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April 2010
An Education - Lone Scherfig
Evil Dead II - Sam Raimi
Drag Me to Hell - Sam Raimi
Bad Lieutenant - Werner Herzog
Dogma - Kevin Smith
A Serious Man - Joel and Ethan Coen
The Informant! - Steven Soderberg
Election - Alexander Payne
Cache - Michael Haneke
May 2010
Fargo - Joel and Ethan Coen
Vivre Sa Vie - Jean-Luc Godard
June 2010
Up in the Air - Jason Reitman
Sympathy/Mr. Vengeance - Park Chan Wook
Old Boy - Park Chan Wook
Lady Vengeance - Park Chan Wook
Chasing Amy - Kevin Smith
La Femme Nikita - Luc Besson
28 Days Later - Danny Boyle
September 2010
Chungking Express - Wong Kar Wai
The Seventh Seal - Ingmar Bergman
F for Fake - Orson Welles
Blade Runner - Ridley Scott
North by Northwest - Alfred Hitchcock
October 2010
Breathless - Jean-Luc Godard
Team America - Trey Parker
Perfect Blue - Satoshi Kon
November 2010
The Magician - Ingmar Bergman
Alive at Red Rocks - Incubus
Scott Pilgrim - Edgar Wright
Antichrist - Lars von Trier
Up the Yangtze - Yung Chang
Unforgivable Blackness - Ken Burns
JFK - Oliver Stone
January 2011
The Social Network - David Fincher
Seven - David Fincher
February 2011
Amelie - Jean-Pierre Jeunet
Night of the Hunter - Charles Laughton
Citizen Kane - Orson Welles
March 2011
2046 - Wong Kar Wai
The Conversation - Francis Ford Coppola
Reviews
Juno (2007)
Not the Easiest Movie to Like
Let's face it: Juno was a piece of indie-pop that was manipulative, forced, and different to the point of being completely in-genuine. Still, while this movie was far from the best movie of the year, I can't say that I wasn't entertained.
If you asked me about a year ago what I thought of this movie, I would have told you it was great and I would rank it up there with last year's 'There Will Be Blood' and 'No Country for Old Men.' There was a problem with that assessment, and it is the fact that both Anderson and The Coen Brothers were creating something that embarked on something much deeper and moving than the typical teenage reality show. In all honesty, 'Juno' could have been the answer to MTV's 'The Hills.' However, the operative phrase here is 'could have.' Meaning that it might have been had it been directed and acted in different hands.
In a nutshell, this is a film about a 16 year old girl named Juno McGuff (*facepalm) who is unexpectedly impregnated by her best friend Paulie Bleeker. (By the way, writer Diablo Cody clearly has a knack for plucking names out of the strangest corners of her mind. Could she have deliberately been writing this FOR an Oscar?) Juno must then face unspeakable hardships as she decides to bring the baby to full term, and put the baby up for adoption to Vanessa and Mark Loring, a couple of upstate yuppies who suppress a secret that is so obvious you want to shout Vanessa in case she may actually hear you.
There are two reasons why I enjoyed this film as much as I did before it started wearing off after subsequent viewings: they are Jason Reitman and Ellen Page. Reitman, for starters, has proved himself to be quite a director and satirist, and while Juno is FAR from any kind of dark humor or satire, 'Thank You for Smoking' was just that. Still, Reitman was able to bring a style to this film that took the 'cool' down a couple notches and turned up the 'normal,' almost as if he's saying to Diablo, 'I'm sorry, but these brats are just too annoying and self- centered.'
Cody's screenplay offered little empathy for Juno because she is such a smart-ass, a manipulator, and one of the most self-assured teens I have ever seen on a movie screen. This is where Ellen Page steps in and creates a dimension that I personally don't think Cody saw. Page was able to create a sub-conscious fact of Juno not being nearly as smart as she thinks she is, making Juno more grounded in reality than stuck in Cody's fantasy. Still, Cody got the Oscar, so what does that say?
Is the story touching? Hardly, and that is because of the fact that the story in it's entirety is bogged down by this new (and dreadful) hipster-speak. Hipster-speak, for the record, is not cool. It never was cool. It's fool-hearty, annoying, and it makes you want to smack the protagonist for being so damn ignorant and disrespectful. What also doesn't work is the fact that Juno's parents are hardly realistic. Other than the initial confrontation (Dude, just tell them) the parents had almost zero concern. They were loving and supporting, and that is a virtue in a family that is very, very real, but they were lacking in concern and control, which is very strange considering their child was impregnated. This is especially emphasized in the conversation after the initial confrontation.
Dad McGuff: Next time I see him, I'm gonna punch that Bleeker kid in the wiener.
Step-Mom McGuff: Mac, you know it wasn't his idea.
There is something to be said here about the amount of distrust and inaction this family has over their daughter. Sure, it could be real in a family, just like the name Liberty Bell McGuff could be real in suburban Minnesota, but it is hard to look at them and think 'what a wonderful, wholesome, and supportive family.'
The biggest downfall of this movie was how it condescends and manipulates the audience. Another movie that did this was 'One Flew Over the Cookoo's Nest,' and it clearly took a side in whatever culture war was going on at the time. The difference here is in 1978, the war was between tradition, and kinking the system for a new state of mind. Here the 'war' is Hipster and everyone else who isn't hipster. There is legitimacy when there is viable context, but Juno really doesn't display any of that.
In short, 'Juno' was a movie that Diablo Cody written for her own self-gratification. It was her saying, 'look at how cool I am. I know all of these cool things and you can be cool too if you liked them also.' Sorry Diablo, but were not interested in being new age hipster clones. I think I'll stick with Jack Nicholson and watch 'Cookoo's Nest' one more time. Besides, I love the Chief more than I love Olivia.
Though I did like Jason Bateman.
Fainaru fantajî X (2001)
A Scathing Commentary on Religion
Final Fantasy is easily one of the most celebrated game franchises in history, and the way Square Enix develop their games are almost suspiciously in the order of story first and game play second. To me, Final Fantasy, what I've played of it that is, has always had a staple of story telling that severely lacked in many of the video games I have played before, and I think it has a lot to do with the fact that the creators of these games are telling stories about people, rather than caricatures.
Final Fantasy X was my introduction to the series, and it was an experience that has stuck with me since the day it was released. I have played and beat the game a bit over 10 times through out my years of gaming, and it remains my top favorite game after all of these years. The success of this game, however, was not in the way it played, but in the way it played out. My addiction came from my love for the characters, and my ability to empathize with them. The love story between Yuna and Tidus, for video game characters, was true to the point of physical pain. These two characters were more than just creations for entertainment, but they were living, breathing human beings.
This holds true for every single character through out the game. Here we have seven characters spread out, and nearly three days (collectively) to discover who they are, and discover their passion. This is made possible through the way the story is told, and how relevant the story is in actual life. By utilizing actions familiar through organizations like churches and corporations, it is easier to see the manipulation of these characters, and it is easy to find common ground with them. As a citizen of the world, it is easy to identify with these characters.
Still, there is something else about this game that got to me, and that was it's relentless political commentary. It didn't take issue with a specific church (though Roman Catholicism is most certainly an inspiration) but more took issue with Organized Religion itself. The Church of Yevon is nothing less than an empire run by a handful of crooks and fear mongers. Even these characters we can identify with because we recognize them in our churches and our governments. We recognize the fact that they know they have power and are able to use the vulnerability of their believers to keep the population under control.
It shows bigotry practiced through the church, all of which our heroes become subjected to. Rikku being the prime example of constant persecution by Wakka. Rikku, an Al-Bhed, does not believe in the church, and actually represents a small population that stretches across the world of non-religious believers. Wakka is a devout Yevon(ite?) and can not find common ground with those who act against the beliefs of the church. He uses words like 'traitor' and 'heathen' to describe the Al-Bhed, almost in the same way a Christian might describe a homosexual, or a Scientologist might describe a Suppressive Person.
Through the actions of these characters, we discover that there is so much more than what meets the eye, and through thoughtful speculation we discover that Final Fantasy X is much, much more than a mere video game, and much more than an artful masterpiece. Final Fantasy X is an observation on the fundamental insanity of the human race. It is an observation on how we let our superstitions and beliefs allow us to be controlled, and what dangers are most imminent when we allow ourselves to be subjected to submission.
All in all, this game is a must-play. It is easily the most thoughtful and introspective game I have ever played, and it remains to this day the most daring commentary on human nature ever seen in a piece of art, let alone a video game. If not? Look at the movies you watch or the books you read that are made for entertainment? How many of them are willing to look an enormous part of the human collective and say 'you are wrong?'
There are some ... but not many. This game is one of the select few that dares.
Thank You for Smoking (2005)
Best of 2006 So far
This movie is just a non-stop joy of beautiful satirical cinema. Upon viewing many movies of 2006 so far, I find this movie to be the cream of the crop. No doubt the best movie to be released of 2006 this far in the year. The movie tells the story of Tobacco Lobbyist Nick Naylor, who is generally in his profession because he needs to "pay the mortgage." Seems like a good enough excuse to lobby for an industry who is responsible for the deaths of millions per year. However, you do see a side of Mr. Naylor that seems somewhat human. He loves his son like any father would, but in this movie, they really bring it to home.
The most hilarious thing about this movie is that nobody is safe from being bashed. News reporters, politicians, senators, lobbyists, mainstream multi-corporations, the movie industry, product placements, everyone is under constant attack. When I went into this movie, I got more than I expected. What I expected was a cute and fun comedy that might be funny but not really. What I got was a hilarious fair and balanced political satire that was relentless from beginning to end.
Who really shined through was Aaron Eckhart...and actor who has never really impressed me at all with his acting or choice of roles. He was in Suspect Zero which wasn't really good, and The Core, which was just down right horrible. This movie, however, was incredible and hilarious, and Eckhart was the basis of this remarkable movie making. No one could have done a better job, and if the movie releases continue to be as poor and lack-luster as they are now, I think an Oscar may be in order for Mr. Eckhart here.
Other notable performances were J.K. Simmons, who was terrific as BR. He really got the characteristics of an out there hands on boss who isn't afraid to tense up his employees and motivate them. I believed him the entire time and thought it was one of the most extravagant and brilliant performances by him to date. Others might include Katie Holmes who was excellent as the manipulative and in-sensitive reporter who used Naylor to get her story out because of her "terriffic tits." Maria Bello, who pleasantly surprised me due to her other poor attempt at acting in A History of Violence. I loved her in this and thought she was stunning, beautiful, and wickedly funny. As well as the guy who played "Champ" in Anchorman. This guy really does have a sense of comedy because I liked him in movies that really weren't that good such as Anchorman, and Waiting (which actually wasn't terrible because of Ryan Reynolds.) The MOD Squad was perfect in their roles, and did a brilliant job of making the movie how it was supposed to be.
In other words, I was graced by this movie and would love to see it over and over and over. This is definitely one on the market that I would love to buy, and keep for myself so that I can enjoy it time and time again. I HIGHLY recommend this movie and I think everyone who is in for a good laugh (who isn't easily offended) should give this movie a try. It is absolutely hilarious and worth every moment of your time. Enjoy.
Memoirs of a Geisha (2005)
The BEST pre-Munich movie
Honestly, this is probably the best movie to come out Post-Munich. The story is incredible, the characters are beautiful and engaging. The whole movie is so poetically shot, written, acted, produced. Just a brilliant movie in it's entirety. Now, I do understand the fact that Japan has banned it for political racial issues and there might have been some factual errors in it..but I don't think it outweighs the artistry or charisma of this movie. Honestly, this movie should have been a Best Picture contender over Crash, and if it was, I honestly believe in my heart of hearts that this movie would have won Best Picture, because up against Munich, it stands pretty powerful. No movie on the planet matches it's cinematography, which is the BEST cinematography I have EVER SEEN in my LIFE! No really, in my life. The story was absolutely genius...one of the most touching, real, and innocent love stories ever told.
People did have a problem with the English in the movie, but I kind of understand it being used because it took place in a time where America sort of played a super-hero of sorts, and back in the 40's (this is a fact that still applies today) to make it you must know how to speak English, and I think that Marshall figured that having the movie in English sort of represented that importance in other countries. Also what is connected with the English speaking is when the Geisha's meet the Americans and communicate with them, so it all rounds up in the end.
Sayuri, I think, is probably the most complex character created. Although Ziyi Zhang's English could be polished...uh...a lot, BUT regardless...this it doesn't take away from her performance much. She is very believable, her expressions are dead on, and every emotion expressed by Sayuri (happiness, sadness, melancholy, excitement, love) is perfect in every way. The building of her character throughout is amazing. You really come to care for this character although she does have her faults, we realize that she is human and she does make mistakes which makes her all the more human. It's very entertaining to watch this character grow and mature throughout her story, and watch her console her faults and try to better herself.
The most important thing to get from this film is the rivalry between Hatsumumu (or something) and Sayuri. The contrast between the characters are distinguishable, but there are moments where our heroine brings herself down to Hatsumumu's level. Sayuri does learn some manipulation from her rival, and as Hatsumumu takes in Sayuri's best friend turned rival Pumpkin, it really starts to shine through. The rivalry, jealousy, and deceit shows the immaturity phase that they go through, and as Sayuri grows out of it because it starts to hurt her, Hatsumamu remains as stubborn as she starts, but Marshall makes it so you think the relation might get better as it deteriorates right before your eyes. PURE GENIUS! Pumpkin also has her manipulative traits, and he character is probably just as complex as Pumpkin (contradicting what I said earlier). Pumpkin goes through many visible stages in her life in being a Geisha, sinking to a less of a Geisha and more of a manipulative prostitute. The evolution of these characters is portrayed in the most perfect light imaginable.
Sayuri's journey is selfless, which is her most quality attribute. She wants to be a Geisha because of the fact that a nice man showed her one act of kindness, and that one act of kindness inspired her to become a Geisha and find the man she loves. The perfect love story and a story of selflessness and character. This movie is incredibly realistic with dialog, acting, character, story...amazing. This movie is simply amazing.
I'm quite surprised the Academy overlooked this movie for Best Picture, and it surly deserved it's place more than the overrated and over-hyped 'Crash' (which will go down as the biggest upset in Oscar history.) Memoirs of a Geisha will go down in history as one of the most beautifully, artfully crafted movies of all time, and will be cherished by people in the future. It's almost unfair to say it comes second to Munich, but I will say it comes to a close tie between the two.
See it. It's worth it completely.