2003 Rank 'em as you see them

[SinjinSB]

After seeing well over a hundred 2003 movies, here is my current
Top Ten of 2003
The Lord of the Rings: The Return of the King
Mystic River
The Last Samurai
The Italian Job
Finding Nemo
Lost in Translation
Open Range
Kill Bill Vol. 1
Pirates of the Caribbean: The Curse of the Black Pearl
Big Fish

A few still on my to watch list:
The Fog of War
The Corporation
Dogville
Capturing the Friedmans
Touching the Void
The Station Agent
The Barbarian Invasions
Good Bye, Lenin!
Zatoichi
Love Actually

[miseenscene]

Thus far... and including things seen on DVD, since I see more films that way anyway...

The 25th Hour -- 2.5 out of 4
Confessions of a Dangerous Mind -- 2.5
The Way Things Go (1987) -- 1.5
Seconds (1966) -- 4
CQ (2002) -- 3
Donnie Darko (2001) -- 4
Igby Goes Down (2002) -- 2.5
Harry Potter and the Chamber of Secrets -- 2.5
Russian Ark (2002) -- 3
Lost in La Mancha (2002) -- 3
X2 -- 3
The Matrix Reloaded -- 3

[oscar jubis]

These are the remarkable 2003 films I have seen so far. A few were seen at festivals and have not been picked for distribution in N.America(*), as far as I know.

RUSSIAN ARK (Russia)
THE SON (Belgium)
***************************
THE MAGDALENE SISTERS (Ireland)
HERO* (China)
MONDAYS IN THE SUN (Spain)
SPIDER (Canada/UK)

* * * * * * * * * * * * * * * * *
10 (Iran)
11'09"01 SEPTEMBER 11 (Fra/UK/Iran/Japan/US,etc)
ALL THE REAL GIRLS(USA)
AMERICAN SPLENDOR (USA)
ARO TOLBUKHIN:In the Mind of a Killer*(Mex/Spa/Hung)
THE BARBARIAN INVASIONS (Canada)
BLISSFULLY YOURS* (Thailand)
BUS 174 (Brasil)
CAPTURING THE FRIEDMANS (USA)
COLD MOUNTAIN (USA)
DECASIA (USA)
DIVINE INTERVENTION (Palestine/Fra)
THE FOG OF WAR (USA)
FINDING NEMO (USA)
IRREVERSIBLE (France)
JAPON (Mexico)
LOST IN TRANSLATION (USA)
MILLENIUM ACTRESS (Japan)
THE SHAPE OF THINGS (USA)
UNKNOWN PLEASURES (China)
*****************************
21 GRAMS (USA)
LOONEY TOONS: BACK IN ACTION (USA)
MAROONED IN IRAQ (Iran)
STEVIE (USA)
WINGED MIGRATION (Fra)
* * * * * * * * * * * * * * * * * *
BALSEROS (Spain)
BUFFALO SOLDIERS (UK/Ger)
CHIHWASEON aka PAINTED FIRE (So. Korea)
CITY OF GOD (Brasil)
DOWN WITH LOVE (USA)
ELEPHANT (US)
The GIRL FROM PARIS (Fra)
GIRL WITH A PEARL EARRING (uk)
IN AMERICA (Ireland/UK)
LAVOURA ARCAICA aka To the Left of the Father* (Brasil)
LES DIABLES* (France)
The MAN WITHOUT A PAST (Finland)
MASKED AND ANONYMOUS (USA)
MONSTER (USA)
RAISING VICTOR VARGAS (USA)
THE SCHOOL OF ROCK (USA)
The VIRGIN OF LUST* (Mexico)
WARMING BY THE DEVIL'S FIRE (USA)


Other films that deserve attention:Ali Zaoua:Prince of the Streets(Morocco),The Housekeeper(Fra),The Cuckoo(Russia), Movern Callar (UK),Whale Rider(N.Zea),Pieces of April,I Capture the Castle(UK),Respiro(Ita), The Station Agent,28 Days Later(UK),Nowhere in Africa(Ger), Amen(Fra/Ger/US), Fairy Tales to Put Crocodiles to Sleep(Mex), Eden(Poland), On the Ocassion of Remembering the Turning Gate(So. Korea),Laurel Canyon,House of Sand and Fog,My Architect(US),90 Miles(US), Fausto 5.0(Spain),Swimming Pool(Fra/uk),Man on the Train(Fra),Kill Bill(US),Sweet 16,Dirty Pretty Things(UK), A Lucky Day(Argentina),Northfork(US),Thirteen(US),Lawless Heart(UK) and Pirates of the Caribbean.

PERFORMANCES:Charlize Theron(Monster),Romola Garai(I Capture),Miranda Richardson(Spider),Holly Hunter(13),Emma Bolger(In America), Shoreh Aghdashloo(House of Sand),Geraldine McEwan(Magdalene).

Sean Penn and Benicio del Toro(21),Jack Black(School of Rock), Chiwetel Ejiofor(DPThings), Bill Murray(Lost),Johnny Depp(Pirates)

[Johann]

Hmm. So far there's been some good films:

Anger Management- I actually wish this was more over the top than it was. It would have been more funny. (and it seemed to lack a really good ending)

Lost in La Mancha- heartbreaking film that reminded me why I will never be in the movie-making business-fear of this shit happening! Just as good as Eleanor Coppola's "Hearts of Darkness".

Irreversible- if you make it to the end you will have some emotional response. For me, I was indeed moved.

City of God- easily one of the best films I've ever seen. City of God is pure GOLD.

and there are films I want to see badly- Russian Ark (12 days and counting!), The 25th Hour-why hasn't this played here yet? I'm angry-, Nowhere in Africa, A Mighty Wind, Pirates of the Carribean, and Amandla.

[tabuno]

1. Holes (9 out of 10) - This is the best movie of the year so far with its fascinating present/past images technique, with great storytelling, interesting plot, adventure, humor, and a compelling romance-drama - "Stand By Me" - triumph.

2. Identity (8 out of 10) - a fascinating psycho-thriller of the best kind, with a realistic, eerie fear factor of the classic movies. A brilliant cautionary tale to any therapist.

2. Bringing Down The House (8 out of 10) - of the most funniest movies in a long time with a good performance from Steve Martin plus it's comedy containing some serious dramatic, intelligent moments.

3. The Hunted (8 out of 10) - An amazing special ops thriller and an intelligent alternative to the less technically minded. While missing out of the character drama, the action thrills are compelling and played straight instead of theatrically phony.

4. The Lizzie McGuire Movie (8 out of 10) - A delicious adaptation to the big screen with delightful animated interludes and a great, charming movie for kids. A solid and thoughtful movie.

5. How To Lose A Guy In Ten Days (8 out of 10) - There are scenes in this movie that defy quality, professional honesty that work like gems though the ending wasn't as sharp as it could have been.

6. What a Girl Wants (8 out of 10) - An above average comedy about growing up improves on its predecessor pushing the envelop between comedy and drama, smoothly combining both elements making this movie a much more intelligent, mature, and delightfully entertaining movie.

7. Anger Management (7 out of 10) - An uneven but enjoyable ride.

8. A View From The Top (7 out of 10) - A Different, Dorky, But Solid Comedy.

9. X-2 (7 out of 10) - A Techno-Thriller, but With Really Irritating Plot Flaws.

10. Bullet Proof Monk (7 out of 10) - Notch above the average martial arts movie. It brings a refreshing new breeze of comedy along with dramatic harder elements.

11. The Recruit (7 out of 10) - Predictable, Weak, But Completely Entertaining.

12. Shanghai Knights (7 out of 10) - A Fun, Mindless Movie.

13. Tears of the Sun (6 out of 10) - A Decent but Not Outstanding Movie.

[treadman]

The best film I've seen so far this year is ALL THE REAL GIRLS, David Gordon Green's follow-up to GEORGE WASHINGTON (2000)..Sony threw this away too early in the year and shame on them. This movie is a masterpiece.

[treadman]

WHAT A GIRL WANTS was just as bad as the original, THE RELUCTANT DEBUTANTE (1957)..it was less a comedy of manners than a ripoff of an even worse film THE PRINCESS DIARIES (2001).

[rocketrogerhood]

A Mighty Wind 7/10
Enjoyable but heavily flawed. Three masterpieces in a row would have been asking too much. Why so little screen time for Parker?!?

Xmen2-Too dumb to give a rating other then whatever.

[HorseradishTree]

My personal favorite of the year so far is Daredevil. Much to the dismay of my adulescent companions, I proudly say I like it better than Spider-Man. I'm really falling for this comics movies drive, what being such a fanboy and all. Daredevil proved that comics are not just men in tights and cackling villians with nuclear bombs. This made it so realistic that it could be believable. Thoughts?

[Chris Knipp]

According to my records I've seen 69 movies in regular theatrical release in 2003 so far, of which most were made in 2002 and many were released in 2002. I don't want to get pinned down so soon, and the best is yet to come in US releases I'm sure, but so far my picks of 2003 releases might be, alphabetically:



Better Luck Tomorrow
Charlotte Sometimes
City of God (Didade de Deus)
Confessions of a Dangerous Mind
Gerry
Raising Victor Vargas
Shape of Things, The
Son, The (Le Fils)
Spun


This excludes various great ones I saw this year that were actually released in 2002. Obviously it's a list that favors the arty and focuses on the adult and the serious, but not on the obscure: these were all readily available in Bay Area movie houses this year.

I'm surprised at how many of other thread listings I haven't seen that I wish I had, even the mainstream ones I could have caught. I'm looking for a great mainstream or blockbuster movie, but I haven't found one yet. Italian Job might come close. I haven't seen X-2. Matrix? I couldn't stay awake long enough to say -- dozed during the freeway car chase which my co-watcher said was excellent.

[HorseradishTree]

Gosh I really want to see City of God. I've heard so much about it and can't wait.

[Chris Knipp]

I think you can rent it now--if not now, soon.

[oscar jubis]

City of God is still earning a healthy 3k per screen per weekend. It has not been scheduled for release yet. Maybe late august but more likely a September release.

[Chris Knipp]

What the tables say is that City of God is grossing $1,897 per theater, not $3,000. The Brazilian movie is still making US box office money, showing in 16 theaters now in its 21st week, down from 108 at week 13.

Where are those 16 theaters, though, in case HorseradishTree wants to travel to see it? In NYC, Chicago, and Miami, apparently, but not Seattle, San Francisco, Los Angeles, Denver, Phoenix, Boston, Washington, Philadelphia or Houston-- I'm curious just what in the world those 13 other theater locations are.

[HorseradishTree]

I'm pretty sure it's playing in Albuquerque where I am at our Madstone Theater. God, Madstone rules!!! Or maybe they stopped it...oh well my paternal units recently viewed Nowhere in Africa and strongly recommend it, although they say don't bring your kids because even though it's PG, it's a German film and I suppose they're a lot more open about things like mature themes.

[Chris Knipp]

Hey, you're right! It's at the Madstone Theater in Albuquerque today at 1:20 | 3:50 | 7:20 | 9:50 . The Web tells me so.

If there's a way you can find out where a movie is showing all over the country, I don't know what it is.

[HorseradishTree]

Yeah, I just checked it too. I guess I'll go see it then. Whoopee.

[Johann]

I'm slowly learning that as the year progresses, you have to rearrange picks for "best" anything. Best films so far? I"ve got this list:

Russian Ark
The Dancer Upstairs
Winged Migration
Hulk
The Matrix Reloaded
Swimming Pool

[Chris Knipp]

Russian Ark was last year I think, but that's okay if it works for you.

[pmw]

hmmm...kind of thought Winged Migration sucked. The shots were awesome, yes, but do birds really fly to the beat of Enya?

my picks:
Spellbound, Spider (this year?), 28 Days Later, Capturing the Friedmans...so far so good!

[oscar jubis]

Chris is right in the sense that RUSSIAN ARK opened in one theatre in Manhattan on 12/13/02, then was not released in the rest of North America(including L.A.) until 2003.
SPIDER opened in one theatre in L.A. on 12/20/02, then opened in NYC on 2/28/03 and gradually in other markets.
I wonder whether this disqualifies them for Oscar consideration for 2003.
I have included both in my best of 2003 list, on page 1 of this thread, which I edit every time I watch a film that merits inclusion.
My enjoyment of WINGED MIGRATION was not diminished by the soundtrack. Actually, not even M. Bolton or Spiro Gyra would ruin the experience for me. I am surprised to read pmw thinks the movie "sucked".

[pmw]

Youre right, it certainly didn't suck. Quite a feat of cinematography and a stock of footage that will be valuable and enjoyable for years to come. That said I didnt think the musical additions or the lightweight commentary did justice to the natural beauty of the birds on their travels.

[Johann]

I didn't mind the music in Winged Migration at all. Was it Enya?

The film is all about the birds- not music or narration. I also went to the film after a six-pack of Beck's, so I was primed to like anything that was shown to me :)

It's just a majestic doc. That's all. Too bad you didn't enjoy it..

[Johann]

**SPOILERS**

I'm adding Kiarostami's "10" to the list.

This film should have won the Palm D'or. Abbas takes a bold idea and comes up with a beautiful montage of female yin and yang.

It's a convincing exposee of one lonely Iranian woman. She's a taxi driver, and she's both repulsive and attractive. She has conversations with other women and her son that speak volumes about her own insecurities & dreams. Staggering film.
My favorite scene is the one with the prostitute. I know why Kiarostami doesn't show her face, but God did I want to see it!!
Never in my life have I wanted to put a face to a voice..


Touching, heartbreaking, I saw it twice.

[Chris Knipp]

My revised list for 2003 up to date (as of August 31) is more or less as follows.

BEST NEW MOVIES SEEN SO FAR (in alphabetical order)::

USA:

Better Luck Tomorrow
Charlotte Sometimes
Confessions of a Dangerous Mind
Gerry
Northfork
Raising Victor Vargas
Seabiscuit
Secretary
Spun

OTHER COUNTRIES:

Cidade de Deus
Dirty Pretty Things
Son, The
Spider
Sweet Sixteen

[tabuno]

(Updated of May 8, 2003 Rankings)

1. Holes (9 out of 10) - This is the best movie of the year so far with its fascinating present/past images technique, with great storytelling, interesting plot, adventure, humor, and a compelling romance-drama - "Stand By Me" - triumph.

2. Finding Nemo (9 out of 10) - This blockbuster animated movie was an instant great classic in my mind after I left the movie. It hit all the emotional adventure points - good humor, good story - (father and son), good sidestory with disability issues, great animation, exciting.

3. Seabisquit (9 out of 10) - One of the best movies of the season containing most of the critical plot points to make a great story telling drama. This American pull-me up by the bootstraps, coming from behind, American success story has a strong message of hope produced and directed with strong cinematography and good acting that allows the audience to ignore the famous actors and concentrate of the film (a sign of truly amazing film-making).

3. Lara Croft Tomb Raider: The Cradle of Life (9 out of 10) - While many people weren't really impressed with this movie, the feminine touch and the downplay of the usual adventure thriller psycho-babble, made this movie much more appealing and intellectually stimulating than most movies of this genre. While the special effects in a few places sucked, this movie was a solid, intelligent action thriller that hit on good ethical and emotional levels.

4. Uptown Girls (9 out of 10) - I will lose all credibility by this ranking, but I have to call it as I seem them. This growing-up genre movie contains deeper messages in a truly humorous but dramatic fashion. This is one of the few movies that have been able to obtain the drama-comedy balance and careful blend of humor and sadness that is so rare and difficult to accomplish. A brilliant product that requires a truly good actress and direction to produce well. This is what true motion picture experience is all about - something that Ally McBeal came close to achieving.

5. Identity (8 out of 10) - a fascinating psycho-thriller of the best kind, with a realistic, eerie fear factor of the classic movies. A brilliant cautionary tale to any therapist.

6. Whalerider (8 out of 10) - an independent sleeper of true, small epic proportions about tradition and change. This compelling movie creates a real picture about different cultures that have import onto our own lives.

7. 28 Days Later (8 out of 10) - a fascinating, intelligent, more serious look at the horror genre filmed in a creative, independent way...reducing the gore and increasing the cerebral quotient towards Ridley Scott's Alien dynamics of film.

8. Pirates of the Caribbean: The Curse of the Black Pearl - One of the solid standouts this year in terms of entertainment and odd characters.

9. Bruce Almighty (8 out of 10) - entertaining comedy of Jim Carrey proportions who is beginning to become a true actor in his own right.

10. Bringing Down The House (8 out of 10) - of the most funniest movies in a long time with a good performance from Steve Martin plus it's comedy containing some serious dramatic, intelligent moments.

11. Freaky Friday (8 out of 10) - an entertaining remake with a delightful cast and funny version of switched body experiences.

12. The Hunted (8 out of 10) - An amazing special ops thriller and an intelligent alternative to the less technically minded. While missing out of the character drama, the action thrills are compelling and played straight instead of theatrically phony.

13. Down with Love (8 out of 10) - An overlooked, underappreciated update of the old 1950s romance comedy completely redone with a brilliant combination of old and new, highlighting the best of the old and inserting the contemporary edge of today. One of the truly few successful accomplishments of this form of old and new.

14. The Lizzie McGuire Movie (8 out of 10) - A delicious adaptation to the big screen with delightful animated interludes and a great, charming movie for kids. A solid and thoughtful movie.

15. Daredevil (8 out of 10) - A more dark and serious comic book version brought to life for adults.

16. How To Lose A Guy In Ten Days (8 out of 10) - There are scenes in this movie that defy quality, professional honesty that work like gems though the ending wasn't as sharp as it could have been.

17. What a Girl Wants (8 out of 10) - An above average comedy about growing up improves on its predecessor pushing the envelop between comedy and drama, smoothly combining both elements making this movie a much more intelligent, mature, and delightfully entertaining movie.

18. Sinbad: Legend of the Seven Seas (8 out of 10) - A fun, enjoyable romp on the road to adventure with strong male and female parts.

19. Terminator 3: Rise of the Machines (8 out of 10) - A decent sequel to the series that keeps the audience involved, though predictable, Arnold still has what it takes.

20. The Hulk (8 out of 10) - A good version of this comic book hero (or anti-hero) that shows more personality, depth than most movies of this genre.

21. Agent Cody Banks (8 out of 10) - There is something subdued and not exactly overthe top in this approach to spykid movies. The coming of age movie with the adventure twist is done with style and fun.

22. The In-Laws (8 out of 10) - The usual crazy, zany screwball humor with Michael Douglas once again breaking out of his shell with Albert Brooks.

23. Alex and Emma (8 out of 10) - Definitely a charming, rewarding romantic comedy film worth the price of Luke Wilson and Kate Hudson getting to try out multiple parts and roles.

24. Anger Management (7 out of 10) - An uneven but enjoyable ride.

25. Charlie's Angels: Full Throttle (7 out of 10) - A overthetop action thriller that is mindless but who cares - it has a lot of energy, implicit sex, and explosive summer scenes.

26. Italian Job, The (7 out of 10) - Pushing the envelope of adventure actions - this eye-popping caper has it all...while not setting a new standards, it carries out its mission within the confines of existing companion movies well.

27. League of Extraordinary Gentlemen (7 out of 10) - A creative, enjoyable action, comic book, literary exploration of characters that stretches credibility, but loads up the screen with a lot of thrilling scenes.

28. Legally Blonde 2: Red, White & Blonde (7 out of 10) - A competent, entertaining sequel with a funny plot.

29. Hollywood Homicide (7 out of 10) - Another police-comedy, partner clashing rendition - it's just fun how Harrison Ford does his deal.

30. A View From The Top (7 out of 10) - A Different, Dorky, But Solid Comedy.

31. X-2 (7 out of 10) - A Techno-Thriller, but With Really Irritating Plot Flaws.

32. Bullet Proof Monk (7 out of 10) - Notch above the average martial arts movie. It brings a refreshing new breeze of comedy along with dramatic harder elements.

33. The Recruit (7 out of 10) - Predictable, Weak, But Completely Entertaining.

34. Shanghai Knights (7 out of 10) - A Fun, Mindless Movie.

35. Matrix Reloaded (6 out of 10) - Overstated and outragious special effects with a confusing collision of ideas - losing its way into deeper mysticism.

36. Spy Kids 3-D: Game Over (6 out of 10) - An irritating bit of rehashed ideas that have overplayed their game credits and the usual 3-D ploy whose time hasn't quite come yet.

37. Tears of the Sun (6 out of 10) - A Decent but Not Outstanding Movie.

38. S.W.A.T. (4 out of 10) - A tired version of supercop movies with nothing new to offer.

[Chris Knipp]

Couldn't you narrow that down a little? This is more like a list of half the movies you've seen over the past two or three months -- and it seems to skip many of the releases for earlier in the year so it can't be called "updated. . .2003 Rankings." And why date it "May" when you are entering it September 1st? Do you mean May-Sept. viewings?

[oscar jubis]

2003 looks to me like a good year for English-language movies. It certainly looks better than 2002, a mediocre year for films from English-speaking nations. My opinion is based not only on the high quality films I've seen this year, but on the well-received films I still have to catch up on and the promising ones ready for fall release.

Any Day Now
Lost in Translation, Kill Bill, Mystic River, Movern Callar, Sweet Sixteen, Holes, Shape of Things.

Coming Attractions
Cannes Winner Elephant; 21 Grams, from the team that made Amores Perros and starring Sean Penn and Benicio del Toro, Tim Burton's Big Fish; The Girl with the Pearl Earrings, with Scarlett Johanssen as Vermeer's model;LOTR 3; Errol Morris' The Fog of War, Jane Campion's In The Cut, Norman Jewison's The Statement, Robert Altman's The Company, House of Sand and Fog, Cold Mountain, with Kidman and Zellweger; Sundance winner Pieces of April.

The Best So Far
The movie with most emotional impact on me is the Irish The Magdalene Sisters from actor-turned-director Peter Mullan. Hollywood released three of the most graceful, lively, big-hearted comedies in recent memory. Perhaps best is Disney's Finding Nemo because of the inspired visuals and bizarre tidbits. School of Rock is the perfect showcase for Jack Black's inmense comedic talents. Down with Love is the best secret at the rental store: A period('62) romantic comedy full of double entendres, inventive sight gags that make inspired use of the widescreen format, and a lush musical score. From Canada, Cronenberg's Spider. Two films that combine documentary and narrative techniques:American Splendor and Charles Burnett's Warming Up by the Devil's Fire . Capturing The Friedmans. The avant-garde feature Decasia. Two superb Amerindies: Raising Victor Vargas and All The Real Girls. Two irreverent, relative obscurities: Masked and Anonymous, with Bob Dylan and Buffalo Soldiers with Joaquim Phoenix and Anna Paquin. Dogville, with Ms. Kidman.(US Release dates pending, I watched it on import dvd) .I also liked Whale Rider, I Capture the Castle and 28 Days Later and hope the makers of Northfork, Dirty Pretty Things and 13 try again.

[Johann]

I'm happier than last year at this time with what releases we've had. Not so much heavy political brow-beating. (I see Michael Moore hasn't got it out of his system yet...)

Kill Bill is a riot of cinematic lore. If you can't roll with it, I have no sympathy. By now you should understand QT's motivation. He's the ultimate film geek, and I would be able to chat him up for hours. I relate to him very much. He didn't go to film school- "I went to films" he said. Damn straight.
Video Archives- seems to be a better education than UCLA...

I didn't see "Seabiscuit". I could see the baby boomers cheering way before it hit theatres. It's another "Chariots of Fire". Not that that is a bad thing: it did win Best Picture.
Stupid name for a horse, btw. Champion or not.

Mystic River is looking to be Eastwood's greatest effort. Gavin Smith raves about it in Film Comment. I like Clint very much so I'm a little excited. And Sean Penn will get me into a theatre seat without much arm-twisting. The guy is electric. Add Tim Robbins, Mr. Bacon, and yeah I'm sure I'll like it.

Elephant is the one I've really got my eye on. Palm D'or winner? OK. It had better be a supreme work to beat Kiarostami's TEN. I haven't seen Pieces of April either. I got some catching up to do.

Lost in Translation. Hmm. Bill Murray is hit and miss with me. It has the Coppola name on the poster, so it has piqued my interest. Scarlet is a darling. Ghost World, anyone? She's carving out a nice little career. And she's a young woman still....

Oscar! Is Russian Ark better than Dogville? Or can you compare them? I have an inkling Trier will be my savior this year- Young Americans....oh yeah baby. "Mandalay" is up next for him.
BTW, are you a Marlins fan? hee hee

And where is Greenaway when I need him? I am dying to see part 1 of the Tulse Luper Trilogy (The Moab Story). It should play here sometime in the near future. Gotta keep scouring the papers..

Disney's HOLES was an enjoyable rental. (I love Patricia Arquette and you should get a kick out of Voight)
Big Fish stars Ewan McGregor and he says he had a fantastic time working with Burton.

[oscar jubis]

This time last year I had few films in English to recommend. I'm glad we're not seeing a repeat of 2002.
I keep updating my list on page 1, which includes foreign language films. My favorites are The Son, Zhang Yimou's Hero (the most visually ravishing), Mondays in the Sun, with Javier Bardem, and Russian Ark, which is a daring stunt, an experiment that works, simple yet so refined, with camera movement out of a Marcel Ophuls film. Think The Earrings of Madame de... or La Ronde, but ONE(1) take! It feels perfect to me. I think it a greater achievement than Dogville, but Trier offers plot, compelling, resonant themes, actors and ...controversy. And just like Greenaway's Suitcases and Yimou's Hero, no North American release dates.

Marlins fan? You bet, but one of those that payed attention only when they started winning. Can't help but fall in love with a bunch of inexperienced low-pay rookies nobody thought would be here.

[Johann]

Now that you mention it, Russian Ark is a work of art not unlike an Ophuls film. (His name is Max, by the way).

I just mentioned Trier & Sokurov in the same breath, but I know that they are two very different creatures.
Trier & Kidman. sounds like poetic alchemy to me...

Greenaway is uber-art house. He's so obscurely seen in North America it's a testament to his working methods that he is only known widely for The Cook, The Thief, His Wife & Her Lover.
He Has Other Films...

I'm expecting to see The Moab Story and a Fellini film somewhere on the bohemian left bank....

[Chris Knipp]

Are you excited about .Elephant opening next week? The teasers did tease me. I even liked Gerry.

You finally caught Oscar in an error. Tut, tut, Oscar! But at least you began with the right letter.

This year it's going to be a matter of paring down, to find a top ten US, rather than stretching and squeezing to find the required total.



www.chrisknipp.com

[Johann]

Max is Marcel's father.
He DID mention Max's films...

[Chris Knipp]

oh oh oh.

[oscar jubis]

My rep is hopelessly soiled, guys. It's Max Ophuls who was the master of the gliding camera and died in '57. Born Max Oppenheimer in Germany, Ophuls worked in several countries including the US where he made Letter from an Unknown Woman with Joan Fontaine. A favorite.
His son Marcel is also a director of distinction. His Hotel Terminus:The Life and Times of Klaus Barbie is riveting and informative.

[Johann]

I'll be filming Max Ophuls' crypt in Pere Lachaise cemetery. He was cremated and is in the mausoleum there. He's in good company: Sarah Bernhardt, Yves Montand, Simone Signoret, Jim Morrison, Edith Piaf, Chopin, Oscar Wilde and Gertrude Stein all reside in this HUGE cemetery.

Others in the city I plan on "shooting": Francois Truffaut, Sacha Guitry, Jacques Demy, Napoleon Bonaparte, Sir Sidney Smith, Baudelaire, Paul Verlaine and I'll be taking the Gare Nord up to the the Belgian border at Charleville-Mezieres to visit Arthur Rimbaud's museum and grave.

Sound morbid? Not at all- it's just a little pilgrimmage I've been planning for a LONG time....

[Chris Knipp]

Bon voyage, Johann. May the Force be with you on this Sentimental Journey.

P.s. I've been disappointed to find that Elephant is only opening in LA and NYC, and its future otherwise is uncertain. Instead there's a talky, overexplanatory (and from the looks of it much more commonplace) version of the story that's already being previewed locally.


www.chrisknipp.com

[oscar jubis]

Elephant will open wide. I couldn't find out dates though. What's becoming clear is that whereas the Cannes jury clearly liked it more than Mystic River, American crits (and audiences in NYC and LA) would rather watch Eastwood. I'd guess that River is a more comforting piece of film entertainment than the three-time Cannes winner.

[Chris Knipp]

Do let me know if you find out the dates. I would very much like to know if it's actually going to "open wide." How do you know? I couldn't find that. It was said earlier that it might go direct to video, because it was made for HBO. Especially since there is a more mainstream, talky version of the story about to be released, which may push Elephant out of the room, I really have my doubts. The Cannes taste is very different from the American taste. It's not only that Americans don't want their nose rubbed in Colombine, but that Van Sant in his arty phase is something Americans hate. Gerry was loathed and pretty much bombed, even though some people loved it. I liked it quite a lot and think it one of the most distinctive movies of the year, and that's one of the reasons why I am eager to see Elephant. But I'm in a small minority on that.


www.chrisknipp.com

[oscar jubis]

I have ambivalent thoughts about the latest from director Jane Campion (The Piano, Portrait of a Lady). In The Cut confirms (as if any proof was needed) that Ms. Campion is a visual artist of the highest caliber who has something original to say. She is masterful at creating a mood and helping actors modulate and pitch a performance. One of my favorite scenes in any of this year's films involves Meg Ryan and Jennifer Jason Leigh as somewhat disillusioned half-sisters frankly discussing the meanings and complications of sex for mature single women. It made me wish the film stop wasting my time with corpses and suspects.

The problem is that these are indeed characters in a slasher mystery/thriller. If one were to evaluate the film exclusively on the basis of that popular genre, I'd agree that the film is an interesting failure. Plot contrivances and unlikely coincidences abound. Most critics have chosen to focus on the mystery aspect while neglecting In the Cut's many virtues. Thus, in general, the film is being under-rated. (Only Mick LaSalle of the S.F. Chronicle over-rates the film). To complicate matters, those likely to be receptive to the film's strengths, might be turned off by gory crime scenes.

[Chris Knipp]

I have to admit that I approached "In the Cut" with suspicion, Nonetheless I truly wanted to like it, and I tried to. It's certainly not just a cop flick. It creates a very unusual atmosphere in some ways, and the look, though too self-conscious, does succeed in being different. Mark Ruffalo is usually interesting, and he doesn't disappoint. He is exactly what's called for: a homicide detective, but with a dangerous sexy edge. Meg Ryan does disappoint: she's just drab, and we can't see the intelligence the story seems to want her to have. There is no real interest in the character she creates. And Jennifer Jason Leigh is frumpy to the point of being downright repulsive. She's usually over the top and this is no exception. The ending is tacked on and unbelievable. There's too much cop stuff for a psychological study and too much psychological study for a suspenseful slasher murder story. (You make this clear, Oscar, when you say you like their conversation but wish it were in something other than a slasher mystery: well, it is what it is.) The result is an interesting failure, but still a failure: one can understand why the word "mess" has been used a lot in describing the movie by critics. Mike Lasalle's adulatory review is unconvincing. He talks himself into his high praise with a lot of unfounded and off-the-wall generalizations about life that have little to do with this movie, or any movie. I''m not ambivalent about "In the Cut." I don't like it. I'd only advise people to watch it for Mark Ruffalo's performance and one or two tiny moments that are fresh, like when the bouncer comes on to Ryan's hunky student.

"Elephant," however, is poetic and magical--and its finale is terrifying, shocking and indigestible, just like the real event. I admit that I expected to like it, just as I feared I wouldn't like "In the Cut." But I didn't know how complex and unique "Elephant" would seem in retrospect. I hope there will be some discussion of it. I started a thread on it, but I guess it's not "open wide" yet though it came to Berkeley last Friday and I pounced.


www.chrisknipp.com

[tabuno]

This boring movie with its traditional crime-thriller ending isn't let down by Meg Ryan. She seems to be the one brilliant gem with her acting performance that is let down by the plodding direction and the sub-par script. I enjoyed her out of character performance and gritty manner of out of make-up acting that helped this movie from being a complete disaster.

[oscar jubis]

I really enjoyed looking at this film. Too many film reviews could pass for book reviews because there is no attempt to describe and analize images. Cinema is a visual medium and Ms. Campion has complete command. I'm talking about framing, depth of focus, shooting angles, the rhythm of the editing cuts, the use of color, the use of different film stocks, camera movement, etc. The way Ms. Campion and her DP direct one's attention and conjure up moods by focusing sharply on an object and leaving equidistant objects out of focus is brilliant. Not that any of this would interest Mr. Tabuno. As a lover of cinema, not mere storytelling, I cannot dismiss In The Cut.

Content-wise, the film succeeds as character study but fails (and wastes time) as slasher thriller/mystery. Having seen every Campion film (including Two Women and her student short), I think she agreed to direct to get a movie made about a single woman near-40 dealing frankly with her affective and sexual needs. The ordinary slasher plot is "the price you pay" to get it financed.

[Chris Knipp]

"Content-wise, the film succeeds as character study but fails (and wastes time) as slasher thriller/mystery. Having seen every Campion film (including Two Women and her student short), I think she agreed to direct to get a movie made about a single woman near-40 dealing frankly with her affective and sexual needs. The ordinary slasher plot is "the price you pay" to get it financed." -- Oscar Jubis.

These conclusons are ridiculous. Nobody would make a slasher movie in order to raise the dough to present a sensitive character study of the sexual and emotional needs of women. This was not conceived as a slasher thriller/mystery at all and was not an artistic compromise but simply an unsuccessful adaptation. Jane Campion took up the Susannah Moore novel because it was edgy, smart, and original -- not a slasher movie, but a new twist on a murder mystery genre that is, in fact, a sensitive study of a women with rather bizarre risk-taking tendencies aggravated by her sexual neediness.

The film doesn't "content-wise" succeed in one way and fail in another. It just fails. The book adaptation was ill conceived, despite the author's collaboration. Some fiction that may seem cinematic is cheapened by turning it into a movie. The fact that it has attention-getting visuals doesn't save In the Cut from failing but if anything underlines the failure. Turned into a movie, the Susannah Moore novel has lost the smartness and edge and just seems a conventional slasher piece. It doesn't succeed on any level, visual, character study, or slasher mystery. It's arse-backwards to say the slasher stuff "wastes time" from the character study. It's all the sex and character study stuff that is allowed to spoil the pacing of the murder plot--but that's the ill conceived nature of the screenplay adaptation. This failure of the elements to cohere or of the whole movie to have good pacing is why the word "mess" is used frequently in discussions of this movie. All you can say is that it's an interesting mess, with a couple of interesting moments and a fine performance by Mark Ruffalo. He succeeds as an actor; the movie doesn't succeed as anything. No matter how much one admires Jane Campion, she has messed up before. Everyone realizes this, and no amount of wishful thinking is going to make In the Cut important at awards time.

www.chrisknipp.com

[oscar jubis]

Even a cursory review of Ms. Campion's career would indicate it was the central character and her dilemmas that attracted her to this project. There are several incisive scenes that constitute a "portrait of a lady". I wish there were more of them.
I have no opinion regarding Moore's book or its adaptation. Unlike Mr. Knipp, I have not read it.

[Chris Knipp]

I didn't mean to say that the director's choice of the book was out of character or that choosing the book was "ill conceived". It's the resulting adaptation that's "ill conceived": I may have not said this clearly.

I think there are things in the book that keep it from seeming the conventional serial slasher murder mystery, but the movie falls back into the stereotype, despite the great effort to make it visually unique, etc. Point of view deviates from the "portrait of a lady". There are those of us, by the way, who think that, with the present example in mind, Ms. Campion has been too hard on her women and ought to give them a break.

[oscar jubis]

One of the films I added recently to my list is The Barbarian Invasions. I was really impressed by this film from writer/director Denys Arcand (Jesus of Montreal), a favorite to win the Oscar for best foreign language film (from Canada, in French). The film is a follow-up to Arcand's The Decline of Western Civilization. The central character is a gregarious, leftist college professor, now in his 50s and dying of cancer, and how his family and friends help him to die with dignity. By the way, it's primarily a comedy, with no trace of contrivance or cheap sentiment. The main tension is generated by the hedonist, counter-culture Remy butting heads with his conservative, practical son Sebastien. Arcand's screenplay is full of wit and bite.

[Chris Knipp]

I will have to see it. I already knew I should: see below for my 2003 Best Lists. I've seen these--except for one: I am assuming LOTR 3 will be worth listing, but am holding off seeing it till I've prepped with some further reading. This was a great year for documentaries and not so good for foreign films--though City of God was one of the best ever. As usual, I've listed Ten Best US and Ten Best Foreign--except that I couldn't come up with quite ten foreign bests. I didn't list the year's "Worst" this time, leaving that to those who seek out junk more assiduously than I do. Note that being "most overrated" doesn't mean a movie isn't a good one. "Shortlisted" means runners-up to the 'best' lists.




TEN BEST OF 2003 ( U. S. )______________________________________________

AMERICAN SPLENDOR (BERMAN AND PULCINI)
BETTER LUCK TOMORROW (JUSTIN LIM)
CHARLOTTE SOMETIMES (ERIC BYLER)
CONFESSIONS OF A DANGEROUS MIND (GEORGE CLOONEY)
ELEPHANT (GUS VAN SANT)
KILL BILL: VOL. 1 (QUENTIN TARANTINO)
MYSTIC RIVER (CLINT EASTWOOD)
NORTHFORK (MICHAEL POLISH)
RAISING VICTOR VARGAS (PETER SOLLETT)
SEABISCUIT (GARY ROSS)

BEST FOREIGN __________________________________


CIY OF GOD (CIUDADE DE DEUS (KATIA LUND, FERNANDO MEIRELLES, 2002)
DIRTY PRETTY THINGS (STEPHEN FREARS, 2002)
DIVINE INTERVENTION (YADON ILAHIYYAH, ELIA SULEIMAN, 2001)
L’IMBALSAMATORE, (THE EMBALMER, MATTEO GARRONE, 2002)
THE MAN ON THE TRAIN (L’HOMME DU TRAIN, PATRICE LECONTE, 2002)
MORVERN CALLAR (LYNNE RAMSEY, 2002)
THE SON (LE FILS, JEAN-PIERRE DARDENNE, LUC DARDENNE, 2002)
SPIDER (DAVID CRONENBERG)
SWEET SIXTEEN (KEN LOACH 2002)


BEST ANIMATIONS_____________________________________

FINDING NEMO (ANDREW STANTON, LEE UNKRICH)
THE TRIPLETS OF BELLEVILLE (LES TRIPLETTES DE BELLEVILLE,
SYLVAIN CHOMET)



BEST DOCUMENTARIES_____________________________________ _______

BUS 174 (ONIBUS 174, 2002, FILIPE LACERDA, JOSE PADILHA)
CAPTURING THE FRIEDMANS (ANDREW JARECKI)
CHARLIE: THE LIFE AND ART OF CHARLES CHAPLIN (RICHARD SCHICKEL)
MY ARCHITECT (NATHANIEL KAHN)
POWER TRIP (PAUL DEVLIN)
THE FOG OF WAR (ERROLL MORRIS)
THE REVOLUTION WILL NOT BE TELEVISED (CHAVEZ: INSIDE THE COUP,
KIM BARTLEY AND DONNACHA O’BRIAIN)
SPELLBOUND (JEFF BLITZ)
STOKED: THE RISE AND FALL OF GATOR (HELEN STICKLER)
TO BE AND TO HAVE (ÊTRE ET AVOIR, 2002, NICOLAS PHILIBERT)


SHORTLISTED, ALL CATEGORIES___________________________

GERRY (GUS VAN SANT)
GIRL WITH A PEARL EARRING (PETER WEBBER)
LORD OF THE RINGS: RETURN OF THE KING (PETER JACKSON)
LOST IN TRANSLATION (SOFIA COPPOLA)
MADAME SATÃ (KARIM AINOUZ, 2002)
MONSTER (PATTY JENKINS)
NARC (JOE CARNAHAN, 2002)
SCHOOL OF ROCK (RICHARD LINKLETTER)
SHATTERED GLASS (BILLY RAY)
SPUN (JONAS ÅKERLUND)
THE STATION AGENT (THOMAS MCCARTHY)
SYLVIA (CHRISTINE JEFFS)
YOSSI AND JAGGER (AYTAN FOX, 2002)

ONES I WISH I'D SEEN BEFORE I MADE THIS LIST___________

THE BARBARIAN INVASIONS (DENYS ARCAND)
LORD OF THE RINGS: THE RETURN OF THE KING (PETER JACKSON)
OWNING MAHONEY (RICHARD KWIETNIOWSKI)

YEAR'S MOST OVERRATED____________________________

COLD MOUNTAIN (ANTHONY MINGHELLA)
LOST IN TRANSLATION (SOFIA COPPOLA)
IN AMERICA (JIM SHERIDAN)
21 GRAMS (ALEJANDRO GONZÁLEZ IÑÁRRITU)
THE STATION AGENT (THOMAS MCCARTHY)

[HorseradishTree]

If I could just name one film that was heavily overrated in 2003, it would have to be Elephant. I think I'm gonna post tomorrow in that forum about why.

[tabuno]

I would put Chris Knipp's overrated movies:

Cold Mountain (serious important subject matter).
Lost in Translation (serious and real).
In America (serious important subject matter and uplifting).

up against with two of his top ten movies

American Splendor (cute good but overrated). There was alot of style, flash, and independent flare but it was missing the content substance component.

Kill Bill Vol. 1 (different good but overrated). Again there was the fascinating satire without substance motiff.

[Johann]

Lots of films on Chris' lists that I haven't seen.

I work too damn much!

Even though I have apprehensions about Lost in Translation, I am looking forward to it because apparently you see Scarlet's bare bum and Sofia took inspiration from Jarmusch. (I read that in a film mag at the public library)

Better Luck Tomorrow
Charlotte Sometimes
Confessions of a Dangerous Mind
Northfork
Raising Victor Vargas
Dirty Pretty Things
Divine Intervention
The Embalmer
The Man on the Train
Morvern Callar
The Son
Sweet Sixteen
Bus 174
Capturing The Friedmans
Charlie
My Architect
Power Trip
The Fog of War
Spellbound
Stoked
Gerry
Girl With a Pearl Earring
Madame Sata
Narc
Shattered Glass
The Station Agent
Sylvia
Yossi and Jagger
Cold Mountain
In America

Over 30 films I haven't seen!

Thanks Chris for making me seem like a hillbilly who sees a film once in a blue moon..... *big wink*

[oscar jubis]

Originally posted by Chris Knipp
YEAR'S MOST OVERRATED____________________________

COLD MOUNTAIN (ANTHONY MINGHELLA)
LOST IN TRANSLATION (SOFIA COPPOLA)
IN AMERICA (JIM SHERIDAN)
21 GRAMS (ALEJANDRO GONZÁLEZ IÑÁRRITU)
THE STATION AGENT (THOMAS MCCARTHY)


Indeed, I like these films more than you do. The first two will likely enter my Top 10 English language list, which I'll post at the end of the month. I would agree that some critics have used the word "masterpiece" in their reviews of these films and it's a bit much. But I felt In America earns the tears, 21 Grams sustains dramatic intensity with superb perfs, and The Station Agent entertains effortlessly, like Finding Nemo or School of Rock.

If I wanted to have a pleasant, agreeable chat with you I'd bring up two films from your list that I love: David Cronenberg's SPIDER and THE SON, the one film I saw all year that made me feel I was a better person after watching it.

[EarlXX]

I live in New Zealand, so some important US films still have to see release down here yet, and others, such as Monster, Lost In Translation and Cold Mountain are ones I still have to run out and see.

Heres my 2003 scorecard, using the basic four star scale, ala Leonard Maltin, etc.

Return Of The King ****
Master And Commander ***1/2
Kill Bill Vol 1 ***1/2
Whale Rider ***1/2 (yay! New Zealand again!)
The Last Samuari ***1/2 (I can forgive the cliche, Dances With Wolves-wannabe story)
Daredevil ***
Terminator 3: Rise Of The Machines ***
Phone Booth ***
X2: X-Men United ***
The Italian Job ***
The Runaway Jury ***
Big Fish ***
Finding Nemo ***
28 Days Later *** (or 2002...depends on which country you're in)
Mystic River ***
The Recruit **1/2
Charlies Angels: Full Throttle **1/2
Down With Love **1/2
The League Of Extraordinary Gentlemen **1/2
Pirates Of The Caribbean: Curse Of The Black Pearl **1/2
Just Married **1/2
The Hulk **1/2
The Core **1/2
The Rundown **1/2 (titled Welcome To The Jungle in some countries, including New Zealand)
Intolerable Cruelty **1/2
Matrix Revolutions **1/2
The Matrix Reloaded **
Bruce Almighty **
Anger Management **
Freddy Vs Jason **
Identity **
Dreamcatcher **
Gothika **
View From The Top *1/2
Torque *1/2
The Real Cancun *1/2

[Chris Knipp]

Sometimes my "most overrated" category includes movies I actually like; I just think the critics and the public have gone overboard. This is the case with "Lost in Translation". And I couldn't say that "21 Grams" is crap, with such good actors working so hard -- a little too hard, in a dissheveled, pretentious effort by the previously outstanding Mexican director. "Station Agent" might be seen as a nice, sweet little indie film, but it's an exploitation of underdog status and ridden with cliches, and again, it's simply overrated. "In America" has moments, and again some excellent acting, but we're in fantasyland, a world of sentimentality and falsehood. These are all movies by directors who've done excellent stuff. As for Minghella, I've always found him overrated. I could not see why people swooned for the overwrought, pretentious, overlong "English Patient." "The Talented Mr. Ripley" had one or two good moments -- the director's lavish efforts at atmosphere pay off occasionally and the jazz scene is a hot moment. But the filmmakers misread the Ripley character -- he shouldn't turn out to be gay; and the casting was off: Jude Law would have made a better Ripley than Damon. The Blanchett character was unnecessary and the background was too elaborate -- Minghella tinkered too much as usual, and wound up with a piece of glossy fluff, which is the direction he is usually going. In "Cold Mountain" he has taken an overrated (really very badly written) novel and blown it up in so many ways that you don't know where it is going. He is a master of overkill and overproduction, which bowls people over. His pretention is nauseating. I always hope he'll come up with something -- he tries so hard -- but I'm about to give up on him. This movie got tons of publicity but bombed with the critics, justifyably this time.

Many movies are underrated, too. Some of the conoscenti acknowledge "The Son" to be a classic, but it sure isn't a household word in the USA, is it? And how many people saw "Spider" in theaters? Yet those blow away the others we're discussing here, which don't deserve to be mentioned in the same paragraph.


EarlXX: Welcome aboard. I hope you get to see some better, hipper stuff. Some of your items in this list look like turkeys to me, not even worth a ** rating if one had more choices, and the list is heavily weighted toward the usual cineplex blockbuster stuff.

[oscar jubis]

Cold Mountain didn't "bomb" with critics. It received very good reviews from the following publications: Time, The New York Times, The New Yorker, The Chicago Reader, The Washington Post, Variety, The Boston Globe and many others. Along with Charlotte Sometimes, perhaps our biggest difference of opinion in 2003. Cold Mountain is my favorite film from Mr. Minghella.

Spider certainly did not break b.o. records. I was surprised our little internet community awarded the film two "Wurldies". Clearly a select group if I may say so. The Son will be available on dvd on May 25th. It's a film that will work well on tv screens.

[Chris Knipp]

Okay: I'm sorry I said Cold Mountain "bombed with the critics." I can't say that. It got mixed reactions. After all, it was riding in on a mountainous tidal wave of hype. (Hype-prone chap that I am, I was excited about seeing it, and rushed to finish the book in time for its opening in Christmas week.) But when the smoke cleared and the movie had been seen and mulled over, there were some pretty negative evaluations by some pretty perceptive critics. David Denby of The New Yorker, who seems to suffer from severe mood swings nowadays, went way overboard. I'm surprised you cite the NYTimes. A.O. Scott there called the movie "a mountain of honest, nourishing corn." Which indicates the fact that a good many critics hedged their bets, as they will do when the hype is large and the response is lukewarm. You cite some major papers. Okay; and the movie was rated poorly by the LA Times, the Village Voice, the Chicago Tribune, the Washington Post, the Wall Street Journal, Slate, Salon, and the Baltimore Sun. And the usually positive Roger Ebert wrote,
"By the end of the film, you admire the artistry and the care, you know that the actors worked hard and are grateful for their labors, but you wonder who in God's name thought this was a promising scenario for a movie. It's not a story, it's an idea."

The often astute Walter Chaw of Film Freak Central speaks for me. He wrote that,
"What Minghella seems best at is recasting edged, emotionally tumultuous novels into sun-kissed temples to the cinematographer's craft, the more dappled sunlight in the eye with which to bedazzle awards-season voters. The strength of Charles Frazier's National Book Award-winning source material lies in its socio-political details of America's Civil War period, but Minghella has focused his picture unerringly on the overrated novel's weaknesses instead: its dialogue, its clumsy Homeric riff. " What Minghella gives us always, when he adopts his good, or sometimes as in this case overrated, novels into movies, is lots of gloss, too much naked ambition, and not much punch; not much clarity of direction, not a very perceptive reading of the book. That's the trouble with Cold Mountain. Or rather, those are the troubles.

This is your favorite Minghella film? Sure, why not; but that's the problem: it's not much of a choice that his body of work offers us. But you would hardly know that from the hype.

I think both Spider and The Son have a strong following among the real film buffs, like us. . .

[cinemabon]

I know I'm gonna piss somebody off but I think Quentin Tarantino is over-rated. I cannot for the life of me see what everyone else sees in his work. "Pulp Fiction" to me is a series of scenes filled with ventosity. It is an exercise in sado-masochism. It's like watching a train wreck and enjoying it.

Now we have "Kill Bill"; an ultra-violent story where east meets west and then west goes west. What is the plot? Where is the story? I don't understand rap either. I think I have this age thing going on. I must, because I watched "Pulp Fiction" and walked out thinking - crap! Then everyone says it's the greatest thing since sliced toast and it gets nominated for this "Best of" and that award.... I believe in what Woody Allen said about Freud and the subconcious, and I'm paraphrasing here... it's not what our society has become, its what our society turned out to be. Even a blind man can see that.

[Chris Knipp]

Like a lot of original, strong filmmakers, Tarantino is either loved or hated. There's not much of a middle ground if you have a pulse. You've shown that you have one. And if you don't like Pulp Fiction, you don't like Tarantino, but you deserve credit for seeing Kill Bill: Vol. 1. Now, if you could just figure out "what everyone else sees in his work," we could have a discussion. Otherwise, there's not much to talk about, and it's just opining.

[JustaFied]

Can't find any mention here of this film by John Sayles that came out last year. It's a low-key film about six American women in an unnamed Latin American country, hoping to adopt a baby and return to the States. The performances by all six women are superb, but Marcia Gay Harden stands out above all. She plays a mean, rather racist woman who believes she can bribe or bully her way into getting whatever she wants. It's also unclear whether she's telling the truth about her family situation back home. In my opinion, Harden's performance here is equal to her one in Mystic River, for which she was nominated for an Academy Award.

The women are all staying at a hotel that the locals have nicknamed "Casa De Los Babys". The film also focuses on a maid that works at the hotel, the owner of the hotel, an unemployed construction worker who has dreams of someday living in Philadelphia ("the city of freedom"), several homeless boys that interact with the women, and a 15-year old girl in the town who has become pregnant. Sayles describes it as partly a story about desperation: the desperation of the American women to be mothers, the desperation that rises from the poverty in the third world country, and the desperation of the young pregnant girl whose family forbids her to do anything besides carry the baby through to birth and then give it up for adoption. It's quite a powerful story, and as usual, Sayles doesn't over-dramatize or give us any easy answers.

Did anyone else see this film, or am I just perhaps overreacting to its importance? I thought it was one of the better films I've seen that came out in 2003.

[cinemabon]

Originally posted by Chris Knipp
Like a lot of original, strong filmmakers, Tarantino is either loved or hated... Now, if you could just figure out "what everyone else sees in his work," we could have a discussion. Otherwise, there's not much to talk about, and it's just opining.

I thought that was what we were doing here Chris, giving our opinions on what we like or dislike and why. I feel that others see something artistic in his work. However, I have trouble seeing art in the work of Jackson Pollack, and he's an old timer in the art world. Therefore, I must be either be intellectually stubby, or see art differently that the "experts". That makes me also appear "uninformed" and lacking a thorough educational background in art. I also know bullshit when I wade through it.

Film is the "art" or business of storytelling for a profit and a certain amount of pleasure we derive from it. That's what we pay for, isn't it? This then gets back to the arguement of getting pleasure from violence on a different level... one Tarentino and a few others live on. I would challenge this as "the emperor's new clothes", or as I so lovingly put it, bullshit. Tarentino's "Reservoir Dogs" is a perfect example. What more is there to see. Enlighten me. I'm dying to know why I must sit through his endless series of ever more gross bloody killings for the sake of telling a story? Bullshit! He appeals to that quality in people they say they loath, yet secretly desire... seeing someone else (not them, of course) get it... and get it good. I don't need a Ph.D. in art to know what kind of person enjoys that kind of story.

[Chris Knipp]

There’s a lot of “bullshit” in your posting and not much evidence of what it is you’re talking about. I can only say that Tarantino is not about the violence. His violence is by reference to other movies. He is making movies about movies that are, even in their most violent moments, primarily about the dialogue. And if you’re going to throw out movies because they contain violence, you’re going to throw out ¾ of all the movies in the world. Nonetheless you're quite right in your other thread about violence in film that there is a rising tide of it (Gibson's Passion of the Christ and its success are examples of that trend); and you're certainly right that people are violent. America is a violent nation. America is making violence all over the world, making it and encouraging it in other nations, to the cost of billions every week paid by us taxpayers. That is the real obscenity, not the highly cinematic and witty movies of Quentin Tarantino (note spelling). If you think that Tarantino is about the violence, then you don't understand what other people see in his movies, which you said was what you were "dying to know." I think what they like is the dialogue. But there's cinematic genius in his movies that goes beyond one element.

[oscar jubis]

Originally posted by Chris Knipp
Tarantino is either loved or hated. There's not much of a middle ground if you have a pulse.

Somebody please call 911 for me!

[Chris Knipp]

I was just going by recent impressions, especially from FilmWurld postings. The middle ground is the best place to be because it's there that we can have good discussions. I'm sure you've got a pulse! I definitely am a big Tarantino fan, but that doesn't mean he can do no wrong in my book.

[cinemabon]

There is little doubt that Tarentino is trendy among the young. It's very hip, cool, rad, etc. to say around the water cooler; "Hey, did you see Kill Bill? Wasn't it great?"... there are many who agree. However popular something may be does not give it underlying credence to being ethical, right, or proper. A hell of a lot of people thought Jim Crow was right, too.

What dialogue is in reference to other films you keep bringing up, Chris? I don't get this vibe that Tarentino is this great master filmmaker (akin to a Kubrick, let's say) that makes homages to other filmmakers. Are you saying that Kill Bill is in reference to Kurosowa? Or perhaps another filmmaker? Where is the reference in "Pulp Fiction"? Is it in the part when the couple blaze guns in the restaurant? Or perhaps when the two gangsters blast away at men in a room? Further, you imply that if I cannot see this, then I must be lacking some sort of film insight. Then enlighten me. Please. Because I'm dying to know what I've been missing when I get grossed out by someone's head being blow apart by a close range gun blast... I'm not making the pyschic connection somehow... So please point it out to me. You seem to have the answers. Tell me so I can understand what all the bravado is about. The dialogue is so profound when the two men who do the blasting are discussing cheeseburgers in France. Now that's profound! (Sarcasm intended)

I look for simplicity and honesty to give me enlightenment. To me, those qualities far outshine the most complex canvas of ideas, which often confuse rather than enlighten. It took a simple man, like John Muir, to point out to the most learned men of his day, that unless they set aside certain areas of land, they would be lost forever. Because of a simpleton like Muir (who was self educated, despite going to University of Wisconsin), we have the National Park System. The sayings of Laotse are not complex but simple, yet they enlighten more than Proust. A patent clerk gave us, E=MC2 ... so simple, yet we all know it. The Gettysburg Address is three paragraphs, yet it is etched in stone and engraved in minds forever. I will never forget "Rosebud", but for the life of me cannot see what there is to remember in Quentin Tarentino or his works.

As for violence in film, I would ask you to read my posting on "The Godfather", one of the greatest films of all time. Why should I think that film is great and "Pulp Fiction" shit? Enlighten me...

[Johann]

QT is not a "master" (yet). He's well on his way, though.

I understand your position, cinemabon: gratuitous violence doesn't make for great cinema. Your point is well taken. QT is over-the-top. BUT! He's over the top in such a way that it isn't so much gratuitous as it is upholding certain traditions: he pays tribute to the "vibe" of films like The Wild Bunch, Band of Outsiders, and Superfly.

Tarantino is a film geek. How can you not love a fellow film geek? If he was dishonoring the medium somehow I could see his dismissal as a "great filmmaker", but man, he's got a feel to his films that just soothes the soul. He loves movies of all types and he just tries to make the best films he can make while satisfying his own taste. Can't fault him for that.

His violence is cinema violence. You never actually see Marvin's head get blown off. You THINK you see it, (it's edited like a lightning bolt), but Quentin never actually goes all the way. You see a LOT of blood and "brain tissue"(which creates the revulsion/horror in the viewer), but he edited the scene so well that the point is driven home without EVERYTHING. Case in point again: the anal rape of Marcellus Wallace. You never see anything explicit- extremely disturbing, yes- explicit, no. Same thing in Reservoir Dogs during the "are you gonna bark?" scene- Madsen cuts off the cops' ear but YOU DON'T SEE IT ACTUALLY BEING CUT OFF.

QT knows the power of a well-edited scene. It's like George Lucas said: "It's not hard to get a reaction from an audience- just show some guy wringing a kittens' neck".
You seem to have a visceral contempt for Tarantino, cinemabon.
I sense you strongly object to his methods of delivering entertainment- not the entertainment he delivers. You mention The Godfather- a fairly violent movie. Sonny is riddled with bullets (like Travolta was in Pulp) and it's pretty shocking. How about the horse head scene? Grim stuff. Coppola showed you an ACTUAL horse's head! QT never showed you ACTUAL brain tissue or even ACTUAL blood. It's sfx. Coppola shows a cow being slaughtered in Apocalypse. Who's more gratuitous?

I won't try to sway you to join the QT camp, but I will say he's more aware of what he puts on screen than we are. It's because he's trying to honor the medium and the men who inspired him.

[Chris Knipp]

I'm with you all the way on this, Johann. I think though that actually people, even FilmWurld people, sometimes resent rather than like Tarantino because he's a film geek, as well as because he's popular and super-famous. Some of us may feel he's just totally over-the-top as a film geek; that he loses touch completely with "reality" (a word that Nabokov said must always be in quotation marks, and certainly should be when we're talking about movies). A lot of filmbuffdom is about admiring offbeat, not-famous movies that are full of wholesome thoughts and fine intentions. That approach won't get you very far inside Tarantinodom.

For me Tarantino was always about the dialogue, but also about the fresh way he uses movie traditions, and stuff that's uniquely cinematic. There are things that work really well on the screen --for instance, shooting guns; smoking cigarettes; going very fast in cars -- which aren't necessarily a good idea in real life. But they are just very cool in the movies. Tarantino works with these things. He works completely out of the movies, all his references are to other movies, sometimes it seems every shot starts with a reference to another movie, and yet he doesn't need somebody else's ideas or stories to make his movies, they're completely his own. That's the paradox.

His sense of timing is exquisite. His pacing and editing. Along with that he has great clarity. Nothing is fuzzy, everything is spelled out, but with wit. There's tremendous enthusiasm for the process, and at the same time the detachment necessary to crack a joke -- a heroic quality, which is why he has been moving in the direction of heroic characters in Kill Bill 1 & 2. What makes Kill Bill 1 & 2 beautiful to watch is that clarity. And the clarity also is what makes QT's dialogue so much fun: its being so clearly in the moment. It goes where it takes them. Travolta and Jackson are going upstairs to kill some guys, but they're talking about foot massage, because that's where the dialogue takes them. Yet it's highly relevant to the story: it's about their relation to Marcellus Wallace. Few filmmakers in cinematic history have written better dialogue than Tarantino writes. But I'm not sure every film buff has a sensitivity to dialogue -- though a lot of average moviegoers do because it's pure entertainment. The film buff likes to see von Trier's women being tormented, and says that's uplifting, but when Travolta has somebody's head blown off, even though we don't see it and it's not really about hurting anybody, the film buff is filled with righteous indignation, because it's not serious.

[oscar jubis]

Originally posted by Johann
I'm adding Kiarostami's "10" to the list.

This film should have won the Palm D'or. Abbas takes a bold idea and comes up with a beautiful montage of female yin and yang.

It's a convincing exposee of one lonely Iranian woman. She's a taxi driver, and she's both repulsive and attractive. She has conversations with other women and her son that speak volumes about her own insecurities & dreams. Staggering film.
My favorite scene is the one with the prostitute. I know why Kiarostami doesn't show her face, but God did I want to see it!!
Never in my life have I wanted to put a face to a voice..


Touching, heartbreaking, I saw it twice.

I'm also adding Abbas Kiarostami's 10 to the list of best films of 2003. (The film had an official North American premiere on March 5, 2003 although it was shown at the 2002 NYFF). 10 was granted a (very) limited release. I had to import the dvd from the UK to have access to it.
I admire how effectively Kiarostami managed to circumvent Iran's strict censorship, which make it virtually impossible to deal with male-female relationships. He has found a formal structure consisting of ten scenes shot from a DV camera planted on a car's dashboard. An obnoxious boy of about 12 serves as a stand-in for the men in the lives of a middle-class female driver and the women who ride in her car.

[cinemabon]

Perhaps I am wearing the blinders that come with age that tend to prejudice vision. I promise I will contain myself on QT until Kill Bill Vol 2 comes out on DVD. I will sit down and watch both films together and make a more valid opinion then.

[Chris Knipp]

My friend Jessica just saw Kill Bill 2 for the third time. She was the one who first suggested to me that it improves with re-viewings. I've seen 1 and 2 both twice, and agree. With any movie, you have to give yourself to it, or you'll never enjoy. How many arthouse items would be a total bore if we didn't go in with a positive frame of mind. Would I have been as open to Haneke'sTime of the Wolfif I hadn't gone in already aware of the director's previous acconmplishments? Ditto Sokorov's Father and Son? I had to adopt a relaxed, passive attentiveness to enjoy Gus Van Sant's Gerry. With Tarantino it's more like entering a Fun House.

P.s. I'm not young. But I don't find that blinders come with age.

[cinemabon]

"The older I grow, the more I distrust the familiar doctrine that age brings wisdom." H. L. Mencken

[Chris Knipp]

the familiar doctrine that age brings wisdom

I didn't say that.

Perhaps I am wearing the blinders that come with age that tend to prejudice vision

You said that.

What dialogue is in reference to other films you keep bringing up, Chris? I don't get this vibe that Tarentino is this great master filmmaker (akin to a Kubrick, let's say) that makes homages to other filmmakers. Are you saying that Kill Bill is in reference to Kurosowa? Or perhaps another filmmaker? Where is the reference in "Pulp Fiction"? Is it in the part when the couple blaze guns in the restaurant? Or perhaps when the two gangsters blast away at men in a room? Further, you imply that if I cannot see this, then I must be lacking some sort of film insight. Then enlighten me. Please. Because I'm dying to know what I've been missing when I get grossed out by someone's head being blow apart by a close range gun blast...

If Kubrick or Kurosawa and their ilk are the only valid homages, Tarantino's a loser in the cult game. His influences have been often cited and are mostly pop stuff, but also American classics like John Ford. The parts when "gangsters blast away" in a room or face off with pistols are probably most indebted to John Woo, but Woo was referencing Hollywood.

There is little doubt that Tarentino is trendy among the young. It's very hip, cool, rad, etc. to say around the water cooler; "Hey, did you see Kill Bill? Wasn't it great?"... there are many who agree. However popular something may be does not give it underlying credence to being ethical, right, or proper. A hell of a lot of people thought Jim Crow was right, too.

This is what I was replying to: I'm not young, and you won't find me around your water cooler, but I love Tarantino. He doesn't appeal to a limited demographic; that's your presumption, but untrue. The reference to Jim Crow is dirty pool. "Ethical, right, or proper" are aesthetic values only to prudes who aren't open to experimentation, risk -- or fun. Must a movie be "touching" or "heartbreaking" to be deemed good? Must the moral police come along to declare Tarantino unethical?

Ultimately this comes down not to demographics or to morals but to taste.

[tabuno]

I finally caught both Spider and Mystic River on DVD this past week. I was amazed at Ralph Fiennes performance. His performance in Spider easily rates as one of the best, especially in comparison to Sean Penn in Mystic River or even Russell Crowe in A Beautiful Mind.

I am usually amused by the Best Actor category because most of the time it seems that the eventual winner has some emotional, over the top role that for me is pretty easily accomplished by most actors - particularly Sean Penn's role. His performance didn't require all that much subtlety. Compared to Ralph Fiennes, even Bill Murray in Lost in Translation, acting - true performances require nuanced acting ability - expression, small details...

Ralph Fiennes had a great script, a great role, a superb grasp of his material and character...it wasn't over the top like Mr. Crowe in A Beautiful Mind. Mystic River captured its accolades by going against type in terms of the general public's expectations of a movie - it seemed fresh and unusual. Mr. Fiennes, however, went beyond the normal mental illness stereotype to create a strikingly real and important experiential performance that really captures a disorder that impacts thousands of people in this country.

[arsaib4]

Originally posted by tabuno
Ralph Fiennes had a great script, a great role, a superb grasp of his material and character...it wasn't over the top like Mr. Crowe in A Beautiful Mind. Mystic River captured its accolades by going against type in terms of the general public's expectations of a movie - it seemed fresh and unusual. Mr. Fiennes, however, went beyond the normal mental illness stereotype to create a strikingly real and important experiential performance that really captures a disorder that impacts thousands of people in this country.

You are absolutely correct, and Cronenberg mentioned this himself in an interview that he has heard from many shocked by how realistic his portrayed of the illness truly was. Fiennes was great along with the film, no surprise that J. Hoberman selected Spider as the best film from 2003.

[wpqx]

Well I'm currently watching The Fog of War right now, so I'll get back to what I think of it. As for the rest

Mystic River - over the top.

Lord of the Rings - Great, but not the best in the series

Big Fish - A lost better than most people gave it credit for.

21 Grams - Brilliant

Kill Bill Vol. 1 - Best American film of the year

City of God - Best film of the year

The Last Samurai - Entertaining, but far from a masterpiece

Something's Gotta Give - Unrealistic, and focused a little too far on a middle aged women audience

Osama - Manipulative, but effective

House of Sand and Fog - Manipulative, but not that effective

Elephant - Brilliant in that Aguirre the Wrath of God way

Bad Santa - Cheesy, but damn funny

Thirteen - Good, but not exactly what I expected

Finding Nemo - Fantastic, but not Toy Story good

Monster - Great acting, decent film

Seabiscuit - Entertaining, but not worth a best picture nomination

Lost in Translation - I think I missed something, but worth watching to see Bill Murray sing Elvis Costello

Matrix Reloaded - Bah

The Company - Out of touch

In America - Just alright

Whale Rider - Thumbs up for Miss Hughes, best child performance of the year

Pirates of the Carribean - Nothing to get excited about, except for Kierra Knightley (insert drooling sound here)

That's enough for now

[tabuno]

Except for a few disagreements, wpqx really directs some good commentary of last year's films. On most of the major movies I would agree with wpqx - the disagreements aren't enough to go into here.

[arsaib4]

I've been working on a few annual lists over the past few months. I'm posting the 2003 list as it's the most complete and it will introduce everyone to the conventions I'm gonna follow while making my annual lists. By the way, this is the first annual list I've ever made and posted.

At the beginning of this process I wasn't sure what to list and what not to since I had seen many films from all over the world, some of them were released here, others weren't, some were released but not properly etc. Then I thought of the way Jim Hoberman makes his lists for Village Voice. He selects films with a certain # of public screenings. Obviously, he has much more of an access and is more aware of those screenings than any cinemagoer. But, using this as a starting point I've decided to only list films that were "officially" distributed in the U.S. during a given year, 2003 in this case. It might sound simple but since I was pretty anal about this process, I spent quite a bit of time figuring out what I'd consider "official" and then researched various films who were borderline and only then I finally made the list.

So, going by what I said I had to leave out Jia Zhangke's Platform which had some screenings in NY in 2003, organized by Cinema Village theatres but that's not "official" distribution to me. Same thing happened with the Argentinian film Bolivia which I also liked very much but it didn't meet my guidelines. I have decided to leave off any re-releases unless the new release is also a new version of the film. This wasn't easy because I was my biggest enemy.


Top 10

1. Elephant - Gus Van Sant / U.S.

2. demonlover - Olivier Assayas / France

3. Spider - David Cronenberg / Canada-U.K.

(rest alphabetical)

All the Real Girls - David Gordon Green / U.S.

La Commune (Paris, 1871) - Peter Watkins / France

Lilya 4-Ever - Lukas Moodysson / Sweden

Lost in Translation - Sofia Coppola / U.S.

Millennium Mambo (Qianxi Manbo) - Hao Hsiao-hsien / Taiwan

Ten - Abbas Kiarostami / Iran

Unknown Pleasures (Ren Xiao Yao) - Jia Zhang Ke / China


Runners-up
(alphabetical order only)

City of Ghosts - Matt Dillon / U.S.

Freaky Friday - Mark S. Waters / U.S.

Japón - Carlos Reygadas / Mexico

Raising Victor Vargas - Peter Sollett / U.S.

Shattered Glass - Billy Ray / U.S.

The Son (Le Fils) - Jean-Pierre & Luc Dardenne / Belgium

Suddenly (Tan de Repente) - Diego Lerman / Argentina

28 Days Later - Danny Boyle / U.K.

21 Grams - Alejandro González Iñárritu / U.S.

Under the Skin of the City (Zir-e Poost-e Shahr)
Rakhshan Bani Etemad / Iran


Honorable Mention
(alphabetical order only)

El Bonaerense - Pablo Trapero / Argentina

Buffalo Soldiers - Gregor Jordan / U.K.-Germany

Elf - Jon Favreau / U.S.

The Embalmer (L'Imbalsamatore) - Matteo Garrone / Italy

In This World - Michael Winterbottom / U.K.

Magdalene Sisters - Peter Mullan / U.K.-Ireland

Mystic River - Clint Eastwood / U.S

Seaside (Bord de Mer) - Julie Lopes-Curval / France

Sweet Sixteen - Ken Loach / U.K.

Terminator 3: Rise of the Machines / Jonathan Mostow / U.S.

[Chris Knipp]

Though our tastes differ, I absolutely agree with two of your three top choices: though as you might remember from our discussion of Clean, I don't consider Demon Lover a success, the other two, Elephant and Spider, I would also rate as the best of the year's 2003 US releases.

There are six I not only didn't see, but don't recall hearing about:

Suddenly (Tan de Repente) - Diego Lerman / Argentina

Unknown Pleasures (Ren Xiao Yao) - Jia Zhang Ke / China

Japón - Carlos Reygadas / Mexico

Under the Skin of the City (Zir-e Poost-e Shahr)
Rakhshan Bani Etemad / Iran

El Bonaerense - Pablo Trapero / Argentina

Seaside (Bord de Mer) - Julie Lopes-Curval / France

I don't know if anybody I know out here saw any of these. But that's not bad out of the whole list, since I do know all the others, and shows you did stick pretty well to available US releases.

What about City of God? Gerry? Monster (since you like dark things)? Sweet Sixteen?

Your taste in US movies continues to emerge as different from the usual US film buff's, indicated by your including Terminator 3, City of Ghosts, Freaky Friday, Buffalo Soldiers, and Elf.

There were also some superb documentaries released in 2003 which you don't mention, my favorites being My Architect, To Be and To Have, and Chavez: Beyond the Coup.

Still, a fine list, and I wish I'd seen the ones on it that I have not.

[arsaib4]

First of all, thanks for your comments. I've made threads for two of the films that you haven't heard about.

Japón - http://www.filmwurld.com/forums/showthread.php?s=&threadid=1038

Suddenly - (I'm gonna update this thread soon since the film is finally being released on DVD in the U.S.) http://www.filmwurld.com/forums/showthread.php?s=&threadid=1012

[arsaib4]

Originally posted by Chris Knipp
What about City of God? Gerry? Monster (since you like dark things)? Sweet Sixteen?

I'm one of the very few who believe City of God exploited its subject(s). No question, technically it is brilliant. Gerry is an experiment I appreciate but not love. Maybe it was a steping stone to a much better Elephant. I do have Sweet Sixteen on my list. I didn't see Monstor, but am I missing much?

Your taste in US movies continues to emerge as different from the usual US film buff's, indicated by your including Terminator 3, City of Ghosts, Freaky Friday, Buffalo Soldiers, and Elf.

I'm not sure why people discard films that beautifully fit a certain genre. I believe that's very much true with City of Ghosts and the new Terminator. I wouldn't expect too many here to find anything funny about Buffalo Soldiers because it was nasty in its attack on U.S. military ("Based on True events").

There were also some superb documentaries released in 2003 which you don't mention, my favorites being My Architect, To Be and To Have, and Chavez: Beyond the Coup.

I didn't see My Architect, as for others, I just didn't find them good enough to be in the top 30. Since documentaries are now playing in local theaters, winning major awards, I'm not gonna make special sections for them. If they're good enough, they'll be, otherwise, too bad.

[oscar jubis]

I also posted my year-end list for 2003 with a more conventional format on another thread: www.filmwurld.com/forums/showthread.php?s=&threadid=798.

*Other than Elf, I find every title at least "worth a look". I liked the following significantly less than you though: Freaky Friday, Lilya 4-ever, Shattered Glass, 28 Days Later, City of Ghosts, Suddenly, El Bonaerense.

*Complete agreement with arsaib4 re:Gerry, City of God (but listed under "runners-up" for technical prowess you mentioned but felt guilty doing so), Buffalo Soldiers, and many others we both listed. I've written posts on Japon (under "Import DVDs", now available stateside Chris) and Jia Zhang-ke's films.

*Four films from your list I didn't watch:
1) Seaside, will rent.
2) Under the Skin of the City, will buy, sells cheap.
3) La Commune, hope to get a chance someday.
4) demonlover. It's a long story. I love Irma Vep and I worship Sonic Youth, yet this film keeps running away from me. Did not open at theatres here. Refuse to rent the censored version available at video stores here. Actually bought the unrated version on Ebay recently and had the payment refunded because the seller realized the disc was defective. Will post on my journal when I finally get to watch it.

*If you would indulge me...Unqualified (not enough screenings,etc), Undeserving, or Did Not Watch:

Russian Ark
American Splendor
Decasia
Blissfully Yours
Aro Tolbukhin
Lavoura Arcaica (To the left of Father)
Divine Intervention
11'09"01
Ali Zaoua
Les Diables
Chihwaseon
Millenium Actress
Marooned in Iraq
Mondays in the Sun
Stevie
Capturing the Friedmans
Down With Love
Stevie

[Chris Knipp]

Thanks for your interesting reply.

I'm sorry you regard City of God as exploitive, but not surprised at all, alas: you're not in such a minority as you seem to think. It's not a "very few" people who objected to City of God--Oscar did, for the same reasons, and there is a whole faction of critics who had that opinion. For the other films, fair enough, except that with Monster, you did miss something -- a remarkable performance -- but one can't know what one was missing unless one sees the movie. I am sorry I have not seen all the films you recommend and do think I may very likely have missed something.

On the genres, good examples thereof, fine, I think I see what you're getting at; certainly that can be a valid reason for praising Terminators. I'm not so sure that City of Ghosts is a beautiful example of a genre but it's a creditable first directing effort by Dillon. Freaky Friday and Elf perhaps are the better examples; but I didn't see Freaky Friday, only Elf, which was entertaining, but not a great comedy. Buffalo Soldiers is a different case. I certainly don't object to its being a "nasty" attack on the US military; quite the contrary. I wish it had been "nastier"; and I did find it funny. I just didn't think it was a very good movie. I was very disappointed in it.


Since documentaries are now playing in local theaters, winning major awards, I'm not gonna make special sections for them. If they're good enough, they'll be, otherwise, too bad.

Well of course, if they're not good enough, you can't put them on your Best List. We all have our agendas to some extent. You are pushing perhaps successful B pictures, which you call "beautiful examples" of genres. I am encouraging documentaries. But if you're implying that I choose a special section for them because they've been winning major awards, you misunderstand my point of view. I'm happy when something I like wins a major award, but I don't make it my personal favorite for that reason. Awards have a big effect on the public acceptance of a genre, an actor, a director, etc. But they don't change my personal evaluation of a particular movie.

[Chris Knipp]

As you know by now, I may get to see a tad more current theatrical showings than you do but I am not the buyer or even the renter of films that you are. Hence I can't expect to make up my lacks and gaps on your and arsaib4's lists except where I really must make it a project because you've both made it clear that certain directors are musts to know about. I thought you recommended Mondays in the Sun to me. I think Rosenbaum went overboard on Down with Love--wooden and artificial, though the art direction was to die for. I have expressed my extensive reservations on Capturing the Friedmans already. However, it deserves inclusion in a list of 2003's "historically", shall we say, significant documentaries, as does Tarnation, which I found tedious and self indulgent in so many ways, but which is also for good or ill a sort of trail-blazer likely to be rememered as such.

[arsaib4]

Originally posted by oscar jubis


Russian Ark
American Splendor
Decasia
Blissfully Yours
Aro Tolbukhin
Lavoura Arcaica (To the left of Father)
Divine Intervention
11'09"01
Ali Zaoua
Les Diables
Chihwaseon
Millenium Actress
Marooned in Iraq
Mondays in the Sun
Stevie
Capturing the Friedmans
Down With Love


Unqualified:
Russian Ark (2002 U.S. release/will top my 2002 list)
Blissfully Yours (Loved it/no official dist.)
Decasia (liked it/not enough screenings)
Aro Tolbukhin (Loved it/no U.S. distribution at all)
Les Diables (Did Not watch/ no U.S. distribution at all)
Lavoura Arcaica (Did Not Watch/ no U.S. distribution at all)

Undeserving:
Down With Love
Mondays in the Sun
Divine Intervention
11'09"01 (did like some of the shorts)
Marooned in Iraq
American Splendor
Ali Zaoua

Did Not Watch:
Chihwaseon
Capturing the Friedmans
Millenium Actress
Stevie

[oscar jubis]

Originally posted by Chris Knipp
As you know by now, I may get to see a tad more current theatrical showings than you do

Actually I don't know. I would estimate I go to theatrical showings about 6 to 10 times monthly (except February for the MIFF). Now that I keep a journal, I can say I've gone to theatre 7 times so far in January and will likely go twice more before the month is over for a total of 9. I don't know if that is less or more than you. What is clear to me is that you watch current releases up to a month before I do for two reasons. Many films get to this smaller market a couple of weeks after they get to the Bay Area, and I avoid crowds like the plague, waiting one to three weeks after their release date. I've seen every film nominated for Oscar at the theatre, for instance, except The Aviator.

I am not the buyer or even the renter of films that you are. Hence I can't expect to make up my lacks and gaps on your and arsaib4's lists except where I really must make it a project because you've both made it clear that certain directors are musts to know about.

Theatrical showings are the way to go. But unless one lives in NYC. attends fests and special screenings, and has sufficient leisure time, one would miss out on many worthy films if one resists home viewing. I'm flattered that you take my opinion (and arsaib4's) into consideration. I think both of us would recommend strongly two Mexican films:Japon and Aro Tolbukhin, Weerasethakul's Blissfully Yours, and Springtime in a Small Town. So make the room as dark as you can, sit close to the set, and...enjoy.

Arsaib4: Thanks for indulging me with your last post. Glad to find out you appreciate Russian Ark and Aro Tolbukhin as much as I do. If you don't include undistributed films on your list, I'd like to see a "best undistributed film" category on your 2004 list.

[arsaib4]

Originally posted by oscar jubis

I think both of us would recommend strongly two Mexican films:Japon and Aro Tolbukhin, Weerasethakul's Blissfully Yours, and Springtime in a Small Town. So make the room as dark as you can, sit close to the set, and...enjoy.

Absolutely. Since both Springtime and Japon are now available in the U.S. one should definitely try to see these two first.

Arsaib4: Thanks for indulging me with your last post. Glad to find out you appreciate Russian Ark and Aro Tolbukhin as much as I do. If you don't include undistributed films on your list, I'd like to see a "best undistributed film" category on your 2004 list.

I appreciate your interest and I'll certainly make a separate list for undistributed films.

[Chris Knipp]

(Addressed to Oscar, but arsaib4 is involved in the recommendations too, definitely.)

I only said "a tad." I've seen a tad more than you in the theaters, probably, latterly. I know you've seen a lot. You do an amazing job of keeping up on new stuff and also revisiting or discovering earlier films. I have kept a record of (most) of the movies I have seen in theaters and otherwise during the past few years. In 2004 I saw a lot more than in 2003, a total of about 160, from Adieu to Zatoichi, of which only 10 or 15 of the ones I saw for the first time were on a moniter. I can't tell you by the month. I haven't been more than five times to the theater this month because I've been busy socializing and studying and writing and there has been less opening; I've seen most of what's showing and only what appears to be the dregs of what's currently available seems to remain unseen by me (except for a couple of interesting new items). In December I was on the East Coast, mostly in New York, and I went about 28 times. Normally I don't go that often -- I go as often as you -- but I went to 14 theatrical showings in November because I went to the N.I.C.E. Italian mini film festival in San Francisco; and I saw 11 in 12 days in September in Paris, and I saw a bunch in New York in June; I have 'binges,' you see. I think in the immediate future I may either have more of these 'binges,' or go to more festivals, more than the almost none up to now.

I think there are a lot more than those you mention in this entry that you and arsaib4 have recommended that I need to find on dvd and watch, but if those three are both your strongest recommendations, I'll give them priority. I also have seen only one Hou Hsiau Hsien and hardly any Kierastami, and there's another Chinese director, maybe several, you've been saying is essential to know about and admire. If I got lucky at "Movie Image," the small, cool rental store in Berkeley, and they let you keep them out more than one night the way the more commercial Reel Video does for new issues, I might have a little at-home binge of the highest priority items among your selections some time soon. I must make a list. I have not gone to Movie Image for several years.

I used to watch a lot more videos than theatrical showings--it was the other way around--and I didn't see many in New York or elsewhere as I have lately. But I did not like that couch potato life and don't want to go back to it. I've grown to prefer the big screen, in spite of obnoxious viewers, stale popcorn smells, etc.

[arsaib4]

Watching Japon on the big screen was an experience I won't forget. It just wasn't the same at home but I'd still see it at home now than to wait around for it to appear again as part of a mini-fest or something like that. Try Netflix for DVD rentals if you like.

Actually, I wish I had more of an opportunity to go on these "binges." I guess I do but they only last a couple of days at a time. There are certainly some advantages when you live in NY. Just spent a 6hr block watching 3 Catherine Breillat films last weekend but only 1 was worth watching. Also saw a fantastic French film from a U.S. born director named Eugene Green; the film was Le Monde Vivant produced by the Dardenne bros. from Belgium. Silent Waters, recently released is well made film from Pakistan (perhaps their first film ever). Plan to see a few Sergio Castellitto films as Walter Reade is having his retro.

I think me and Oscar have become somewhat creative as to how to go about buying these foreign releases. One certainly has to spend a lot of time in front of a computer in order to do so. (I do because I work in a computer lab.) One can throw away a lot of money going after every new release that shows up on foreign DVD sites (I've done that in the past but now I've become more aware). Reading magazines like Film Comment helps as they usually specify "unknown pleasures" from around the world. Ebay is the best option although it's not w/out some risk.

[Chris Knipp]

I think me and Oscar have become somewhat creative as to how to go about buying these foreign releases

You sure have. Oscar has helped me with eBay a little, with good results. Netflix is another story. I have avoided it, because I don't want to get into the habit, and I might just wind up with more than I could watch, because as I said I prefer to watch in theaters. I have more leisure now--I am semi-retired, I have an independent income, and my time is my own even when I'm doing my art work, and I've made a point of traveling more as long as I can. I especially like spending time in New York and last time I spent five weeks in New York even though I live in California. I've even thought of moving to Manhattan but that may not be realiztic, I don't know. So much of my life is here, and it would be hard to relocate, alone.

I will consider Netflix, maybe I could make requests to a friend who gets it to see the items you and Oscar have recommended, such as Japon.

If you work in a compuer lab now I understand how your entries keep on coming lately. I have been at the computer too long the past few days, but it's enabled me to have quite a running conversation with you and Oscar, which I've enjoyed. How Oscar does it as a therapist, I don't quite know. I don't understand how he finds the time for all that he does.

I don't want to buy many dvd's. I accumulated a lot of videos and I rarely watch them, and there's no reason to think it would be any different. But I know once I get going, as with CD's, of which I have hundreds and keep getting more, I will continue at a a greater speed. Now I hardly ever buy any. I have some sets of the Sopranos, Kieslowski's Dekalog (found for me by Oscar), and some Wong Kar Wai and a few others, and that's it. I have a greater number of laser disks and am still getting them! I have a good laser disc/CD/dvd player combination, a Pioneer Elite model, which is quite good quality--the sound is excellent for CD's.

I have begun taking French lessons--my French is pretty good, accent is good, I like languges, but I need more vocabulary and practice--and my tutor is into movies and I expect to watch more French films and share them with her. I loaned her L'École de la chair with Isabelle Huppert, based on a Nashima story, and she watched it with her husband and we had a nice little discussion of it; this is a film I happen to love and have watched multiple times -- I think Huppert is in her best in it -- and my tutor had very keen observations about it. The French are so keen on cinema, so intelligent about it, I am going to really enjoy this--we're also discussing a novel by the Moroccan writer in French Tahar Ben Jalloun. Studying Italian lthe ast couple of years has led to my focusing more on Italian movies as you already know. I recently watched Bellocchio's Buongiorno, notte, his reexamination of the Aldo Moro kidnapping, and I think it's really very fine. I'm watching Salvatores' Amnesia, now, on my computer and it doesn't seem that great. I was disappointed with Singing Behind Screens. Actually the middleborw Last Kiss of Muccino, which I've come to admire more (well acted, nifty editing) through watching it over and over and over on dvd (you see I do watch the occasional dvd) to improve my oral comprehension of up to date Italian, has made me admire the technique of Sergio Castellitto. He just has a little part, but he handles it with such fine technique! The man has amazing control of the effects he wants to achieve. No wonder he's in great demand by foreign directors. They know they can rely on him to produce fine work at a moment's notice. Now as a director I'm curious how he has been.

[arsaib4]

Originally posted by Chris Knipp


I loaned her L'École de la chair with Isabelle Huppert, based on a Nashima story, and she watched it with her husband and we had a nice little discussion of it; this is a film I happen to love and have watched multiple times -- I think Huppert is in her best in it --


Isabelle Huppert. I'm not sure what to say anymore. She is so great is so many films that whenever I watch something; whether a new or an old one, lesser films people probably haven't heard of (La Vie Moderne etc.); it's astonishing how she stands out above the rest. For me, it's hard to say where she was the best...and she still has a long way to go.

Studying Italian lthe ast couple of years has led to my focusing more on Italian movies as you already know. I recently watched Bellocchio's Buongiorno, notte, his reexamination of the Aldo Moro kidnapping, and I think it's really very fine. I'm watching Salvatores' Amnesia, now, on my computer and it doesn't seem that great. I was disappointed with Singing Behind Screens. Actually the middleborw Last Kiss of Muccino, which I've come to admire more (well acted, nifty editing) through watching it over and over and over on dvd (you see I do watch the occasional dvd) to improve my oral comprehension of up to date Italian, has made me admire the technique of Sergio Castellitto. He just has a little part, but he handles it with such fine technique! The man has amazing control of the effects he wants to achieve. No wonder he's in great demand by foreign directors. They know they can rely on him to produce fine work at a moment's notice. Now as a director I'm curious how he has been.

Yeah, we've certainly had a few discussions on the current Italian cinema. I'm kind of waiting for a release date on Biongiorno to talk about it more I guess. (I hope Wellspring doesn't throw it away.) Believe it or not The Last Kiss has played on a few cable channels recently which was somewhat surprising. Perfect little film to watch on TV isn't it? A guilty pleasure I guess because of Giovanna Mezzogiorno. Mucchino's next film should be releasing soon in Italy.

Castellitto, if he hasn't already, is about to join the very elite group of European male actors. Just look at some of his work recently...Va Savoir, L'ora di Religione, Non Ti Muovere, Caterina la Vie Cita etc...just amazing. His next film is also with Bellochhio. He's the perfect male actor for the "auteurs," able to display various emotions all at once.

[Chris Knipp]

I'm glad we share interests in these things


Castellitto, if he hasn't already, is about to join the very elite group of European male actors. Just look at some of his work recently...Va Savoir, L'ora di Religione, Non Ti Muovere, Caterina la Vie Cita etc...just amazing. His next film is also with Bellochhio. He's the perfect male actor for the "auteurs," able to display various emotions all at once.

Indeed. I would like to see everything he' s been in and everything Huppert has been in. I can't say she was at her best ever in L'École de la Chair, because I haven't seen all her screen performances, but it's as good as I've seen, and as ideally suited to her talents and personality.

I look forward to your and others' seeing Buongiorno, notte. I have put off writing about it because nobody here has seen it, and because the context is so complex, and because I've got other things to write about, but I loved it, and it was something that's on a confined enough scale to work well on a monitor--so long as you have a good sound system for the music.

[oscar jubis]

Originally posted by Chris Knipp
How Oscar does it as a therapist, I don't quite know. I don't understand how he finds the time for all that he does.

The time and the money. In the same spirit of disclosure as your post...
After 20 years of full-time work, thrifty and simple living, and prudent investment, I find myself working part-time with flexible hours with a house and no mortgage, and plenty of time for cinema, friends and family. I watch no TV, always eat home-cooked, buy used dvds in mint condition then resell some, attend matinees, drive a jalopy, use public facilities like parks, schools and libraries, and actually, it's my wife who's the penny-pincher. I may increase my work hours in the future as needed, when the kids get a bit older or move out. I hope to always have the time to watch movies and argue with you about them.

[Chris Knipp]

That's really smart. Good for you!

[arsaib4]

Originally posted by Chris Knipp
I look forward to your and others' seeing Buongiorno, notte. I have put off writing about it because nobody here has seen it, and because the context is so complex, and because I've got other things to write about, but I loved it, and it was something that's on a confined enough scale to work well on a monitor--so long as you have a good sound system for the music.

Actually, I have seen this film; I thought I mentioned it before to you but maybe not. That's why I said that I was also waiting for others to see it before talking about it. I'm glad you have though; most likely on the DVD you got from Italy, right?

Anyway, I loved it also. It would've made my top ten if it was released here last year. Bellocchio hasn't just simply documented the events, but rather, he has given us his idealistic portrayal through the dreams of the fictional character he has invented. It's certainly a "complex" film as you said. The title comes from an Emily Dickinson poem about the struggle between choosing right and wrong and Bellocchio smartly avoids any didacticism here. He allows the political tragedy to unfold in the confines of a small apartment between a tightly knit "family." I thought Maya Sansa, who was in practically every scene in the film, was a revelation.

[Chris Knipp]

I agree with all of that. Yes, it's one of the dvd's I bought in Florence. It does feel intimate, and it's disturbing, yet somehow peaceful. I want to write about it when I can find the time and focus. I was confused about your having seen it--naturally, since hardly anybody here has seen it yet. Is it coming to the US?

Apparently this is the poem (Googled http://plagiarist.com/poetry/6285/):

Good Morning—Midnight
Emily Dickinson
425

Good Morning—Midnight—
I'm coming Home—
Day—got tired of Me—
How could I—of Him?

Sunshine was a sweet place—
I liked to stay—
But Morn—didn't want me—now—
So—Goodnight—Day!

I can look—can't I—
When the East is Red?
The Hills—have a way—then—
That puts the Heart—abroad—

You—are not so fair—Midnight—
I chose—Day—
But—please take a little Girl—
He turned away!

Mysterious and cryptic as some of her poems are.

[arsaib4]

Originally posted by Chris Knipp
Is it coming to the US?


Wellspring acquired the film in March last year and it was scheduled to play at the end of the year but obviously that didn't happen. I hope that they release it shortly.

[Chris Knipp]

I see-- thank you. I hope so too.