So I think I'm finally wrapping up the members' Top 10s for 2009 with my own (although if you have one and you haven't seen it here yet, please send it to me and I will post it!) My movie-going was less than stellar last year, and I feel there are some holes that still need to filled. As is often the case, I was rather surprised when the #1 film of 2009 emerged for me. This was one I don't think I would have predicted. I saw it again on DVD not too long ago, and it really held up well. COLD SOULS was a terrific viewing experience because knew very little about it and went in fairly cold. Wish that happened more often! And so, without further ado, my Top 10 films of 2009: | Read more »
Bruce is a Chlotrudis Board member living in Manhattan. He sees lots of movies and lots of theater, and here he offers his Top 10 films of 2009!
Here's a Top 10 List from one of our newer members, Dave Valdes Greenwood.
The films that resonated with me this year are not all perfect, but all have an ability to express a particular vision well, whether as hyped as WHERE THE WILD THINGS ARE or as under-the-radar as MOON was comparatively.
- A SERIOUS MAN. This is the movie I thought most about after seeing it. A puzzle, a cosmic joke, a provocation, and a pitiless humanist assault on the comfort of faith, it takes the darkness of No Country for Old Men and cloaks it in Leave it to Beaver trappings, which makes the universe’s harsh judgments all the more unfathomable.
- WHERE THE WILD THINGS ARE. An incredibly realized vision of childhood emotions.
- THE HURT LOCKER. Tension of the best kind: character-based.
- AN EDUCATION. Who knew an old school three-act drama could still be potent?
- PRECIOUS. Stunning performances in an unsparing world.
- A SINGLE MAN. Gorgeously composed and haunting.
- IN THE LOOP. Maybe the most laughs of any film in years.
- WHITE RIBBON. Eerie and impeccably controlled.
- MOON. A minimAlist triumph.
- THE MESSENGER. Character studies matched to killer performances.
If I was voting for the Oscars (in addition to the Chlotrudis awards), The Coen Brothers, Sam Rockwell, Carey Mulligan, Peter Capaldi, Monique, the screenwriters for IN THE LOOP, and the cinematographer for WHITE RIBBON would all go home happy.
For the first time ever, I had trouble picking a top film of the year between two worthy candidates - and I don't believe in ties. For more detailed commentary, go to my blog.
Best Chlotrudis non-eligible: Wall-E
Honorable Mention: Alexandra, Ballast, Billy the Kid, Chop Shop, Chris and Don: A Love Story, Encounters at the End of the World, I've Loved You So Long, Milk, The Princess of Nebraska, The Tracey Fragments, The Universe of Keith Haring
Okay, it's my turn. Here are my top films of 2007.
So this year I will agree… it was a somewhat lackluster year for independent film. Not only am I not jumping up and down with excitement about many films this year, my top 2 films were seen at film festivals one and two years ago respectively (ditto #5). That’s not to say that there weren’t some really terrific films released last year, but let’s just look at the #1 film, for instance: SORRY, HATERS. Here’s a film that only had a release in Boston because Chlotrudis brought the filmmaker in to do a special screening. Otherwise it wouldn’t even be eligible. What’s up with that? Incidentally, SORRY, HATERS was my #1 festival film last year. It was a good year for France (they financed, or co-financed 6 of my top films) but not a good year for Canada or Asia, two countries that usually show up strongly on my lists (Canada’s only appearance was the co-financing of my #2 film; although arguably, the star and main driving force of my #3 film is Canadian). Documentaries also performed well, with two showing up on my Top Movies of the year.
- SORRY, HATERS – A powerfully disturbing film that examines one woman’s emotional reaction to the 9/11 terrorist attacks that is also somehow a black comedy. Robin Wright Penn puts in a riveting performance, and Jeff Stanzler has written a refreshing screenplay that is filled with bitter humor and surprising warmth.
- CLEAN – Hmmm… another tour de force performance from a lead actress, this time Maggie Cheung as the widow of a rock star drug overdose victim, trying to stay clean to win back custody of her son. Director Olivier Assayas wrote CLEAN with Cheung, his ex-wife, in mind, hoping to provide her a vehicle for her acting. He is successful, showing us a side of Cheung that is not usually evident in the Asian costume pics we are used to seeing her in.
- HARD CANDY – Another strong lead actress performance… do you see a pattern here? Chlotrudis Breakthrough Award winner Ellen Page lives up to our expectations with a brilliantly self-assured performance in this confounding film that viewers tend to love or hate. Controversial, tough to watch, HARD CANDY follows pre-teen Hayley as she meets a much older man (in his 30’s) on the Internet, then a Café, then agrees to return to his apartment, but Hayley has something else on her mind.
- LA MOUSTACHE – Ah, here’s one for the leading men. Did he really have a moustache? Or didn’t he? That was the mantra taken up by several viewers after enjoying this perplexing, French psychological thriller about a man whose identity seems to hinge on his facial hair. Vincent Lindon (all masculine sexuality in Claire Denis’ FRIDAY NIGHT) plays loving and oh-so confused husband to chameleonic Emmanuelle Devos in this mindbending drama.
- CACHÉ – Is there a more consummate filmmaker than Michael Haneke? This film blew my mind at the 2005 Toronto International Film Festival, and while a second viewing proved to be more straightforward, it is amazing to watch Haneke unravel his story which is all about the things we don’t see on the screen. Interweaving issues around race, privacy, class and politics, Haneke, along with his adept leading actors Daniel Auteuil and Juliette Binoche, create a masterpiece of bourgeois paranoia.
- THIS FIL M IS NOT YET RATED – Kirby Dick’s documentary about the Motion Picture Association of America, the organization that rules of the film ratings board, is a joy for any film lover. Rarely has a documentary ilicited such laughter, triumph and outrage while imparting important information about a frightening trend of eroding liberties. It’s interesting to see how many of the films that have had trouble with the ratings board are Chlotrudis favorites.
- VOLVER – Pedro Almodóvar returns to his female-domainted wacky comedies with a vengeance. With VOLVER he gives Penelope Cruz a meaty role that allows her to truly shine in a way she hadn’t the opportunity before, and he also reunites with his former partner-in-crime, Carmen Maura. How appropriate that volver means “return.” Also in powerful evidence is Almodóvar’s impeccable eye and skill with a color palette; VOLVER is one of the most visually delicious films released this year.
- SHUT UP & SING – Who knew the Dixie Chicks were my favorite band? Not me, until I saw Barbara Kopple’s thoroughly entertaining documentary about a moment in recent history that irrevocably changed the career of the biggest-selling female musical group of all time. An offhand remark dissing the President at a concert in England sets off a firestorm of radio station bannings, bulldozed CDs and even death threats. It’s truly a rare moment to witness the utter transformation of a rock and roll band.
- L’INTRUS – Claire Denis’ films aren’t for everyone. But if you’re like me, you see a Claire Denis film and get all excited afterwards about figuring out what it all means. L’INTRUS is a complex story that references lead actor Michel Subor’s earlier films, involves a character known as Queen of the Northern Hemisphere, and explores the nature of a man’s heart in someone who has received a heart transplant. Dense, visually stunning (thanks to multiple Chlotrudis Award winning cinematographer Agnes Godard) and intentionally oblique, L’INTRUS is another of Denis’ films that stimulate the mind of the viewer.
- INLAND EMPIRE – Speaking of indecipherable films… David Lynch creates a window into his mind, and it’s an unsettling place to be. This uber-creepy tale of “a woman in trouble” offers a vehicle for an amazing performance from Laura Dern that explores Lynch’s views on filmmaking, the Hollywood machine, and the trouble actresses face as they grow older. All the while telling multiple tales and transporting us to another world that is as creepy as all get out!
- THE SYRIAN BRIDE – Highlighting the tragedy of conflict with sheer absurdity, Eran Riklis’ THE SYRIAN BRIDE features a strong script, an assured directorial hand, and a terrific cast, most notably Hiam Abbass as a woman who struggles with the fierce independence she feels in her heart and the obliging acquiescence she lives with toward her husband. It’s a powerful look at the way war shatters families in the most unlikely and unthinkable ways.
- TRISTRAM SHANDY: A COCK & BULL STORY – Talk about a meta-movie! Eclectic director Michael Winterbottom has created a film about the making of a movie adapted from an unfilmable British classic. The terrific cast, including Steve Coogan and Rob Brydon playing themselves, skewer their personas brilliantly and with energetic relish. It’s all a little bewildering, but oh, so much fun.
- IRON ISLAND – This Iranian allegory tells the story of a small community living on a derelict oil tanker off the coast. They are held together by the iron-willed “Captain Nemat,” whose good heart is concealed by his single-minded purpose. When the tanker’s owners decide to sell it, Nemat and his community must find a solution of find themselves homeless. It is a testament to this film that there are no easy answers to the moral dilemma presented.
The Close but no Cigar Crowd (They deserve mention; but I couldn’t quite justify their presence on a Top Films of the Year list): CHANGING TIMES; DELIVER US FROM EVIL; LITTLE MISS SUNSHINE; THE SCIENCE OF SLEEP; SOPHIE SCHOLL: THE FINAL DAYS; WATER
The Bottom of the Heap (Ugh! Didn’t need to see these!): ADAM & STEVE; INNOCENCE; THE MOSTLY UNFABULOUS SOCIAL LIFE OF ETHAN GREENE; THE QUIET; TRUST THE MAN; UNKNOWN WHITE MALE
Biggest Disappointments (These are films that, for whatever reason, I expected more from. In all three cases, the films have merit, they just didn’t succeed with me the way I’d hoped they would): 3 NEEDLES; STOLEN; THANK YOU FOR SMOKING
Biggest Difference of Opinion (These are films that lots of my colleagues loved that I just couldn’t fully embrace.): BATTLE IN HEAVEN; BRICK; HALF NELSON; SHORTBUS