Steel White Table

Yup. This is likely the be the longest post on Steel White Table so far.

These are quick comments about movies I saw in 2007, not reviews or plot summaries. Each title, however, is linked to a review (usually one I agree with) from DVDTalk, James Berardinelli, Roger Ebert or another reputable online source.

Rififi — From Ebert’s review: “The modern heist movie was invented in Paris in 1954 by Jules Dassin, with ‘Rififi,’ and Jean-Pierre Melville, with ‘Bob le Flambeur.’ Dassin built his film around a 28-minute safe-cracking sequence that is the father of all later movies in which thieves carry out complicated robberies… Francois Truffaut [called 'Riffi'] the best film noir he’d ever seen.” (Dec. 30/07)

An American Werewolf in London — The plot is simple: a guy gets bit by a werewolf and becomes a werewolf and kills people. The 1980s special effects, although dated in places, hold up well. One of the first movies I saw on VHS, this comedy-horror movie has its scary moments, but mostly it’s just fun. (Dec. 27/07)

Fanny and Alexander — The 5-hour version, not the meagre 3-hour theatrical cut. It’s a “slow paced human drama told with an artisan’s voice,” one that isn’t depressing or disturbing — which is nice for an Ingmar Bergman film. It focuses on the lives of a large affluent family in Sweden, particularly the pains and joys of two children in the family. It’s strange, funny, surreal at times, philosophical here and there, entertaining and compelling. Definitely one of Bergman’s happier films. (Dec. 26/07)

Juno — A cute, quirky, clever and heart-warming film about a teenager who gets pregnant and decides to give the baby up for adoption. This year’s Little Miss Sunshine, though not nearly as sweet (which is a good thing). I didn’t love it, but I liked it. (Dec. 26/07)

Charlie Wilson’s War — Tom Hanks, Julia Roberts and Philip Seymour Hoffman all give excellent performances in this political comedy that tells the story of how the US got involved with Afghanistan by giving them rocket launchers to blow up Soviet helicopters. It’s more entertaining than laugh-out-loud funny, and it’s informative if, like me, you don’t know much about it, and it’s timely given the complete mess Afghanistan and the Middle East are today. (Dec. 23/07)

Blade Runner: The Final Cut — The holy grail of production design and cinematography, Blade Runner is magnificent, brilliant and spectacular — to look at. The most compelling scenes are the moments when you can see the replicants thinking about their humanity and their existence. If more of the film had lived up to the potential in those scenes, Blade Runner would be a great film, not just a great-looking film. Still, if you haven’t seen it for a while, it’s worth revisiting. It’s never looked better than it does now. (Dec. 20/07)

Birdman of Alcatraz — This quiet film about a prisoner who raises canaries and becomes a world expert on bird diseases feels more like a documentary than a Hollywood drama. It’s an okay movie for a rainy day. I like the Wikipedia entry on Robert Stroud, the real birdman of Alcatraz: “With the very high number of birds he kept, his cell was dirty and Stroud’s personal hygiene was reported to be gruesome… [One] of his fellow prisoners said, ‘He was a jerk. He was a guy that thrived on chaos, turmoil, upheaval.’” He comes across as a much nicer guy in the movie. (Dec. 19/07)

I Am Legend — One of the best science fiction movies of recent years, which unfortunately isn’t saying much, but at least it’s watchable. Will Smith does a good job playing the last man on earth and you feel for the guy. He has to fight some vampire-werewolf people from time to time, which isn’t as stupid as you might think (the CGI isn’t always the best, but it holds up well enough). Most science fiction movies begin with great potential and then get stupid and change genres for the last act (e.g., Sunshine). I Am Legend, for the most part, manages to dodge that bullet. I enjoyed it. (Dec. 16/07)

Ghost Dog — Some directors are so cool or innovative or just so damn good that even when they make a not-so-stellar motion picture, it’s still better or more watchable than 99% of the junk you’ll see at a multiplex any day of the week. Jim Jarmusch is one of those directors and Ghost Dog is one of the films. I watched it today while re-organizing my DVD collection (which probably isn’t a bad way to re-watch it), and thoroughly enjoyed it. It “seeks to superimpose the ways of the ancient samurai with the present day in the tale of a loner [Forrest Whitaker] who works as a hitman for the local mafia family.” It’s fun and funny and cool. (Dec. 14/07)

Star Trek: The Motion Picture (SE) — I used to think this was the worst of the original Star Trek movies because it foolishly tries to mimic 2001: A Space Odyssey, right down to the score over a black screen before the opening credits. But last night I managed to watch it all the way through for the first time since I got the director’s cut DVD a few years ago. So, for me, it’s no longer unwatchable. That’s an improvement, right? (Dec. 11/07)

Hard Candy — I finished watching this movie just minutes ago. There’s a scene (a long, drawn-out, torturous scene) in the middle that would have many viewers walking out of the theatre or ejecting the DVD saying, “I’ve had enough. I don’t need to see this.” It’s extremely difficult to watch, and for that one scene alone, I’ll probably never watch the movie again. It’s a well-made movie, but it is WHACKED. (Read the review I’ve link to if you want to know more.) (Dec. 7/07)

No Country for Old Men — My appreciation for this Coen Brothers film will only increase with each viewing, I’m sure. I’ve heard people refer to it as a cinematic masterpiece, and I can understand the praise. I can’t find anything wrong with it. It does what a good movie is supposed to do: it takes you for a ride and leaves you thinking, “What the hell was that?” It’s a crime drama, a thriller, a comedy, a morality tale; it will scare you and give you the creeps, it will make you laugh, it will make you think and it will entertain. The Coen Brothers are hit-and-miss for me, but this one is the biggest hit so far. (A detailed analysis and discussion of the film on Jim Emerson’s Blog.) (Dec. 2/07)

First Man Into Space — A “sci-fi” B-movie from the late ’50s about the first man in space who comes back transformed as blood-thirsty but misunderstood monster. Watchable as a B-movie, but there are much better B-movies out there. (Nov. 31/07)

Sunshine — The sun is going out and a spaceship is sent off to deliver a bomb that’s supposed to make things right. Recommended for fans of hard science fiction — with some reservations. The science behind the fiction makes it feel more real, but there’s not much character development, so, despite a few tense moments, the overall drama is minimal. It goes off the rails near the end and tries to become a horror movie with a message — which doesn’t work for all kinds of reasons. Someday someone might make an intelligent, adult science fiction film. This one almost pulled it off. Too bad. (Nov. 27/07)

A Very Long Engagement — The story of a young woman (Audrey Tautou from Amelie playing a slightly less quirky version of the same child-like character) trying to track down her boyfriend who was supposedly killed in the trenches in World War I. Just about all the shots — from the warm, picturesque rural scenes to the cold, brutally realistic battle scenes — are composed like paintings, so much so that the subtitles are distracting at times. That’s one minor criticism. The other is the storyline which does meander a bit (some tighter editing might have improved the pacing). But the performances are great and there’s magic and fantasy and something beautiful in every scene, so who cares? It’s an excellent film. (Nov. 26/07)

The Third Man — A classic film noir with more Dutch angles than you can throw a dead cat at. Deep dark crazy shadows all over the place, Orson Welles never looked better, cloak-and-dagger intrigue and a cool chase scene near the end to cap it all off. (Nov. 25/07)

The Take — A sometimes moving documentary with Naomi Klein about workers taking over abandoned factories in Argentina. Interesting bonus features too. It’s amazing what national banks and corporations can get away. Some people are really getting screwed by globalization. (Nov. 24/07)

The Hanging Garden — I love the vibrant look and the often surreal quality of this film. It accurately captures the rural culture of Nova Scotia and the difficulty of being different in that environment, especially when what makes you different is considered a sin (ya gotta love Catholicism). It’s more dream-like than emotionally-engaging, but it’s a good story and one of the best Canadian films of the past 10 years. (Nov. 22/07)

The Hidden Fortress — A light-hearted adventure comedy about two losers trying to take the money and run, more or less. Add to it a warrior and a princess, some exciting chase scenes and a couple of fights — under the direction Akira Kurosawa, just about every frame of it is a work of art. (Nov. 19/07)

Beowulf — I am Phillip with 2 Ls! Be warned! Hearing “I am Beowulf!” ten times in two hours gets old really fast! Computer-animated humans will never be as good as the real thing! When the people aren’t real, the drama isn’t real, not for a second! My time would have been better spent playing Donkey Kong! Arrgh! (Note: I didn’t see the 3-D Imax version.) (Nov. 19/07)

Three Times — Three quiet Taiwanese love stories told in three different time periods with the same two actors. Beautifully shot, slow-paced with minimal dialogue, it reminds me of Kim Ki-duk’s films, but lacking the emotional resonance. The second story is shot like a silent film with only a light piano score throughout and title cards for dialogue, which is odd but kind of cool. If the third story had picked up the pace and given us something to care about, it could have been an extraordinary film. At least the first two stories are worth watching. (Nov. 14/07)

Into The Wild — The true story of a young guy just out of university who travels across the US to live in the wilds of Alaska by himself — and who should have taken some survival courses before he got there. Although more interesting than dramatically engaging, it’s a well made road trip movie that’s worth a look, especially if you share the idealism of Thoreau. (Sean Penn discusses the film on Charlie Rose.) (Oct. 28/07)

Gone Baby Gone— Not recommended for people with small children. Directed by Ben Affleck and starring his brother Casey, my expectations weren’t high, but I had heard good things and I wasn’t disappointed. Ben Affleck is a fine director. The film starts off as a detective thriller, but things unfold in an unexpected way and, brother, I was completely engaged right to the very last frame. Disturbing at times, but it gives you something to think about while the credits are rolling. Well done. (Oct. 20/07)

Michael Clayton — George Clooney as a burnt out lawyer. It’s only been a few hours and I’ve already completely forgotten it. (Oct. 20/07)

Transformers — Transformers may be the worst movie I’ve ever seen. It’s not even worth the trouble of a download just to see how bad it is (trust me, you’ll regret it). Star Wars: The Phantom Menace is a masterpiece next to this. (Oct. 8/07)

When Worlds Collide — One of the most watchable “sci-fi” B-movies from the early ’50s — and in colour! It’s about some scientists (or scienticians) who build a big rocket ship to take a group of people to the planet Zyra because the earth is about to be destroyed in a collision with some other rogue planet. Or something. A 7 out of 10 rating on the cheese-o-meter. (Oct. 8/07)

The Dead Girl — Striking cinematography and good acting cannot make up for the fact that the story is so %$#@! up and depressing, it leaves you feeling dirty, like it’s time for a really long shower now. A well-made film but definitely not for everyone. (Oct. 7/07)

Everything is Illuminated — Some of the best films I’ve watched recently also happen to be the least conventional: The Science of Sleep, The Fisher King, The Fountain, and now Everything is Illuminated, a quirky, colourful, fantastic road trip movie that may surprise you with its poignancy. It’s funny, it’s touching and, yup, it’s illuminating. Another pleasant-surprise movie not many people have seen. (Oct. 7/07)

Ponette — An extraordinary film about a 4-year-old girl dealing with her mother’s death — and it’s not a downer. From the first frame to the last, you are living in a 4-year-old’s reality as dramatic and moving as any adult world. It’s a one-of-a-kind film that’s hard to forget. Highly recommended. (Oct. 7/07)

Death Proof (Extended and Unrated) — This extended version of Quentin Tarantino’s tribute to Grindhouse films is better than the theatrical cut, though it’s difficult to qualify “better” in a movie that doesn’t strive too hard to be good in the first place (there are some unpleasant though quick gore shots). Tarantino doesn’t bring anything new to the table (the dialogue and direction are derivative of himself) — except for the car chase scene at the end which is fun and funny. (Oct. 6/07)

The Manchurian Candidate — This 2004 remake starring Denzel Washington is a passable thriller. It’s not bad, but it’s forgettable. (Oct. 5/07)

Following — I agree with the review I’ve linked to that calls this film Christopher Nolan’s mini-Memento. It has a similar out-of-sequence timeline which is initially confusing but works to heighten the tension as an unemployed writer decides to follow people in the street as a means of developing characters for his fiction. He follows the wrong guy one day and gets tangled up in some weird and dangerous situations. It’s not as slick as Memento, but it’s pretty damn impressive considering its $6,000 budget. (Sept. 30/07)

Star Trek: Nemesis — As straight up science fiction movies, Star Trek movies are kind of lame — but they’re fun if you can get into the whole Star Trek universe, and I do. That being said, Nemesis is a mess. Data has another evil twin? Captain Picard has been cloned? Why is this the first time we’ve heard of the Remans, and now we’re supposed to be scared of them? And how many women squirmed in their seats during Riker’s and Troi’s love scene? That was disgusting. It’s no wonder Nemesis put an end to the Next Generation movies. (Sept. 30/07)

The Science of Sleep — I laughed out loud all throughout this film written and directed by Michel Gondry. He also co-wrote and directed Eternal Sunshine of the Spotless Mind. And it shows. The films share much the same look and feel except Sleep leans more towards the comedic due in large part to the fantastic performance by Gael Garica Bernal. I had a great time watching this movie. (The DVD commentary track is funny too.) (Sept. 29/07)

The Story of the Weeping Camel — The camel is in the Gobi Desert and the people in the film are the real nomads who live there. It’s interesting as a document of their way of life, though it may have been more compelling — and more accessible — as a straightforward documentary. (Sept. 29/07)

The Gauntlet — A 1977 Clint Eastwood cop movie with a snazzy jazzy soundtrack that has Clint falling in love and on the run with a prostitute because he was set up, and I wonder who set him up? A totally lame and predictable movie, but watching the cops shoot the shit out of everything is kind of fun. (Sept. 28/07)

A History of Violence — It may be David Cronenberg’s most conventional film to date, but, like most of his films, it fails to touch me on an emotional level. It’s interesting and compelling and a bit violent and bloody at times. And that’s it. The moral of the story is…? (Sept. 26/07)

The Fisher King — A much better film than I remember (I last saw it around 1991) and one fans of The Fountain might appreciate too. I don’t think Jeff Bridges, Robin Williams and Mercedes Ruehl could have given better performances in this surreal yet uncomfortably realistic film directed by Terry Gilliam. A fantastical mix of sorrow and humour. (Sept. 23/07)

Black Snake Moan — Just about the coolest movie I’ve seen all year. Samuel L. Jackson and the killer blues soundtrack is enough reason to give this one a try. The well-crafted story is the another. Like most of the excellent movies I’ve watched this weekend, this is another diamond in the rough that was not generally well-received by critics or at the box office but is worth looking out for. (Sept. 16/07)

Seraphim Falls — A.k.a. 101 Things to Do With a Knife (watch the movie to get that joke). The first 15 minutes play like a Grizzly Adams version of 24. It’s brutal. Pierce Brosnan’s performance as a man on the run — who knows how to fight back — is outstanding. The film is mostly one long chase scene with a slightly surreal ending, but it’s the best western I’ve seen for awhile. (Sept. 15/07)

The Fountain — I wish I’d seen this one in a theatre. It deserves the biggest screen you can find. It’s a film I know I’ll have to watch again to fully appreciate, but even now I’m amazed by it. It’s the most surreal, unusual film I’ve seen in years, but not so far out there that it’s alien — the complete opposite in fact. Read the review I’ve linked to; I agree with every word of it. And check out RogerEbert.com for further commentary on the film. (Sept. 14/07)

The Brave One — Without Jodie Foster’s convincing performance of a woman who becomes a vigilante — and is conflicted about what she’s become — this movie would have been a melodramatic revenge flick. Half the audience is likely to miss the point and cheer whenever she shoots her gun; the rest might find it disturbing. I don’t agree with everything that goes down in the end, but the psychological transformation of Foster’s character makes this film worth watching. Terrence Howard is pretty good too. (Sept. 14/07)

3:10 To Yuma — A watchable non-epic western with a more or less by the numbers storyline. I didn’t love it, but the look and the feel of the film and the performances are all good. Not a bad movie if you like westerns. (Sept. 14/07)

Little Children — I kept waiting for something really bad to happen while I was watching this movie, but it was alright. I had a few moments where I thought, “No one in real life would do that,” but overall the story is so well-constructed and intelligent in the way it develops the drama, it’s difficult not to be affected by the experience. An unusual film, kind of strange in places, but good. (Sept. 9/07)

Mission to Mars — The science behind the fiction is cool, so it’s worth a look if you’re into science. Everything else about this movie is so, so, so incredibly bad, you might want to keep your finger on the fast-forward button — or smoke a big fat one before you press play. (Sept. 7/07)

Nothing — A comedic science-fantasy story of two losers who, after having the worst day of their lives, manage to make the whole world disappear except for the house they’re living in. And that’s only the first 15 minutes. You have to be a little warped to appreciate this one. I watch it every couple years. It’s a hoot. (Sept. 7/07)

Hearts of Darkness: A Filmmaker’s Apocalypse — A documentary about the making of Francis Ford Coppola’s Apocalypse Now. Coppola fired his lead actor after several weeks of shooting, his replacement lead actor had a heart attack half way through the 238-day shoot, hurricanes destroyed his sets, army helicopters were called away in the middle of hugely expensive shots, and he didn’t have an ending. Good times! (Aug. 28/07)

Burden of Dreams — More than just the making of Werner Herzog’s Fitzcarraldo. After Hearts of Darkness, there may be no better film that documents the inherent insanity of shooting a film on location (especially when that location is a hot, sticky, dirty jungle). Herzog says, “We have to articulate ourselves. Otherwise we would be cows in the field.” Okay. (Aug. 27/07)

The Proposition— A morally ambiguous and slow moving Australian western that isn’t quite as epic and fun as The Good, The Bad and The Ugly, but worth a look if you’re a fan of westerns. (Aug. 26/07)

Stardust — A predictable fairy tale that will take you for a fun ride if you’re willing to just go along with it. All the actors have a good time with this one, and it’s infectious. It’s got adventure, comedy, romance, thrilling action and enough interesting twists so it never gets boring. A good night at the movies. (Aug. 18/07)

The Last Legion — Did something today I normally don’t do. I saw a movie without knowing anything about it. And it sucked. The Last Legion is not adult entertainment. 13-year-olds who don’t know what a cliched fantasy film looks like might enjoy it. Parents might like it too because no blood or actual killings are shown. (Aug. 17/07)

The Bourne Ultimatum — One of the best movies I’ve seen in a theatre this summer. A solid action movie in which all the stunts and explosions and chases are real. No CGI. And it feels real. This is a visceral, tense, exciting film with a few moments to catch your breath and then BAM! we’re back in business. It’s a cool movie. Lots of fun. (Aug. 5/07)

The Simpsons Movie — I’ve watched maybe two episodes of The Simpsons in the past 3 years, and I don’t think I laughed once. I laughed out loud all throughout the movie. The secondary characters don’t have much to do, but it’s fun. If you like the TV show, you’ll like the movie. (Aug. 3/07)

All Quiet on the Western Front — From DVDTalk: This film is “the granddaddy of anti-war epics. Based on the celebrated autobiographical novel by Erich Maria Remarque, the 1930 film about German soldiers in World War I presents a searing indictment of war that still manages to rattle viewers despite the passage of time and some rather dated elements.” (July 29/07)

Harry Potter and the Order of the Phoenix — Indiscriminate Harry Potter fans will probably like this movie. It was another soulless, unengaging snoozefest for me. (July 21/07)

Everyone Says I Love You — A musical by Woody Allen, and ya know, it ain’t that bad. People breaking out into song usually doesn’t work for me, but the acting is good, the story is entertaining and the songs are fun. It’s well done. I enjoyed it. (July 20/07)

Sicko — Michael Moore is not the most honest reporter of the facts, but at least he knows how to tell a story that makes you ask important questions, this time about how American health care is completely %$#@! There are few surprises in this film, but it’s worth watching as a reminder that medical care for profit is evil. (July 19/07)

Twelve and Holding — Stand by Me with a whole lot of edge. Excellent, realistic performances from the kids (and everyone else) and a hell of a story makes this one of the best movies I’ve seen this year. (July 2/07)

Live Free or Die Hard — Over the top stunts and explosions and people getting killed all over the place, and not one second of it is exciting or tense. Any single episode of 24 is better than this. (July 2/07)

Wordplay — A documentary about people who do crossword puzzles which at times is so bizarre it seems like a mockumentary. The celebrity interviews are unnecessary (Jon Stewart’s is particularly annoying), but the regular crossword puzzle geeks, who think quite highly of what they do, are interesting and fun to watch. (July 2/07)

Ratatouille — Skip this and see Surf’s Up instead (which, although flawed, seems more innovative). I’ve officially reached the point where I can no longer get excited about a Pixar movie. I know everyone loves them and they make big bucks, but they continue to fall flat for me. (July 1/07)

1408 — Go rent The Shining instead. 1408 may be one of the best horror movies of the year, but that’s not saying much. (June 24/07)

Infernal Affairs — Part one of a trilogy of films from which The Departed is a re-make, this highly stylized and sometimes silly Hong Kong action flick is fun to watch, though maybe not as humorous as the American version. I need to watch it again more objectively to fully appreciate it. (June 23/07)

Surf’s Up — I laughed all the way through this computer-animated family film. The subtleties in characterizations are hilarious. Jeff Bridges reprises his role as the Dude but in penguin form. I like the moral of the story too.

Chinatown — This is one of a small handful of movies everybody loves except me. It may be a classic of film noir (a restrictive term I’d like to see retired), and I can appreciate certain stylistic elements of the film, but what I can say? I fall asleep every time I try to watch it. (June 15/07)

Ocean’s 13 — Not as a good as Ocean’s 11. Not as bad as Ocean’s 12. I’ll have forgotten it completely by this time next week, but I enjoyed it. (June 10/07)

Fracture — I had low expectations for this mystery thriller starring Anthony Hopkins, but it’s not bad. It’s not a great movie, but it’s intriguing and interesting enough to satisfy. (May 30/07)

Away From Her — A quiet film with wonderfully nuanced performances and subtle direction, it packs an emotional punch without being overtly manipulative or insulting to the audience’s intelligence. Probably one of the best films I’ll see this year. (May 21/07)

Stranger Than Fiction — I rewatched this movie last night and enjoyed it as much as I did the first time I saw it, if not more. I don’t care for Will Ferrell as a comedian, but his intelligent performance makes the fantastic element of the story believable. A fun script. (May 16/07) I watched it for a third time last night. The romantic element of the story is a bit too Hollywood for my tastes, but I guess I was too caught up in the fun of the movie the first couple times to notice that. (Dec. 23/07)

Spider-Man 3— I wasn’t impressed by the first two instalments of Spider-Man. Number 3 is not an improvement. It takes itself too seriously; the story is all over place and goes nowhere; the special effects are special effects, not characters you care about; at 2.5 hours, the movie is an hour too long — and it’s boring. Even die-hard Spider-Man fans may be disappointed with this one. (May 6/07)

Broadway Danny Rose — A departure from his NYC intellectual scene, this may not be the best 4-star 10 Woody Allen movie, but it’s funny without being stupid, something that can’t be said about most comedies made today. The more Woody Allen I watch, the more I appreciate him as a writer and director. He is one of the best. (May 5/07)

Tell Them Who You Are — A documentary about Academy Award winning cinematographer Haskell Wexler — directed by his son. (I was surprised to discover that Wexler is slightly colourblind like me. He said he works more with the tone of light than its actual colour, which is exactly how I perceive light too.) The exploration of the father-son relationship is a jumbled mess of interviews and footage that goes nowhere. (May 4/07)

Grindhouse — This double feature of exploitation B-movies — one a zombie movie, the other a car chase/revenge flick — does not elevate either genre to the level of great cinema (as some might argue is the case with Kill Bill). A mild thumbs up for me. (Apr. 7/07)

Bon Cop, Bad Cop — The look and feel of this movie reminded me of every CBC-TV crime drama I’ve seen in the past 15 years: too clean and brightly lit to be gritty. I wanted to like it (it’s not all bad), but it did nothing for me. (Apr. 2/07)

Bananas — An early Woody Allen film of slapstick humour that is of more interest to Woody Allen fans. The Howard Cosell intro and ending are the funniest parts. (Apr. 1/07)

Another Woman — Yet another Woody Allen film that could easily get lost in the mix of all his other New York intellectual films, but shouldn’t. This is a good stuff. It’s compelling, it’s funny and filled with real people. One of Woody Allen’s best films. (Mar. 30/07)

The Devil and Daniel Johnston — A documentary about a mentally unbalanced guy who can’t play or sing worth a damn, but is a brilliant songwriter. His music may be hard to take (I wouldn’t want to listen to him sing for more than 5 minutes), but the film is a well-told story of the relationship between creativity and mental illness. (Mar. 29/07)

Dark Days — This documentary about a group of homeless people who live underground in abandoned subway tunnels in New York City, and shot entirely on film by someone with no previous film experience, is one of the most incredible achievements in filmmaking I’ve ever seen. Be sure to watch the “making of” bonus material too. (Mar. 18/07)

Sunrise: A Song of Two Humans — This silent film from 1926 has a split personality: a purely cinematic story (having no sound kind of forces the images to do their job), powerful, dramatic stuff — and about 20 minutes of hijinks in the middle that, for most viewers, will be a complete waste of time. Otherwise, highly recommended. An excellent introduction to silent films. (Mar. 16/07)

Zelig— Woody Allen’s mockumentary about a man who goes to extraordinary lengths to fit in with the crowd is both funny and technically brilliant. It looks exactly like an old news reel documentary. Mixed with commentary from contemporary figures like Saul Bellow and Susan Sontag, it feels completely authentic. Weird. (Mar. 12/07)

Zodiac — Convincing performances by every actor in the cast make this a watchable thriller. Can’t complain much about David Fincher’s direction either (it does the job), but the unfocused manner in which main characters come and go from the storyline makes it difficult to care about them. Well-acted but probably forgettable. (Mar. 11/07)

Love and Death — Recommended mostly for die-hard Wood Allen fans and viewers who’ve read their fair share of Russian literature. Some of the jokes and set-ups are funny, but the timing and the performances seem a bit off; I didn’t laugh much. Reminds me of Without Feathers and other Woody Allen books. (Mar. 10/07)

Babel — The correct title for this film is Deeply Unhappy People With Extremely Bad Luck. If you’ve seen Crash, then you know what I’m talking about. Both are well-made films; everything from acting to editing is top-notch. But beyond the dire immediacy of the situations, there are no profound revelations. It’s empty drama. (Mar. 1/07)

The Hours — The incessant Philip Glass score kind of got under my nerves. The Meryl Streep segment of the story is the most compelling, and for that it’s worth a look (she and Ed Harris are excellent). Virginia Woolf fans will probably enjoy it more than I did. (These films about completely unhappy people are starting to wear me down.) (Feb. 27/07).

The Last King of Scotland — Holy jesus, man, was I shook after watching this movie. It’s about a young and foolish doctor from Scotland who goes to Uganda in 1970 just after a military coup and becomes the personal physician of the president — who might seem like a nice guy at first but isn’t. Straightforward but effective filmmaking. It took me for a ride and left me feeling quite unsettled. (Feb. 25/07)

Radio Days — I laughed out loud all throughout this Woody Allen movie that is unapologetically nostalgic. It provides a glimpse of what life was like before television. Woody narrates but doesn’t act, and those who do act are so damn good — and funny — it’s a pleasure to watch them. (I’ve been on a Woody Allen kick for the past few months, and I’m loving it.) (Feb. 24/07)

Hannah and Her Sisters — Another Woody Allen movie that could easily get lost in the mix of all his other New York intellectual movies (they do tend to blend together for me), but so what? He makes the most of what he knows. It’s another story of marital infidelities with plenty of literary and philosophical references, and the performances are great, especially Michael Caine. (Feb. 23/07)

Pan’s Labyrith — A fairy tale for adults. It’s a good movie. I enjoyed it. For whatever reason, though, it didn’t grab me. I like the look and feel of it, but I wasn’t scared or on the edge of my seat for any of it, or even too engaged by it. So even though I like everything about it, I wasn’t affected by it. So…? (A unique film though.) (Jan./07)

The Lady Vanishes — An early Hitchcock mystery that’s more interesting than suspenseful. If I was alive during the 1930s, I probably would have loved it. (Feb. 19/07)

Bridge to Terabithia — A Peter Pan message about the power of imagination, this movie is geared more towards kids than adults. However, the story eventually diverges enough from the normal sugar-coated Walt Disney production that I can recommend it for adults too. (Feb. 19/07)

Junebug — An ensemble piece with remarkably realized characters. This is good acting. A genuine yet entertaining portrait of the family unit and all its peculiarities. (Jan./07).

Samaritan Girl — Although not nearly as unpleasant as watching Cries and Whispers where a woman cuts her genitalia with a piece of broken glass, Samaritan Girl falls more or less in the same category of, “Why do I need to watch this?” That said, under the admirable direction of Kim Ki-Duk, it’s a strangely watchable film. I’m on the fence with this one. (Feb. 18/07)

Night at the Museum — I bought a ticket to see Bridge to Terabithia, but the theatre was packed when I got in. So I went out and asked if I could get my money back. I was told nope, tough luck, but I could see any other movie that was about to play: Norbit or Night at the Museum. I can’t believe I sat through an entire Ben Stiller movie. Let us never speak of this again. Ever. (Feb. 17/07)

Mean Streets— I saw Scorsese’s Mean Streets years ago and forgot about it. It seems tame compared to crime movies that came after it, but it is a hugely influential film, and for that reason, it’s interesting. I’m not biting at the bit to watch it again any time soon, but I’m sure I’ll appreciate it more with each viewing. (Feb. 15/07)

Cinema Paradiso (SE) — This expanded version of the film is an improvement over the original North American release and will definitely please anyone who is already a fan. I watched about an hour of it every night for three nights, and I loved it. Today this film would probably get divided into two separate parts. The last half has a different rhythm that almost makes it feel like another film. But that’s a minor criticism of what I now realize is a great film. Highly recommended. (Feb. 13/07)

Notes on a Scandal — It may have two Oscar-nominated performances from Judi Dench and Cate Blanchett, but the movie is a waste of time. I nearly walked out of the theatre. It’s not all bad, but I didn’t care about anything of it or anyone in it at all. (Feb. 9/07)

A quick shot of some movies I saw this year before I began making this list:
Letters from Iwo Jima — Clint Eastwood shows us the Japanese side of the story. An excellent story, though it’s almost too good to be great.
The Double Life of Veronique — Krzysztof Kieslowski is my favourite director. A beautiful film. I love it.
Days of Heaven — Terrence Malick and Nestor Almendros sure know how to compose lovely shots. It’s almost sacrilege to say anything bad about Malick. It might take another viewing, though, before I’m in the “love it” camp for this one.
In a Lonely Place — Humphrey Bogart in a movie I’ve already forgotten. Nothing special.
The Pursuit of Happyness — Will Smith playing a straight up role as a guy struggling to make ends meet. Good performances in this feel-good underdog story.
Rocky Balboa — A completely watchable Rocky movie. Not great but not bad. I was never a big fan of Rocky. I’d say this one is the best of them all.
Brokeback Mountain — I finally got around to watching this movie about two gay cowboys trying to be cowboys and gay at the same time (not an easy balancing act). I like it, and I suppose you could say the performances are brave, though it might be another film I need to watch again before I can say I love it.
Apocalypto — Blood, violence, gore. Good cinematography.
Badlands — Another Terrence Malick film that didn’t grab me. The story was a zero. I couldn’t bring myself to care about any of it. So sue me.
Anything Else — Woody Allen cannot write for younger characters. His words sound wrong coming out of this guy’s mouth. I had to give up after the first 30 minutes.
Casino Royale — I don’t like James Bond movies, but I like this one. The love story is too long, but the action is excellent.
The Queen —A well-made movie about the Queen with some great performances. But who really cares about the Queen? Not me.

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