Okay, got a few more to see, but let's go with this for right now:




movies:
#1: Cicade de Deus (City Of God)
Since I saw this back in September of 2002, at the Boston Film Festival, it's been the odds-on favorite for that year's best foreign language film, been snubbed, gotten a peculiar 2003 theatrical release,
not come out on DVD, received several Oscar nominations, and had it's home video release delayed again. Whew. Making this list, it's hard to look back at a movie I saw sixteen months ago and see where it fits in with the rest. I'd like to review it, but I can't right now.
Still, what does stick in my memory is powerful stuff. That initial scene of the doomed chicken, the great camera work, the chilling cycle of kids become killers at a very young age... I can't think of any other movie that came out in the last year that blew me away like this one, so it gets the nod.
#2: In America
We've all got our little things that we love perhaps more than they deserve. Me, I like stories about people newly arrived to the United States, making a clean break from their own life and ready to take advantage of its opportunities; it's a welcome antidote to the cynicism about one's home that all of us are vulnerable to.
In America also gives us two of the best pre-teen performances of the year in the Bolger sisters, and is one of the sweetest, most hopeful movies you will see without becoming trite or sappy.
#3: Finding Nemo
Though many aspects of this film are formulaic, they're the types of things that became formula by dint of working. Meanwhile, Pixar uses that formula to hang a bunch of clever bits - those seagulls killed me - and to create an environment that is beautifully realized. There's a tendency in film review, criticism, and discussion to elevate character above all else, and it is important - but film is a visual medium, and few movies look nearly as gorgeous as
Finding Nemo.
#4: Northfork
I realize that this is not for everyone. It can come off as over-artsy and self-indulgent. I think it's also a beautifully filmed and quite poignant meditation on death and loss, on multiple scales, and I was quite surprised by how powerfully it hit me.
#4.5: Ying Xiong (Hero)
Bloody Miramax. I appreciate that they may do more to get foreign and independant movies in front of people than anyone else, but it always seems compromised or unnecessarily difficult. Even though this was nominated for an Oscar
last year and Miramax had signed up for distribution even long before that, a bunch of needless battling over cuts to an award-winning/nominated film has delayed it insanely. Which is too bad, because it means few in the US have gotten to actually see this fine film, better in several ways than
Crouching Tiger, Hidden Dragon.
#5: Intolerable Cruelty
We don't award comedies enough. The aphorism that "dying is easy, comedy is hard" is seldom disputed, but when ranking my films, I routinely find myself thinking that film A shouldn't be so high because even though it's hilarious, it's not as important as film B. But that's rubbish. So, let me just say this: I laughed pretty much continuously through this movie, and admire the hell out of the Coens' craft. The scene where Wheezy Joe exits the picture is probably the most well-directed scene of the year; anything being the slightest bit off would have made it fall flat.



¾ movies:
#6: Lost In Translation
Bill Murray has spent the last few years doing suporting work and basically stealing every scene he's in. In
Lost In Translation, it all comes together as he and Scarlett Johansson are confronted by how absurd and confusing life can be as they meet each other in a Tokyo hotel bar. For only her second film (though she's got celluloid in her blood), Sophia Coppola has created an assured, masterful work.
#7: Blue Car
This movie twists the straightforward "talented kid with an inspiring teacher" idea into a pretzel, as the talented kid's drive to win the scholarship contest actually messes her life up worse, and the teacher's interest winds up in creepy territory.



½ movies:
#8: The Hulk
I loved, loved, loved what Ang Lee did with this movie. Like a good adaptation should, it gets to the heart of the work, finds what's important, and rebuilds it to fit the medium - no mean feet when the original work is a comic book that has run for 40 years, had dozens of authors, and as a result occasionally contradicts itself. That he found a way to use comic-inspired visual styles to keep a potentially slow story feeling urgent during a lot of exposition in the first half is icing on the cake.
The Hulk is probably my favorite comic-book adapation yet.
#9: Irréversible
A raw, often terrifying film that I can't imagine ever bringing myself to watch again, which uses its reverse structure cannily. Showing the violent confrontations before what leads up to them underscores their randomness and barbarity, and keeps the audience from being able to follow common plot blueprints to what will happen next.
#10: Nirgendwo In Afrika (Nowhere In Africa)
Like
In America, a sort of "strangers in a strange land" story, and one I greatly enjoyed. It doesn't necessarily have a whole lot to say, but it features characters who become real as you watch the movie, to the point where you leave hoping things went well for them after the part of their lives that you were privy to.
The other 3.5-star movies which didn't quite make the top 10:
Kill Bill Volume 1: It's a wonderful thing when someone as talented as Tarantino brings all his talents to bear on a pure action movie.
School Of Rock: It's formula, but it's formula at its best.
The Triplets Of Belleville: A kind of masterpiece of animation that uses pictures and motion and sound effects to the almost complete exclusion of words, and doesn't ape American or Japanese styles.
Master And Commander: The Far Side Of The World: Authenticity counts for a lot; it's the details that make this adventure movie so watchable.
Lilja 4-Ever: The most terrible kind of horror story, where thoroughly human evil completely breaks a strong person.
Dracula: Pages From A Virgin's Diary: Guy Maddin can be maddening, but also brilliant, as in this gothic, bloody presentation of ballet in a silent film style.
Better Luck Tomorrow: Once a year or so, MTV produces something intelligent for and about its teen audience. This year, it's
Better Luck Tomorrow.
The Dregs
¾ movies:
#n-9: Anything Else
Displaying none of the wit of his 70s comedies, Woody Allen made a movie with enough funny lines to fill a trailer. And once back in the context of the movie, they don't feel so funny any more.
#n-8: The Recruit
The year's most boring, but sleekly-produced, studio movie.
#n-7: Koroshiya 1 (Ichi The Killer)
I almost feel bad about putting this import that got its first official US release this year on the same list as the other turds - Takashi Miike is such a great director that even this displays flashes of genius. It's just too unpleasant to sit through, though.
#n-6: The Event
Even if I could stomach this film's advocacy of assisted suicide, I found it to be such a stereotyped, boring piece of propoganda that I'm convinced it would still make my worst-of-the-year list.
#n-5: Avalon
Respected anime director goes to Poland to make a live-action film, and it's no surprise that the end result is a muddled, tentative, pretentioius mess.

½ movies:
#n-4: May
One of those frustrating movies where you can see that everyone involved has talent but they're wasting it on an uninteresting, repugnant story.
#n-3: Love Object
Some nights, going to film festivals isn't a rewarding experience at all; you wind up seeing something unpleasant that doesn't even have much to do with the theme of the festival at all.
#n-2: The Warrior
I don't know if Miramax ever gave this inaction movie I saw at the 2002 Boston Film Festival a release this year as they were scheduled to. If not, just ignore this entry.

¼ movie:
#n-1: Darkness Falls
It's kind of funny; if this movie didn't have an actress I liked in it (Emma Caufield), I would never have seen it, and it wouldn't have made my worst list. There's some kind of irony in there which I can't quite lay my finger on.

movie:
#n: Anger Management
I should know better. But, I thought, Adam Sandler was good in
Punch-Drunk Love, and Jack Nicholson is in it; why not give it another chance? Wouldn't be the worst of the year, except for the extraordinary number of people who are better than this showing up for something painfully unfunny.