Making movies. Enjoying movies. Remembering movies.
THE SCREENING ROOM
I finally saw "Match Point,"
so now I feel confident making my top ten list. So here it is, whether
you're interested or not. Two odd points: All but #10 are action films
of a sort. Is this the direction which film is heading or is it merely a
reflection of my tastes changing as I get older and "wiser"? Hmm...
Also, all ten movies were released in the six-month span right in the
middle of the year from April to October. Crazy.
Clooney's directed two movies
and a TV series, and all three have been vastly different yet equally
brilliant. Here he shows that he can tell a story in the classical
fashion with a minimum of gimmicks. Robert Elswit's photography is the
best of his career, and he's had quite a career. Great acting, too.
Scott perfects the ideas he
had in "Man On Fire." The result is a groundbreaking barrage of
non-narrative imagery which works on a purely visceral level. The best
edited film in years. In terms of form, this is where I've always hoped
the medium would eventually get to.
Whedon makes his brilliant TV
show "Firefly" even better by giving it an ending. Fifteen episodes with
somewhat random plot threads are all tied together in this epic
conclusion to the series. The movie works on its own, too, as a great
A romantic comedy with action
as a metaphor for marriage. It doesn't really get better than that. The
funniest movie of the year also has some of the best action set pieces.
That's awesome! Brad Pitt and Angelina Jolie also give two of the best
performances of the year.
Spielberg shoots this movie
like "Saving Private Ryan" to create an amazing portrayal of that
post-9/11 fear which exists beneath the surface of our society. By
telling the story through the eyes of someone who is insignificant in
the grand scheme of things, Spielberg brings the scale of the movie down
to something that the audience can relate to emotionally. Tom Cruise and
Dakota Fanning are great, as is the photography.
This is Batman. It is. Those
other things (aside from the cartoon) were not. This is. That's how he
acts, that's how he looks, those are the gadgets he uses, everything.
And he doesn't kill people. They messed up Ra's Al Ghul (they even
pronounced his name wrong), but it was in service of the story, so I
suppose that can be forgiven. And they used Ra's Al Ghul, so they should
get props for that too. I just keep thinking about what would have
happened if this movie came out when I was 15. I think something would
have popped in my brain. Yeah...
Another revolutionary movie,
both from a technical aspect and as a form of adaptation from one medium
to another. The
"Sin City" movies have revolutionized
the way movies can be made and should be made. Technology has gotten to
a point where anything is possible. It's just a question
Everything that I said about
"That Yellow Bastard" applies to "The Hard Goodbye," but this one is
slightly better due to fewer logic gaps and the fact that, this being
the original "Sin City" story, it stands better on its own as an overall
depiction of this world.
This is the best of the
trilogy for two reasons. First, it's the most cinematic due to the
nature of the book. But more importantly, this is the comedy. The humor
in this chapter lends a certain amount of giddiness to the
movie-watching experience which already comes from seeing something that
has never been seen on the screen before. The humor just adds to the
buzz you get from the visuals. It's all very euphoric.
I've been waiting for this
movie since I was two years old, and it did not disappoint. This movie
had to work in three different ways, and it does. On its own, it is
probably the finest portrayal of a completely
Mike Schindler is a projectionist who took too many critical studies classes in film school. He lives in Chicago.
© 2006 Mike Schindler. All rights reserved
IMAGES: Warner Independent Pictures; 20th Century Fox; Universal Pictures; Miramax and Lucasfilm, Ltd.
Copyright 2004-2005 From Script To DVD. All rights reserved.
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