While some films that came out in 2009 were in many ways "better" than what I may have on my list, I just used my level of enjoyment as the yardstick for my choices. The pleasure meter is subjective, as the where/when/how of seeing a film has a serious affect on me. This is why I try to watch the films on my list at least twice to make sure I wasn't wearing rose colored glasses the first time out. I try to give the same opportunity to films I may not necessarily at first too, if I can see that maybe just maybe there is a glimmer of something in there I could be missing. Overall it was a damn fine year for film releases, and I had one hell of a difficult time narrowing my choices down to just ten titles. But I did, and here they are.
10 - THE HILLS RUN RED
In this case, being a little cornball and adhering to convention is a good thing. Director Dave Parker and screenwriter David J. Schow delivered one hell of a fun, bloody slasher, and one of the creepiest horror baddies ever with Babyface. This flick is plain ole' super duper neat-o. Tense kill scenes, and performances worthy of the Grand Guignol, THE HILLS RUN RED is a horror geeks gut ripper of a wet dream. The perfect purchase if you've cycled through your 80's horror collection one too many times and are in the mood for something styled in the old-school. Here's hoping for a sequel.
9 - HOUSE OF THE DEVIL
Ti West finally lives up to the promise shown with his debut feature THE ROOST, and makes up for the abortion that was CABIN FEVER 2. With one of the most authentic looking portrayals of the 70's era since Ang Lee's THE ICE STORM, HOUSE OF THE DEVIL ressurected my beloved Satanic Panic sub-genre from the dead, and provided some genuinely creepy moments. A simple yet mature film, with a strong cast including stalwarts Mary Woronov and Tom Noonan, as well as up-and-comers AJ Bowen and Jocelin Donahue . This film could be the start of beautiful things for many of those involved. A big treat for a 70's era telehorror fanatic, and fan of flicks like THE SENTINEL and THE DEVIL'S RAIN like myself.
8 - OBSERVE AND REPORT
Falling somewhere between a Judd Apatow and Terry Zwigoff film, is Jody Hill's second feature, which stars Seth Rogan and Anna Farris. A comedy about a loser mall cop with some serious delusions of grandeur bordering on the psychotic, and the perfume counter girl he pines for, OBSERVE AND REPORT is a gem of inappropriate humor. On paper I would have thought this movie was going to suck, but somehow Hill and his cast indeed make the depressing funny. I can't remember when I've had such a good time feeling so bad. The slow motion action/chase scene at the end is worth the price of admission alone, and may be a wee bit, er, challenging, to some peoples sense of what and what isn't funny. Hehehehehe...you have been warned.
7 - GRACE
Director Paul Solet's feature debut feature of maternal terror, based on his previous short film of the same name, about a mother whose power of will and obsessive love yield morbid results, thankfully comes across more like Polanski than Fulci. Along with the aforementioned HOUSE OF THE DEVIL, GRACE was a much needed shot in the arm to the horror genre this year, with it's grim and unflinching subject matter, and it's arthouse tonality. GRACE also brings to mind the golden era of Cronenberg, and the work of Michael Heneke. This is one slow burning film, packed with great performances, sure handed direction, and meticulous cinematography that perfectly captures the sterility of the over privileged upper middle class it portrays. Lead actress Jordan Ladd has come a long way since CABIN FEVER, and shows that she's one to watch in the future.
6 - THE WORLD'S GREATEST DAD
Bobcat Goldthwaite is a sick, sick man, in a good, good way. He directs, and Robin Williams stars as a nebbish high school poetry teacher who remains an unpublished failure of a writer, whose foul mouthed horror of a teenage son dies in a case of botched auto-asphyxiation. Wanting to preserve some kind of respectful memory for his degenerate offspring, Williams fakes a suicide journal, which then gets out and becomes a publishing phenom. Juggling compounding lies, and enjoying the successes of a hit author, this is a lesson in be careful what you wish for. THE WORLD'S GREATEST DAD is just so wrong in so many great ways. Not since THE WORLD ACCORDING TO GARP have I enjoyed a Williams performance so much.
5 - MOON
An ambient science fiction film, this is Sam Rockwell's tour de force performance, and director Duncan Jones' coming-of-age as a fully formed director. Rockwell is pretty much the only actor in the entire film, with Kevin Spacey providing the voice of his HAL-like counterpart. A tale of class-ism and corporate slavery, Rockwell lights up the screen playing multiple versions of his singular character, infusing each version of himself with subtle nuance and incredible sensitivity. A throwback to films like SILENT RUNNING, MOON is a perfect reaction to the blockbuster beasts that modern sci-fi films have become. This is the anti-AVATAR of the year. It has me really looking forward to Jones' next project, SOURCE CODE, another serious minded sci-fi film that will almost surely make even bigger waves than MOON.
4 - BAD LIEUTENANT: PORT OF CALL NEW ORLEANS
Don't write Nicholas Cage off yet is the moral of the story here. With director Werner Herzog steering him through what is the comeback performance of the year, the future is looking mighty bright for Mr. Cage. Loosely based on the Abel Ferrera classic starring Harvey Kietel, Herzong's BAD LIETENANT is actually more of a companion piece. yet another story of a cop on downward spiral, stumbling along a pth of abject self destruction. Just when you think it can't get any worse, it does. There are some painful moments in this film, executed with a beauty and style that is all Herzog. After the goofy trailer, this hit me by surprise and crushed me like a ton of bricks. Cage is having one hell of a season with this winner, and the forth-coming KICK -ASS.
3 - DRAG ME TO HELL
Sam muthafuckin' Raimi came out and kick ass with this return to the horredy genre he is so well known for. This is an argument starter of a flick for me. Fans who complain it wasn't scary enough get my eyeballs rolling with their lack of understanding of what makes Mr. Raimi tick. DRAG ME TO HELL comes off like a companion piece to EVEIL DEAD 2 in many ways. I like to imagine that the films actually take place in the same universe, and this is backed up by the seance scene with the talking goat. I won't give anything else away in case some of you reading haven't seen it yet. But it's big bombastic fun that will have you simultaneously peeking between your fingers and holding your sides with laughter. Featuring a couple of genuine "Holy shit!" moments, DRAG ME TO HELL is one of those rare treats that just gets stronger and stronger with each viewing. Economical, tight, and a perfect example of Raimi's warped psyche and amazing eye.
2 - UP
Holey Moley what a film! I just love Pixar. They eschew any thought of a toy line, and base a film on an old man honoring his dear departed wife's final wish, with the help of a disenfranchised, lonely young Cub Scout. The opening montage had me tearing up within the first ten minutes. But this isn't just a break-out-the-hanky film, it also brings all the excitement and wonder that only Pixar can do. Insanely lovable characters, fleshed out and multi-dimensional make this animated film one the most real films of the year. I've never used the term "It's a journey of the soul"...until now. Insanely good.
1 - BRONSON
Nicholas Winford Refn, the director behind the PUSHER trilogy, really hits his stride here with BRONSON, which is based on real life UK prison inmate Michael Gordon Peterson aka Charles Bronson. Thomas Hardy plays the title role in the breakout performance of the year hands fucking down. This actor is going to be a major force to reckon with over the next few years, mark my words. BRONSON is a cousin to films like CHOPPER and to an extent A CLOCKWORK ORANGE. They share very similar subject matter, and BRONSON (sometimes dangerously) explores the charismatic side of it's antagonist/protagonist. Easily the most quotable film of the year as well, with snappy dialog deftly delivered by some amazing actors. Brutal. Funny. Entertaining as hell. This movie is like a caviar cheeseburger, both artsy and fun. Refn cold well be my favorite living director of the moment. BRONSON rocks.
Honorable mentions are many, and I am sure I am leaving some out, but here are a list of films that could easily reast in my top 10 as well, had I written this on another day. DISTRICT 9, STAR TREK, PONTYPOOL, PIG HUNT, STRIGOI, INGLORIOUS BASTERDS, CORALINE, MARY AND MAX, THE LIMITS OF CONTROL, UP IN THE AIR, THE HURT LOCKER, ZOMBIELAND, THE COVE, FEAR(S) IN THE DARK, DEAD SNO, FLAME & CITRON, THE FANTASTIC MR. FOX, THE PRINCESS AND THE FROG, and the list goes on and on.
I really wish I could have seen BIG FAN with Patton Oswalt as the obsessive sports fan, but I've yet to have the chance. That could well have landed in my top ten from what I've seen so far though. I'll carry it over to next year. Ditto the revenge flick THE HORSEMAN, and the martial arts flick MERANTAU.
Now for the Hall Of Shame. 10 films I couldn't stand, in no particular order.
REPO! THE GENETIC OPERA -
This flick should say "directed by Hot Topic". Props to real director Boussman, who took the film on the road and carved out an audience through hard work, I seriously respect that. But I found the movie terrible and almost impossible to watch. Seeing one of my favorite music artists oHgRe play one of the key roles was like a knife in the guts. The opening montage of comic panels is overlong and almost apologetically over explanatory, the music banal and trite, and everything is just too close to emo for me. Admittedly, I am a jaded old school punk/industrial/metal guy, so I am a hard one to please. I went in wanting to love it, and came out with my mouth hanging open and dragging my feet in severe disappointment. It's back to my trusty PHANTOM OF THE PARADISE dvd thank you. Paul Williams, where are you when we need you?
THE TRANSORMERS 2 -
Wow. What a piece of raging crap. Michael Bay, Shia Labouf, and Megan Fox, along with every print of theis movie, need to be put on a jetliner with a faulty engine and sent out over a large body of water during an electrical storm. Even the FX were a disjointed mess, the transformations being a blurry jumble that suddenly snap! together in a lazy digital sleight of hand. And the story? Wow, it's beyond convoluted. To paraphrase, I could eat a can of alphabet soup and shit a better screenplay.
THE BOX -
Dammit, when will some producer procure a Richard Matheson property then NOT fuck it up?
THE COLLECTOR -
False "gritty" horror that sucks more than a five dollar hooker at a dirty cock convention.
HALLOWEEN 2 -
Regardless of a couple of surprisingly good performances, Danielle Harris' in particular, this was after all a Rob Zombie flick. Full of gaudy ham fisted symbolism, and exhibiting once again an absolute lack of understanding of what made Michael Meyers scary in the first place, this is yet another steaming pile from a disco musician who I wish would retire. Again, a flick for the Hot Topic generation who come by their underground culture at the food court in the mall.
INVICTUS -
That's right. I said it. Unengaging, and revisionist, an Oscar grubbing embarrassment.
SURROGATES -
Just Bruce Willis' hair alone in this is enough to send me terrified and screaming into the night. A directionless bland kinda-cyberpunk thriller based on a graphic novel that wasn't that good in the first place. This makes MINORITY REPORT look like a masterpiece.
YEAR ONE -
Wow. Just. Wow. Possibly the most unfunny comedy I have ever seen. Harold Ramis deserves a flogging for this one, Jack Black needs to have a serious talk with his agent, and Michael Cera needs to be taken out of my misery. What the fuck was genius comic and co-star David Cross thinking? If he needs mortgage money I'll start him a paypal account that fans can donate too.
THIRST -
Yep, Park Chan-Wook's ultimate misfire. Beautiful looking? Absolutely. Good performances? Damn skippy. But again, this movie just never connects the dots, the severe tonal shifts don't work in this case for me, and it's cardinal sin was that it was just plain old boring. Overlong. Overbloated. Overrated.
X-MEN ORIGINS: WOLVERINE
Holy God what a fucking mess. This one just left me flabbergasted at it's ineptness.
There you have it people. Here's looking forward to another great year of cinema overall in 2010!
To add, television had a pretty darned good year too, with high points being DEXTER season four, the new neo-noir DARK BLUE, the now defunct DEFYING GRAVITY, and CALIFORNICATION season three, all making strong showings on my pleasure meter. Add to that the launch of the BBC mini-series remake of THE DAY OF THE TRIFFIDS (review coming) and New Zealand's THE CULT and overall my eyeballs have been pretty happy the last 365 days!
In this case, being a little cornball and adhering to convention is a good thing. Director Dave Parker and screenwriter David J. Schow delivered one hell of a fun, bloody slasher, and one of the creepiest horror baddies ever with Babyface. This flick is plain ole' super duper neat-o. Tense kill scenes, and performances worthy of the Grand Guignol, THE HILLS RUN RED is a horror geeks gut ripper of a wet dream. The perfect purchase if you've cycled through your 80's horror collection one too many times and are in the mood for something styled in the old-school. Here's hoping for a sequel.
9 - HOUSE OF THE DEVIL
Ti West finally lives up to the promise shown with his debut feature THE ROOST, and makes up for the abortion that was CABIN FEVER 2. With one of the most authentic looking portrayals of the 70's era since Ang Lee's THE ICE STORM, HOUSE OF THE DEVIL ressurected my beloved Satanic Panic sub-genre from the dead, and provided some genuinely creepy moments. A simple yet mature film, with a strong cast including stalwarts Mary Woronov and Tom Noonan, as well as up-and-comers AJ Bowen and Jocelin Donahue . This film could be the start of beautiful things for many of those involved. A big treat for a 70's era telehorror fanatic, and fan of flicks like THE SENTINEL and THE DEVIL'S RAIN like myself.
8 - OBSERVE AND REPORT
Falling somewhere between a Judd Apatow and Terry Zwigoff film, is Jody Hill's second feature, which stars Seth Rogan and Anna Farris. A comedy about a loser mall cop with some serious delusions of grandeur bordering on the psychotic, and the perfume counter girl he pines for, OBSERVE AND REPORT is a gem of inappropriate humor. On paper I would have thought this movie was going to suck, but somehow Hill and his cast indeed make the depressing funny. I can't remember when I've had such a good time feeling so bad. The slow motion action/chase scene at the end is worth the price of admission alone, and may be a wee bit, er, challenging, to some peoples sense of what and what isn't funny. Hehehehehe...you have been warned.
7 - GRACE
Director Paul Solet's feature debut feature of maternal terror, based on his previous short film of the same name, about a mother whose power of will and obsessive love yield morbid results, thankfully comes across more like Polanski than Fulci. Along with the aforementioned HOUSE OF THE DEVIL, GRACE was a much needed shot in the arm to the horror genre this year, with it's grim and unflinching subject matter, and it's arthouse tonality. GRACE also brings to mind the golden era of Cronenberg, and the work of Michael Heneke. This is one slow burning film, packed with great performances, sure handed direction, and meticulous cinematography that perfectly captures the sterility of the over privileged upper middle class it portrays. Lead actress Jordan Ladd has come a long way since CABIN FEVER, and shows that she's one to watch in the future.
6 - THE WORLD'S GREATEST DAD
Bobcat Goldthwaite is a sick, sick man, in a good, good way. He directs, and Robin Williams stars as a nebbish high school poetry teacher who remains an unpublished failure of a writer, whose foul mouthed horror of a teenage son dies in a case of botched auto-asphyxiation. Wanting to preserve some kind of respectful memory for his degenerate offspring, Williams fakes a suicide journal, which then gets out and becomes a publishing phenom. Juggling compounding lies, and enjoying the successes of a hit author, this is a lesson in be careful what you wish for. THE WORLD'S GREATEST DAD is just so wrong in so many great ways. Not since THE WORLD ACCORDING TO GARP have I enjoyed a Williams performance so much.
5 - MOON
An ambient science fiction film, this is Sam Rockwell's tour de force performance, and director Duncan Jones' coming-of-age as a fully formed director. Rockwell is pretty much the only actor in the entire film, with Kevin Spacey providing the voice of his HAL-like counterpart. A tale of class-ism and corporate slavery, Rockwell lights up the screen playing multiple versions of his singular character, infusing each version of himself with subtle nuance and incredible sensitivity. A throwback to films like SILENT RUNNING, MOON is a perfect reaction to the blockbuster beasts that modern sci-fi films have become. This is the anti-AVATAR of the year. It has me really looking forward to Jones' next project, SOURCE CODE, another serious minded sci-fi film that will almost surely make even bigger waves than MOON.
4 - BAD LIEUTENANT: PORT OF CALL NEW ORLEANS
Don't write Nicholas Cage off yet is the moral of the story here. With director Werner Herzog steering him through what is the comeback performance of the year, the future is looking mighty bright for Mr. Cage. Loosely based on the Abel Ferrera classic starring Harvey Kietel, Herzong's BAD LIETENANT is actually more of a companion piece. yet another story of a cop on downward spiral, stumbling along a pth of abject self destruction. Just when you think it can't get any worse, it does. There are some painful moments in this film, executed with a beauty and style that is all Herzog. After the goofy trailer, this hit me by surprise and crushed me like a ton of bricks. Cage is having one hell of a season with this winner, and the forth-coming KICK -ASS.
3 - DRAG ME TO HELL
Sam muthafuckin' Raimi came out and kick ass with this return to the horredy genre he is so well known for. This is an argument starter of a flick for me. Fans who complain it wasn't scary enough get my eyeballs rolling with their lack of understanding of what makes Mr. Raimi tick. DRAG ME TO HELL comes off like a companion piece to EVEIL DEAD 2 in many ways. I like to imagine that the films actually take place in the same universe, and this is backed up by the seance scene with the talking goat. I won't give anything else away in case some of you reading haven't seen it yet. But it's big bombastic fun that will have you simultaneously peeking between your fingers and holding your sides with laughter. Featuring a couple of genuine "Holy shit!" moments, DRAG ME TO HELL is one of those rare treats that just gets stronger and stronger with each viewing. Economical, tight, and a perfect example of Raimi's warped psyche and amazing eye.
2 - UP
Holey Moley what a film! I just love Pixar. They eschew any thought of a toy line, and base a film on an old man honoring his dear departed wife's final wish, with the help of a disenfranchised, lonely young Cub Scout. The opening montage had me tearing up within the first ten minutes. But this isn't just a break-out-the-hanky film, it also brings all the excitement and wonder that only Pixar can do. Insanely lovable characters, fleshed out and multi-dimensional make this animated film one the most real films of the year. I've never used the term "It's a journey of the soul"...until now. Insanely good.
1 - BRONSON
Nicholas Winford Refn, the director behind the PUSHER trilogy, really hits his stride here with BRONSON, which is based on real life UK prison inmate Michael Gordon Peterson aka Charles Bronson. Thomas Hardy plays the title role in the breakout performance of the year hands fucking down. This actor is going to be a major force to reckon with over the next few years, mark my words. BRONSON is a cousin to films like CHOPPER and to an extent A CLOCKWORK ORANGE. They share very similar subject matter, and BRONSON (sometimes dangerously) explores the charismatic side of it's antagonist/protagonist. Easily the most quotable film of the year as well, with snappy dialog deftly delivered by some amazing actors. Brutal. Funny. Entertaining as hell. This movie is like a caviar cheeseburger, both artsy and fun. Refn cold well be my favorite living director of the moment. BRONSON rocks.
Honorable mentions are many, and I am sure I am leaving some out, but here are a list of films that could easily reast in my top 10 as well, had I written this on another day. DISTRICT 9, STAR TREK, PONTYPOOL, PIG HUNT, STRIGOI, INGLORIOUS BASTERDS, CORALINE, MARY AND MAX, THE LIMITS OF CONTROL, UP IN THE AIR, THE HURT LOCKER, ZOMBIELAND, THE COVE, FEAR(S) IN THE DARK, DEAD SNO, FLAME & CITRON, THE FANTASTIC MR. FOX, THE PRINCESS AND THE FROG, and the list goes on and on.
I really wish I could have seen BIG FAN with Patton Oswalt as the obsessive sports fan, but I've yet to have the chance. That could well have landed in my top ten from what I've seen so far though. I'll carry it over to next year. Ditto the revenge flick THE HORSEMAN, and the martial arts flick MERANTAU.
Now for the Hall Of Shame. 10 films I couldn't stand, in no particular order.
REPO! THE GENETIC OPERA -
This flick should say "directed by Hot Topic". Props to real director Boussman, who took the film on the road and carved out an audience through hard work, I seriously respect that. But I found the movie terrible and almost impossible to watch. Seeing one of my favorite music artists oHgRe play one of the key roles was like a knife in the guts. The opening montage of comic panels is overlong and almost apologetically over explanatory, the music banal and trite, and everything is just too close to emo for me. Admittedly, I am a jaded old school punk/industrial/metal guy, so I am a hard one to please. I went in wanting to love it, and came out with my mouth hanging open and dragging my feet in severe disappointment. It's back to my trusty PHANTOM OF THE PARADISE dvd thank you. Paul Williams, where are you when we need you?
THE TRANSORMERS 2 -
Wow. What a piece of raging crap. Michael Bay, Shia Labouf, and Megan Fox, along with every print of theis movie, need to be put on a jetliner with a faulty engine and sent out over a large body of water during an electrical storm. Even the FX were a disjointed mess, the transformations being a blurry jumble that suddenly snap! together in a lazy digital sleight of hand. And the story? Wow, it's beyond convoluted. To paraphrase, I could eat a can of alphabet soup and shit a better screenplay.
THE BOX -
Dammit, when will some producer procure a Richard Matheson property then NOT fuck it up?
THE COLLECTOR -
False "gritty" horror that sucks more than a five dollar hooker at a dirty cock convention.
HALLOWEEN 2 -
Regardless of a couple of surprisingly good performances, Danielle Harris' in particular, this was after all a Rob Zombie flick. Full of gaudy ham fisted symbolism, and exhibiting once again an absolute lack of understanding of what made Michael Meyers scary in the first place, this is yet another steaming pile from a disco musician who I wish would retire. Again, a flick for the Hot Topic generation who come by their underground culture at the food court in the mall.
INVICTUS -
That's right. I said it. Unengaging, and revisionist, an Oscar grubbing embarrassment.
SURROGATES -
Just Bruce Willis' hair alone in this is enough to send me terrified and screaming into the night. A directionless bland kinda-cyberpunk thriller based on a graphic novel that wasn't that good in the first place. This makes MINORITY REPORT look like a masterpiece.
YEAR ONE -
Wow. Just. Wow. Possibly the most unfunny comedy I have ever seen. Harold Ramis deserves a flogging for this one, Jack Black needs to have a serious talk with his agent, and Michael Cera needs to be taken out of my misery. What the fuck was genius comic and co-star David Cross thinking? If he needs mortgage money I'll start him a paypal account that fans can donate too.
THIRST -
Yep, Park Chan-Wook's ultimate misfire. Beautiful looking? Absolutely. Good performances? Damn skippy. But again, this movie just never connects the dots, the severe tonal shifts don't work in this case for me, and it's cardinal sin was that it was just plain old boring. Overlong. Overbloated. Overrated.
X-MEN ORIGINS: WOLVERINE
Holy God what a fucking mess. This one just left me flabbergasted at it's ineptness.
There you have it people. Here's looking forward to another great year of cinema overall in 2010!
To add, television had a pretty darned good year too, with high points being DEXTER season four, the new neo-noir DARK BLUE, the now defunct DEFYING GRAVITY, and CALIFORNICATION season three, all making strong showings on my pleasure meter. Add to that the launch of the BBC mini-series remake of THE DAY OF THE TRIFFIDS (review coming) and New Zealand's THE CULT and overall my eyeballs have been pretty happy the last 365 days!
Love seeing the BRONSON love, Great list except for UP (i know I don't have kids so that should exempt me)
Also great to see some Flame and Citron love great flick that some how got lost his year.
Thanks for listening to me sulk about Chas dying Sean.....
Now watch Rise of the Foot Soldier already.
Hallelujah on your comments about HALLOWEEN 2.
It continues to astonish me that there are people out there who not only give Zombie a pass for his appalling body of work. But that there are people out there who actually claim to LIKE it!!!
Gah! I forgot World's Greatest Dad on my list.
Todd knows not this Dark Blue but now I think I need to look it up ... and Triffids is worthwhile, you're saying? I've been debating checking that out, too ...
Here's a clip Todd. It's hokey but fun. I like Dylan McDermott because of his amazing work in WONDERLAND.
But TRIFFIDS...ahhhh yes, that's anoooother story. So far I am totally loving it. In a weird way it reminds me of BATTLESTAR GALACTICA, or rather maybe it reminds me of Ronald D. Moore's style if he would have updated the Wyndham novel.
I like your style. Moon, Drag Me, Grace and Bronson are all on my hypothetical top 10 for the year. Bronson def in my top 3 along with D9 and AntiChrist. I also found Repo to be almost unwatchable. Just a horrible, horrible piece of sh*t. I'm an "old school punk/industrial/metal guy" too and totally agree that it just reeks of this hyper-commercial Hot Topic swill the kids like these days. And yes, Phantom Of The Paradise IS the greatest rock-opera of all time.