Top 100 - 2009 Edition

As promised, here is my annual top 100 list, 2009 edition. There is a new number 1 as well as a few new additions that weren't on the 2008 edition. Comments, challenges and questions are welcome as always -

My list has different criteria than the AFI - I appreciate humor, originality, vision and a good old fashioned story. Acting, directing and cinematography also impact my decisions. In addition to the criteria listed above, this list also has some personal favorites that take me back to the awe and feeling of the cinematic magic that I felt when I first saw the film.

Without further ado - here it is from #1 - 100.

1. Dr. Strangelove
2. The Godfather
3. The Graduate
4. The Shawshank Redemption
5. Se7en
6. The Departed
7. Apocalypse Now
8. Patton
9. Aliens
10. A Clockwork Orange
11. It's a Wonderful Life
12. No Country for Old Men
13. American History X
14. One Flew Over the Cuckoo’s Nest
15. Citizen Kane
16. Casablanca
17. Saving Private Ryan
18. Brokeback Mountain
19. Braveheart
20. Taxi Driver
21. Forrest Gump
22. Schindler's List
23. Fargo
24. The Shining
25. Seven Samurai
26. The Exorcist
27. Pulp Fiction
28. Rear Window
29. The Sixth Sense
30. Scarface
31. Caddyshack
32. Raiders of the Lost Ark
33. Gladiator
34. Return of the Jedi
35. Annie Hall
36. The Apartment
37. Fast Times at Ridgemont High
38. Heat
39. Duck Soup
40. The Silence of the Lambs
41. Godfather 2
42. Cool Hand Luke
43. Rebel Without a Cause
44. Fight Club
45. LA Confidential
46. Dazed and Confused
47. Enter the Dragon
48. Raging Bull
49. American Beauty
50. Modern Times
51. Unforgiven
52. The Dark Knight
53. This is Spinal Tap
54. North by Northwest
55. 2001
56. M.A.S.H
57. Sin City
58. Tombstone
59. The Thing
60. Full Metal Jacket
61. Deer Hunter
62. Alien
63. Jaws
64. Rocky
65. Good Will Hunting
66. Mystic River
67. Glory
68. Bonnie and Clyde
69. The Fellowship Of The Ring
70. A History of Violence
71. Empire Strikes Back
72. To Kill A Mockingbird
73. Butch Cassidy and the Sundance Kid
74. Star Wars
75. The Big Lebowski
76. On the Waterfront
77. It Happened One Night
78. Vertigo
79. The French Connection
80. A Streetcar Named Desire
81. All Quiet on the Western Front
82. Boogie Nights
83. Training Day
84. American Graffiti
85. Dog Day Afternoon
86. High Noon
87. Psycho
88. Animal House
89. The Wall
90. Titanic
91. The Manchurian Candidate
92. E.T.
93. Primal Fear
94. Into the Wild
95. Return of the King
96. Platoon
97. Chinatown
98. Road to Perdition
99. A Christmas Story
100. The Matrix

Inglourious Basterds

The much anticipated new Tarantino film depicts a group of 8 Jewish soldiers going undercover in Nazi occupied France to disrupt the Third Reich and wreak as much havoc as possible. The Tarantino-esque intersecting storylines eliminates the monotony or potential stale plot development, and the segmented "chapter" format is once again used, proving to be his bread and butter.

It is uncharted territory for Tarantino, as the majority of the film is subtitled with the dialogue in either German or French. The feel however, is familiar. Long, drawn out scenes with clever if not innocuous dialogue that produces many uncomfortable laughs due to the building tension of the story and the almost absurd interactions. It is this that makes it a Tarantino film. People wouldn't discuss such things for minutes at a time, but there is a compelling aspect to it that can't be denied.

At an impressive 2 hours and 30 minutes, it is quite the tale. Tarantino adds to his mystique and reputation as writer and director, but there is much less innovative cinematic delivery as there is a fantasy parallel universe revenge story. It is a lingering theme, I mean, who hasn't fantasized about killing Nazis indiscriminately and without mercy? He has the clout to do just about anything he wants, and as writer and director, it is admirable that he has tackled such diverse subject matter, as well as actors.

The cast is mostly German, but has Brad Pitt, Mike Myers and Diane Kruger as the star power. I must admit, I am a huge Pitt fan, but he started this film out weakly. His character grew on me however, and by the end, I was on board and could see and appreciate what he had created. He was a hardcore Tennessee Lieutenant with battle scars and a country bumpkin drawl that overshadowed his true grit. Mike Myers had a small cameo and played a British General with a bit of sardonic flair. Kruger was in her element as a German movie star, but blended with the rest of the foreign cast mostly unremarkably.

The Americans were mostly unimpressive save a few well-timed lines, and some great background noise to the more compelling story. The credit goes to Tarantino however as any Jewish-looking black-haired actor would have shined in the American roles, and he chose a bunch of regular Joes, including his friend, director Eli Roth, who shouldn't quit his day job.

The real stars of the film in my eyes were two of the German stars; the evil Colonel Landa who gained the moniker "Jew Hunter" but had a personable element to his demeanor that was disarming and endearing. He is truly deserving of all of the acclaim he is receiving, and I wouldn't be surprised to see him end up with a Supporting Actor nomination at year's end. He somehow makes an SS officer into a likable yet feared man. Not physically imposing in any way, he psychologically assumes the aura of authority and conveys the passion for his job which is the attempted genocide of a race of people, yet can be somehow accepted by audiences. That is one of the most difficult roles possible, but he pulled it off brilliantly. The other standout in my humble opinion is Til Schweiger, who is recognizable in films such as Driven, Tomb Raider II, King Arthur, and a plethora of German films. He plays the Nazi traitor who joins the Basterds. It is a subtle role, but extremely effective. Not much dialogue, but the glares and body language is daunting in its efficacy.

In typical fashion, the film is broken into chapters that set up the big finale, and in this case, it does not disappoint. The tension builds throughout the whole movie, and how could it not? It is about the atrocities of WWII and focuses on the battle against the Nazis from inside occupied territory. Full of espionage, double crossing and secret identities, it is a great escape into a fantasy world, but instead of happy endings, it is a more realistic fantasy that still delivers a satisfying feeling at the end.

It is a classic story of good and evil, and in this case the evil is the ultimate 20th century villain which makes it almost too easy. Tarantino makes it very personal however, as he always does, and presents the uncomfortable subject in a unique and awe-inspiring way. The build up to the climax is a little slow, but as it nears, there is a real sense of tension and anticipation. He delivers it in a way that is not contrived or formulaic, but rather goes off on its own path and satisfies in the way that only a Tarantino movie can.

I can't say enough about how the credit belongs to the writer and director for composing what can only be called a successful symphony of cinema. Tarantino is a revolutionary who has carved a niche in the film industry and will never see an equal. He is different and unorthodox, but he is proud of that. He takes personal past obscure film experiences that have left an impression on him and modernizes them with a twist without disgracing or diminishing their impact. It is truly original and regardless of the content of the film, he has to be respected for his sheer confidence and visionary creations.

This is the resurgence of Quentin Tarantino after relative disappointments Kill Bill Vol. 1 and 2 and Death Proof of the wildly entertaining Grindhouse which in this critic's opinion was heavily weighted in Robert Rodriguez's favor. This is easily his best film since Pulp Fiction, and it puts him back on the map as the most innovative and anti-establishmentarian director in the game. I have always respected and looked forward to his work, but after this, I have a renewed sense of faith in his films and future potential. 8/10.

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Part Four - Jack Nicholson

Part IV - Jack Nicholson

The consummate actor's actor, Jack Nicholson has created memorable characters, sometimes out of nothing at all. He has played cops, colonels, criminals, jokers and an obsessive compulsive, anti-social curmudgeon who brings out the soft spot in anyone who sees him. Often imitated (Christian Slater) but never duplicated, he is the original cinematic bad boy. Devious grin from ear to ear, and the Devil's eyes he has a truly unique look. His smile is infectious and capable of disarming even the most guarded viewer. Okay, maybe I'm exaggerating a little, but everyone is captivated by Jack.

A career spanning 53 years and counting, he has aged gracefully, winning an Oscar in the 1970's, 1980's and 1990's. He should have won one in the 2000's, but that is another story for further down this article. Among the films not mentioned here are Easy Rider, Five Easy Pieces, The Last Detail, Terms of Endearment, Witches of Eastwick, Batman, A Few Good Men, and About Schmidt. To have 5 stellar performances on top of those is an achievement in itself. Let's take a closer look at the man who makes stargazing at Lakers games a sport in itself.

Chinatown (1974)

Having already established himself as a viable actors in such films as Easy Rider, Five Easy Pieces, the Last Detail and a slew of other television appearances and smaller films dating back to 1956, Jack took the lead role as Detective Jake Gittes in controversial director Roman Polanski's sleazy political drama.

Gittes is enlisted to investigate a simple case of suspected adultery, and what follows is a rabbit-hole of a conspiracy that ends with a shocking and unexpected climax. Darkly mysterious, Nicholson lends a swagger to a hip 30's era film that inspired the more recent LA Confidential, which is a great film in its own right.

Already having secured 3 Oscar nominations, he had a voice and an attitude that was completely original and compelling and would later break through genres and leave a lasting impression on the film industry forever. Not necessarily the handsome leading man that audiences were used to, he seduced us with his charm first and foremost, and his hair-trigger temper second. So emotional and explosive, he can take any part and animate it better than any other actor, with Al Pacino a close second.

One Flew Over the Cuckoo's Nest (1975)

My favorite performance of Nicholson's vast array of roles. Randle McMurphy is a clever social deviant who avoids hard time by pretending he is insane at his trial, and he is thrown in the loony bin. It is fitting, as the mid-1970's was a very pivotal time for psychotherapy and developments in both medication administration and behavioral modification.

As he stirs up his fellow inmates, we realize that they are not crazy at all, they are just mistreated and misunderstood. He is the only one who realizes this, and there is a strong bond between the eccentric characters that forms as he finds that a mental hospital is not quite the vacation that he thought it would be. The evil Nurse Ratched runs the ward with an iron fist and a silver tongue. One of the more subtly sinister characters in film, she complements Nicholson's happy-go-lucky McMurphy and their struggle between order and chaos is a great subplot filled with tension.

What makes Nicholson so great in this film is that he is thrust into an environment that is so contrary to everything his character believes and knows. He adapts beautifully and makes a selfless change at the end that is both tragic and beautiful. It is truly a wonderful performance that encapsulates Nicholson in his younger days.

Nicholson wins his first Oscar in his fifth nomination for Randle McMurphy, and the film picked up another 4 awards including picture, director, actress and writing. Definitely a must see, again and again.

The Shining (1980)

Perhaps Stephen King's best film adaptation to date, there is nothing particularly remarkable about the story - family moves to a haunted ski resort to work as caretakers, and the expanse of empty space and solitude drives Nicholson's Jack Torrance's sanity to slowly unravel. Who can forget him breaking through the bathroom door that his wife is hiding behind and shouting "Here's Johnny!" He plays crazy brilliantly, and that is the mark of an exceptional talent.

This film holds a creepy place within the genre. Not gruesome enough to be horror, and not unrealistic enough to be true fiction. It is a psychological character study among the three family members, with a little Steven King twist thrown in the mix. Nicholson is haunting and chilling. I only wish he had done more good horror films.

As Good as it Gets (1997)

This surprise hit by James Brooks sparks chemistry with Helen Hunt as Nicholson is the older and neurotic anti-social bigot who has a heart of gold. Despite decades of age difference, the two are exactly what each other needs at that time in their character's lives. Two lonely and struggling souls that emote their wildly opposite plights.

The moral of the story is two-fold - no man is an island, and no matter how despondent you are, it can get better. This film marks Nicholson's third Oscar win as an actor, which ties him with Walter Brennan for most ever by an actor. Brennan won three supporting actor Oscars and Nicholson two best actor and one supporting actor. Interesting bit of trivia - there is controversy surrounding Brennan's wins in 1937, 1939 and 1941 - actors voted for the award, and since he was a popular extra during the time with a good reputation, many speculate that he won the awards not because he deserved them, but because he had many friends.

I digress. Nicholson's Melvin Udall is given wonderful lines by Brooks, who wrote and directed and seems to be Nicholson's favorite director to work with as they have collaborated four times resulting in two Oscars for Jack. They are also currently working on a project that has an outstanding cast attached - due out 2010.

The Departed (2006)

If you were to tell me that Little Miss Sunshine's Alan Arkin would win Best Supporting Oscar in 2006 and Nicholson wouldn't even be nominated for his performance in The Departed, I would tell you to go fly a kite (had to use that one for the kids). Easily the best film of the decade (maybe not easily, but edges out No Country for Old Men, Brokeback Mountain and Gladiator), and Scorsese's crowning achievement, Nicholson was the anchor that added the kick that it needed to go from great to spectacular. Basically, it is a fast-paced and chilling drama about an undercover cop and undercover criminal trying to uncover each other before being discovered. Try saying that last sentence 5 times fast.

A remake of a 2002 Chinese film titled Infernal Affairs, the American version has more grit, and Nicholson's crime boss Frank Costello puts real fear and tension into the mix. In spite of DiCaprio, Damon, Sheen, Wahlberg, Winstone and Baldwin, Nicholson rose like the cream to punctuate the film's excellence.

There are multiple instances where he was clearly given the liberty to improvise his dialogue, and the words that came out, although not always remarkable, were memorable because of how he said them, and the passion that came out of the character. That is the mark of a great actor.

It looked like Jack was having fun the whole way, and there is a larger than life presence that seems to grow with each role he takes. Although slowing down with age, he is not fading out of the spotlight like so many, nor is he wavering in his commitment to giving great performances as he has for years. He should have been nominated, and won an Oscar for this particular role.

Jack Nicholson won 3 Oscars out of 12 nominations between 1970 and 2003. He has won 7 Golden Globes in 17 nominations from 1970 - 2006 including 1 lifetime achievement award.

District 9

Peter Jackson presents a film by Neill Blomkamp is the most brilliant way to get people to see a film by Neill Blomkamp possible.

Joking aside, the advertising campaign for this one was well done. A mysterious alien film that was shot under the radar in South Africa for a paltry 30 million with no star power doesn't sound like much. Throw in Peter Jackson, great special effects and a pseudo-political theme, and it becomes the sleeper action hit of the year.

Intentionally shrouded in secrecy, Blomkamp cast his friend, Sharlto Copely as an agent in a parallel present day South Africa where aliens have been residing for nearly 30 years. Copely is charged with relocating the nearly 2 million aliens from their dilapidated and dangerous slums into a more "cozy" and safe concentration camp. Sound familiar? The aliens are also incapable of leaving due to a broken piece on their mothership that just sort of hovers over their slums.

The cool thing about the film is the way that the aliens are presented. They are not the ferocious creatures that we have seen so many times, and although they do have the cliche advanced technology (which I suppose they would need to get to earth) there is a segment that is skipped by having them reside with us for nearly 30 years. There is a fearlessness on both sides, and the communication gaps are filled. It is almost as if they are an accepted part of society. And that is the intent.

Because of their differences, most evident to us by their appearance, they are segregated and relegated to an enclosed confinement, aptly named District 9. It is a slum that makes Mumbai look almost pleasant - they are creepy crustacean-looking creatures who scavenge through garbage and enjoy cat food, and are unaffectionately nicknamed "prawns" by the people of Johannesburg.

What happens during the relocation process sets off a chain of events that leads to the uncovering of a government conspiracy, and ultimately a bloody battle.

The story is set up in documentary style, with interviews of witnesses and scientists, and more than anything else, it is a clever way to quickly tell the back story without going into too much technical detail. There are additionally some interesting camera angles throughout - some reverse first-person shooter when the paramilitary group is closing in on the protagonist, and the film jumps back to documentary at the conclusion.

It has the feel of 2008's Cloverfield without the headache. In the manner that it is presented, there is a feeling that although entirely preposterous, it becomes believable. The alien technology provides us with some of the highlights of the film - explosions and bloody gore.

Copely had given Blomkamp his first job nearly 15 years ago, and he is receiving a huge favor in return now. I'm not sure about the connection between Jackson and Blomkamp, but they likely share an interest in the creation of this project.

Not for the squeamish, District 9 is ultra-violent and causes plenty of cringes with human explosions and nasty prawn alien sequences. I would highly recommend this for its originality alone. But the effects are pretty cool too. 9/10.

The Goods: Live Hard, Sell Hard

This is the funniest used car sales comedy ever. Period. This might not be saying much, but this all star cast is perfectly assembled to complement each other and the gut busting laughs come whizzing by at a mile a minute.

the story focuses on a used car lot in Temecula that is struggling. The owner, in dire financial straits decides to bring in a group of professional "mercenary" salesmen and woman led by Don "the Goods" Ready.

The car sales angle is the perfect backdrop for an endless barrage of jokes and more subtle humor, and the characters' personalities are almost farcical in their delivery. Reminiscent in some ways of Anchorman, it is from the same production group - the anti-Apatow (although he did have his hands in Anchorman) crew that in many ways surpasses his regular group's humor by dumbing it down and throwing everything at you at once from all sides. Adam McKay, and Will Ferrell are two of the masterminds behind this little bit of comic brilliance, and Jeremy Piven heads a cast that I could rave about for days.

This film marks the coming out performance for Kathryn Hahn who is the female salesperson whose witty banter with the salesmen and customers and attempted seduction of a 10 year old boy (it's not as bad as it sounds) is comedy gold. Equally great is James Brolin who takes a chance as the owner who has a hidden agenda that inspires at the very least a smile just about every time he is on screen. Then there is David Koechner. Working tirelessly since starting his career in TV and film in 1995, he's been in nearly 100 shows or films since then. His breakout role came in Anchorman, and as a staple of the McKay/Ferrell team now, his role as the slick finance specialist is exceptional.

I have to say I was pleasantly surprised overall with the quality of this film, but there was one thing that detracted from the non-stop laugh-fest. Jeremy Piven is a funny man. Although possibly arrogant and egotistical in real life, his Ari Gold character on Entourage is one for the ages, and his supporting roles have always been energetic and have added substance to the films he has appeared in. However, as the star of this movie, I found myself getting tired of him. He should stick to the supporting roles, he just isn't leading man material. You can't blame him for taking the payday, and he chose a great film to headline, but it just didn't seem right.

The writing was outstanding. Reminiscent of the Zucker or Farrelly movies of years past (whatever happened to the Farrelly brothers?) where the dialogue had layers of humor that just never stopped. There were some lines that were placed so intentionally that it is almost comic science at its best.

I would go as far as to say that this film rivals the Hangover for most fun so far this year. Of course, I have a soft spot for dirty humor. 8/10.