted upon shoulders.
- Do you also find Amy Winehouse disgusting and repugnant? Then get ready to drink in an eyeful of this. Something about juxtaposing a fiend like Winehouse next to a woman so affectionately referred to as "Meatwad disguised as a blueberry" really makes me laugh. I guess it also helps to know the background of someone like Winehouse who is ALWAYS being caught on camera doing crap like this (and always topless...*shudder*), so it makes sense to see her playing drunk naked Scrabble. Just another day in the life for ol' A-Wine.
- I know "Sugalumps" has been the big, trendy superhit for Flight of the Conchords this season, but I thought their latest dance-flavored masterpiece from this past Sunday's episode was even better. Affectionately titled, "Too Many Dicks".
- I'm not the biggest Tarantino fan you'll ever meet. He's made some excellent films (Reservoir Dogs, Pulp Fiction) and some not so excellent films (Kill Bill Vol. 1, Death Proof), but holy shit does Inglourious Basterds (yes, that is the proper spelling) look kickass. If you're about ready to vomit from having to watch another generic war movie like I am, I have a hunch that Mr. Tarantino isn't looking to make We Were Soldiers Part 2.
- Limp Bizkit AND Blink 182 are back together?! Could this be the greatest year in music history? I think so.
- On a less sarcastic note, Green Day has a new album coming out in May. It's been almost five years since American Idiot so you can probably count on May as being the month that you get your ass rocked.
- Oh, almost forgot! Superdrag has a new album coming out on St. Patty's Day, so those two cancel out Blink 182 and Limp Bizkit reuniting (I think). Whew, I was worried for a second.
- I don't know what it is about the exchange of, "So you're in The Day The Earth Stood Still?" "Yes" "Why?" that makes me laugh so hard (what can I say? I like simple). More from between two ferns...
I'll be back later this week with Oscar predictions and of course Oscar Sunday, only the greatest day of the year.
Wednesday, February 04, 2009
TV Sure Kicks Ass Now
I know this is primarily a cinema-oriented blog, but since television has become an extension of what we expect from film, I felt that it wouldn't be entirely inappropriate to talk a little bit about the ol' picture box. Plus, the Oscars aren't here just yet, so we've still got time. We should all feel quite privileged because as much fun as it is to whine about any and every topic imaginable (the economy, stupid people, politics, nickelback, local sports teams, traffic, summer blockbusters...ok maybe we do have a lot to justifiably complain about), we can still take solace in the fact that we find ourselves smack-dab in the middle of television's Golden Age. Perhaps, it's debatable as to whether or not we're at its peak, but there's no doubt that the level and accessibility of great television is available to anyone that chooses to take advantage of such earthly pleasures. I'm sure there are plenty of nostalgia buffs who somehow, some way believe that TV was so much better when we could ride the wave of such classics as 21 Jump Street, Falcon Crest, Blossom, Alf, and other such wondrous artistic achievements, but those people would be wrong. Not in a "Oh well, it's just my opinion" kinda wrong, but as in "empirical/scientific data can support this" kinda wrong. However, the good news is that it's never too late for anyone. The advent of DVD collections is a gift for humanity entire! And since we're in the midst of the winter/spring TV season, I'd like to take a look at the shows that I'm currently watching and do a little run-down of each one:
Big Love - Very few shows produce at such a consistently high-quality clip as this one. And by very few, I mean the best of the best like Lost and Mad Men. While B.L. is not quite up to the level of those two shows, it's still better than most and features a narrative with good momentum as well as a fearlessness in asking tough questions about love, marriage, and overall morality. While Bill Paxton may be the "featured actor", it's the 3 women (Jeanne Tripplehorn, Chloe Sevigny, and Ginnifer Goodwin) that elevate B.L. above most with not only their performances, but also the depth and complexity of their characters. So far, season 3 has been fantastic and maybe the strongest yet (it's definitely the strongest first 3 episodes they've had), but as with any long arc, we'll have to see how it develops.
Flight of the Conchords - It's no secret that I found the first season to be one of the funniest things to hit TV screens (along with The Office) since Chappelle Show. As a result, a let down was to be expected with their long-awaited second season, but even after viewing the first 3 episodes, I feel that the quality is on par with the first season, but that FotC is simply a show that suffers from a lot of hype. It's a low-key show with low-key humor that doesn't need huge comedic set pieces to elicit laughs so when a huge audience watches with baited breath expecting fireworks, it just won't work that way. All that being said, I've been quite pleased with the season so far and I'm confident that as it continues to hit its stride, it should only get better or at least maintain. It's also worth mentioning that FotC is a show that greatly benefits from multiple viewings (or at least the first season did), so that always must be taken into consideration.
United States of Tara - Only 4 episodes in on the latest from Juno scribe, Diablo Cody and superhero filmmaker, Steven Spielberg. So far, I'd give it a B-minus, but with promise. The first couple of episodes were very funny (as is the show in its entirety), but gimmicky in that you could tell they were designed to suck viewers in (which is fine by me). Since the show is not marketing itself as a straight up comedy, this won't suffice. Thus far, the dramatic elements have been handled unevenly. The ace in the hole for the show is that it has two remarkable talents in Toni Collette (duh) and Rosemary Dewitt at its disposal so in all likelihood, the success of the show will rely heavily on well the writers/directors/producers utilize these talents. Another bothersome element is the unbelievably understanding, flawless wisdom of the two parental figures that Cody has created (both in this and Juno). I have two awesome parents and even they acted like parents at some point during my youth. Diablo Cody would have you believe that parents are just bowling buddies you have to hang out with a lot...have you ever been a teenager?
LOST - I have an ongoing pseudo-joke that depending on which show is currently airing their new season, that particular show is my favorite on television, always alternating between this and Mad Men. So far so good for my boys Damon Lindelof and Carlton Cuse. Excellent freaking momentum and of course, more twists and turns that make my soft head bleed with excitement and pathetic giddiness after every episode. What I love is that Lindelof and Cuse have said in interviews prior to this season that they have no desire whatsoever to make the show accessible to anyone who hasn't seen it (which for anyone that has watched it in its entirety, this has been a given since the beginning of season 2), which is just awesome for writers/producers of a major network tentpole hit to blatantly admit. It means that their only goal is to make the show everything it can be without worrying about all the poor dumbshits that never bothered to watch that "island show". Your life is empty, not mine. Have fun.
The Office - Still the best comedy on television. Up there with The Simpsons and Seinfeld in the annals of great comedy (of any medium). This season is no different. I still laugh my ass off every episode. The way they have managed to flesh out the supporting characters is probably what puts this show over the top. Everyone knows that Michael and Dwight are beyond awesome, but giving more screen time to characters like Creed, Kevin, Stanley, Andy, Oscar, and Angela on a consistent basis was a genius stroke not seen before in television comedies and now we're seeing other shows follow suit (30 Rock and Flight of the Conchords) that are reaping the benefits. Also, while I generally can't stand any form of sentimentality or drama in sitcoms (in fact, Seinfeld had a specific rule of never having characters hug or anyone learning any lessons...EVER), I will say that The Office handles it about as deftly as possible. It never gets cloying or maudlin, it's always earned and heartfelt...a feat that is much easier said than done.
- My latest project has been 30 Rock and I'm about 4 episodes away from being caught up, which explains its exclusion from this list.
- Also, No Reservations with my boy, Anthony Bourdain is not getting ignored, his excellence is just assumed. It's the perfect show for poor folks like me who can't travel or do anything culturally cool. Quick warning to those who haven't watched it: Don't watch it on an empty stomach, you'll end up trying to emulate the show by buying a bunch of crap at the grocery story to make one specific dish and then be left over with a bunch of shit that you'll never eat again. It's an expensive/gross lesson to learn.
- Patiently awaiting the return of Breaking Bad.
- Matthew Weiner is back on with Mad Men? Thank christ. If they would have let him go, they may as well have let Don Draper go and made it the Pete Campbell show. THEN watch those Emmys roll in, AMC!
- I'm excited to see how the audience for The Sons of Anarchy will grow this season as more people find out about this hidden gem. Catch the first season as soon as it comes out on DVD, you won't be disappointed. In the midst of a TV season involving Dexter, Mad Men, True Blood, and Entourage, ol' SamCrow managed to stand out as a show that I looked forward to watching as much as anything else week after week. FX rocks.
- Speaking of Dexter, pick up your fucking game. I wasn't disappointed by the latest season, in fact I may have been one of the few apologists on its behalf, but I still fear that it may be slipping into too much of a routine. While still fascinating, the end is never in doubt. Put a little Sopranos in your diet and inject some uncertainty into the proceedings. Make us squirm, make us uncomfortable. You have two more years guaranteed, don't wrap everything up into a nice neat little package every time.
Big Love - Very few shows produce at such a consistently high-quality clip as this one. And by very few, I mean the best of the best like Lost and Mad Men. While B.L. is not quite up to the level of those two shows, it's still better than most and features a narrative with good momentum as well as a fearlessness in asking tough questions about love, marriage, and overall morality. While Bill Paxton may be the "featured actor", it's the 3 women (Jeanne Tripplehorn, Chloe Sevigny, and Ginnifer Goodwin) that elevate B.L. above most with not only their performances, but also the depth and complexity of their characters. So far, season 3 has been fantastic and maybe the strongest yet (it's definitely the strongest first 3 episodes they've had), but as with any long arc, we'll have to see how it develops.
Flight of the Conchords - It's no secret that I found the first season to be one of the funniest things to hit TV screens (along with The Office) since Chappelle Show. As a result, a let down was to be expected with their long-awaited second season, but even after viewing the first 3 episodes, I feel that the quality is on par with the first season, but that FotC is simply a show that suffers from a lot of hype. It's a low-key show with low-key humor that doesn't need huge comedic set pieces to elicit laughs so when a huge audience watches with baited breath expecting fireworks, it just won't work that way. All that being said, I've been quite pleased with the season so far and I'm confident that as it continues to hit its stride, it should only get better or at least maintain. It's also worth mentioning that FotC is a show that greatly benefits from multiple viewings (or at least the first season did), so that always must be taken into consideration.
United States of Tara - Only 4 episodes in on the latest from Juno scribe, Diablo Cody and superhero filmmaker, Steven Spielberg. So far, I'd give it a B-minus, but with promise. The first couple of episodes were very funny (as is the show in its entirety), but gimmicky in that you could tell they were designed to suck viewers in (which is fine by me). Since the show is not marketing itself as a straight up comedy, this won't suffice. Thus far, the dramatic elements have been handled unevenly. The ace in the hole for the show is that it has two remarkable talents in Toni Collette (duh) and Rosemary Dewitt at its disposal so in all likelihood, the success of the show will rely heavily on well the writers/directors/producers utilize these talents. Another bothersome element is the unbelievably understanding, flawless wisdom of the two parental figures that Cody has created (both in this and Juno). I have two awesome parents and even they acted like parents at some point during my youth. Diablo Cody would have you believe that parents are just bowling buddies you have to hang out with a lot...have you ever been a teenager?
LOST - I have an ongoing pseudo-joke that depending on which show is currently airing their new season, that particular show is my favorite on television, always alternating between this and Mad Men. So far so good for my boys Damon Lindelof and Carlton Cuse. Excellent freaking momentum and of course, more twists and turns that make my soft head bleed with excitement and pathetic giddiness after every episode. What I love is that Lindelof and Cuse have said in interviews prior to this season that they have no desire whatsoever to make the show accessible to anyone who hasn't seen it (which for anyone that has watched it in its entirety, this has been a given since the beginning of season 2), which is just awesome for writers/producers of a major network tentpole hit to blatantly admit. It means that their only goal is to make the show everything it can be without worrying about all the poor dumbshits that never bothered to watch that "island show". Your life is empty, not mine. Have fun.
The Office - Still the best comedy on television. Up there with The Simpsons and Seinfeld in the annals of great comedy (of any medium). This season is no different. I still laugh my ass off every episode. The way they have managed to flesh out the supporting characters is probably what puts this show over the top. Everyone knows that Michael and Dwight are beyond awesome, but giving more screen time to characters like Creed, Kevin, Stanley, Andy, Oscar, and Angela on a consistent basis was a genius stroke not seen before in television comedies and now we're seeing other shows follow suit (30 Rock and Flight of the Conchords) that are reaping the benefits. Also, while I generally can't stand any form of sentimentality or drama in sitcoms (in fact, Seinfeld had a specific rule of never having characters hug or anyone learning any lessons...EVER), I will say that The Office handles it about as deftly as possible. It never gets cloying or maudlin, it's always earned and heartfelt...a feat that is much easier said than done.
- My latest project has been 30 Rock and I'm about 4 episodes away from being caught up, which explains its exclusion from this list.
- Also, No Reservations with my boy, Anthony Bourdain is not getting ignored, his excellence is just assumed. It's the perfect show for poor folks like me who can't travel or do anything culturally cool. Quick warning to those who haven't watched it: Don't watch it on an empty stomach, you'll end up trying to emulate the show by buying a bunch of crap at the grocery story to make one specific dish and then be left over with a bunch of shit that you'll never eat again. It's an expensive/gross lesson to learn.
- Patiently awaiting the return of Breaking Bad.
- Matthew Weiner is back on with Mad Men? Thank christ. If they would have let him go, they may as well have let Don Draper go and made it the Pete Campbell show. THEN watch those Emmys roll in, AMC!
- I'm excited to see how the audience for The Sons of Anarchy will grow this season as more people find out about this hidden gem. Catch the first season as soon as it comes out on DVD, you won't be disappointed. In the midst of a TV season involving Dexter, Mad Men, True Blood, and Entourage, ol' SamCrow managed to stand out as a show that I looked forward to watching as much as anything else week after week. FX rocks.
- Speaking of Dexter, pick up your fucking game. I wasn't disappointed by the latest season, in fact I may have been one of the few apologists on its behalf, but I still fear that it may be slipping into too much of a routine. While still fascinating, the end is never in doubt. Put a little Sopranos in your diet and inject some uncertainty into the proceedings. Make us squirm, make us uncomfortable. You have two more years guaranteed, don't wrap everything up into a nice neat little package every time.
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