If you cannot sing then hum along

So this little tidbit showed up in Variety today.

Now obviously I'm not going to freak out and get over-excited about the mascot film of this site getting a sequel. It's tempting but lets proceed with cautious optimism.

As of now Anne Fletcher, who brought us the mega-hit The Proposal and 27 Dresses is attached to direct. Fletcher, a former choreographer certainly knows how to bring in a wide mainstream audience, could be an asset. I don't know if the film will have the nuance of the original without animator/director Kevin Lima at the helm. Who knows? It may be an enjoyable romp and that rarest of species, the good sequel.

Also a bit concerning is Jessie Nelson writing who's previous credits include Because I Said So and I am Sam. Though with these characters and situations acting as a foundation the material could transcend its origins.

I will say this though, having Fletcher around is a good indicator that James Marsden, who worked with Fletcher in 27 Dresses will likely be back as Prince Edward. Yay.

My 150th Post, what COULD it be about?

Examining the special features of the Enchanted DVD ultimately wind-up as a fun and informative tease. The blooper reel is the same paltry two minutes that showed-up on Youtube a couple of weeks ago so no surprises there. The deleted scenes aren't wildly interesting just a lot of script padding that the story made apparent earlier. There is a nice moment where Nancy effectively "rescues" Edward towards the end but it's so brief as to be inconsequential. The real meat of the disc is the look at three of the major set-pieces of the movie; Happy Working Song, That's How You Know and the ballroom.

My respect for Kevin Lima and his collaborators has increased exponentially after watching these bits. Looking at Happy Working Song reveals an enormous amount of the number was done with practical effects. Especially fun was seeing the rig that Adams had to wear when the birds put the dress around her as well as the self-propelled sponges and soap bars. Good stuff. It also comes off as a testament to A-Dubs acting abilities in that she's reacting to a whole lot of nothing so well in the CG shots (suck it Lucas). In the That's How You Know section you get to see the AD nightmare that is a massive on location musical number. It's especially cool to see the experience of some of the older dancers in the number (some are veterans from West Side Story and Mary Poppins). Sadly there is no in-depth examination of the awesome Marsden fist in mouth move. In fact there is no Marsden to be found in ANY of the special features. Boo! Mega-boo as well to the "hidden" (just click the Mickey Mouse logo) special feature that amounts to an add for the Blu-Ray edition of the movie (which has more features). While I'm glad that Disney has embraced the medium I don't understand WHY they couldn't include it on BOTH versions.

My request to Disney in future editions: Two commentary tracks one with Kevin Lima and Bill Kelly, the other with Amy Adams and James Marsden. A spot the Disney reference pop-up branching feature and most importantly a look at the cut "Enchanted" number that was to be sung by Marsden and Menzel. There I've said my piece. Now to re-watch the movie...a billion times.

WOOOOHOOOOO!

So yeah I will be disposed this weekend on account of my girlfriend being AWESOME and sending me THIS in the mail:
My apologies about the hair, I'm normally far less disheveled. Thank you baby, you're number one in my book. Best early birthday present EVAHR!

I've Been Dreaming of A True Love List: The Sickness' Cinema's Top Twenty Films of 2007

Here are my top twenty movies. The criteria here is a combination “best of” and “favorite.” What I was really looking for were movies that were memorable, technically impressive, well realized and touched me in some way (sometimes not in a good way but provided a visceral reaction). So we’ll be starting at twenty and working our way up to number one. Now get ready:

20. The Savages-Nearly ten years after the fun Slums of Beverly Hills director Tamara Jenkins roars back onto the scene with a knowing, sharp dramedy that deals with subject matter that doesn’t regularly appear in movie theaters. There are no Hallmark moments here, no moment of redemption between Philip Bosco’s Leonard Savage and his screwy academic children who for all their intellectualism can barely keep their lives together. Alternatively touching, brutal and hilarious this is an above all honest drama with spectacular acting throughout.
The Sickness Scene: Jon (PSH) confronts sister Wendy (Laura Linney) in the parking lot of the upscale senior-care center.
The Sickness Performance: Hard to say but for this one, but I got to give it to Linney whose character runs the emotional gamut as she eventually inches her way towards personal and professional growth.

19. Charlie Wilson’s War- Mike Nichols gives a very polished directing job to Aaron Sorkin’s buoyant comic script that keeps things fun but never completely lets the spectre of Afghanistan and the Taliban out of the room. Tom Hanks has loads of fun as the morally ambiguous, but exceedingly crafty senator who with a small team including heiress Julia Roberts and disgruntled CIA company man (PSH-AGAIN) manage to aide Afghanistan in defeating the Soviets. The film's ultimately delivers just the right amount of optimism as it looks toward an uncertain future with two simple words "we'll see." It's deceptively simple but oddly compelling. Why couldn't all the current-event inspired fiction films that came out this year be this much fun?
The Sickness Scene: Meet Gust Avrakotos, better hope you’re not a window.
The Sickness Performance: Philip Seymour Hoffman bulldozes his way through the film chewing scenery like it’s taffy.

18. No Country For Old Men- The Coen Brothers return to form with this excellent (but lamentably rote) take on Cormac McCarthy’s apocalyptic western. It’s thrilling to see McCarthy’s characters and bleak scenarios come to life and exhilarating to see the mastery at which the Coen’s create this world where a set I his ways sheriff must witness the ultimate evil as he tracks a hired killer (Javier Bardem) chase a good man (Josh Brolin) who has stumbled into a bad situation. The chase that follows is alternatively thrilling, terrifying, heartbreaking and on rare occasion quite funny. Brilliant performances abound across a landscape beautifully shot by Roger Deakins.
The Sickness Scene: Josh Brolin’s Llewlyn thinks he has a moment of rest at a hotel, then the light goes out in the hallway…then things get REALLY bad.
The Sickness Performance: Javier Bardem plays the embodiment of evil itself. Oh and evil has a Prince Valiant haircut, just FYI.

17. Beowulf- The breathtaking innovation of Robert Zemeckis made this a spectacle to savor in 3D, but what puts it on the list is the fiercely clever script by the unlikely duo of Roger Avary and Neil Gaiman. This is myth-making the way it deserves to look: big, impressive and bold to the point of ridiculousness. It takes the time to have its characters consider things like legacy, parenting, desire, religion and getting older. Even with the occasional technical gaffes (the ladies aren’t particularly accurate likenesses, except for Angelina) the film remains a remarkable achievement and by far gave me the most bang for my action buck of any film this year.
The Sickness Scene: Beowulf retells the story of how he lost a swimming contest and it’s AMAZING!
The Sickness Performance: Crispin Glover speaking in olde English despite looking like the spawn of a mole and a half eaten fish still gives an amazing performance as Grendel.

16. The Darjeeling Limited- People knock Wes Anderson at this point for his films being stylistically similar but I think it’s a fairly foolish criticism as filmmakers rarely have it so together by their fifth film. Anderson should hardly be penalized for having a recognizable voice and vision, especially when tackling something that he’s never dealt with before in his films, religion. Through the familiar prism of a family on the outs Anderson tackles has his brothers attempt to find spirituality and manage to find it in a variety of ways and modes. While the film may only be dealing with one specific sector of practice it nails the complex duality between the superficial practices involved in ritual and the depth that can be found in tackling these rituals in the right context.
The Sickness Scene: Got to be the pivotal scene on the bridge that prompted Terry Wunder to ask “Save a boy?”
The Sickness Performance: After working very hard to get me to find him completely annoying in Hollywoodland and King Kong, Adrien Brody remind me why I enjoy him in the first place. He’s capable of hitting the wry comedic beats and then seamlessly transitioning to devastating melancholy.

15. Zodiac- The style informs the content in David Fincher’s obsessive tale about obsession. Turning the standard police procedural on its head, Finchner’s film practically bombards you in minutiae getting you as invested in the case as the characters themselves. There’s so much material that one viewing may not be enough to absorb all the characters, scenarios and theories. The case starts and stops, goes cold and then resets itself making the proceedings sometimes seem rocky but I wouldn’t be surprised that each time I watch it my fondness for it grows. It may not be as fun as Seven but Zodiac certainly ramps up the thrills as well as its predecessor does. Its not often that a movie makes you feel smarter for having watched it.
The Sickness Scene: The Zodiac killer ruins a picnic way worse then any bunch of ants could.
The Sickness Performance: My heart says Downey Jr. but my head cries out for Ruffalo as David Toschi, who starts the movie confident (he is after all the model for Bulitt) but by the end is left a shaken hollow man.

14. Superbad- I know I’m hardly the only webmaster/blogger/hipster-d’bag on the web to sing hosannas to Judd movies. Guiding us into this wild night of growth are Michael Apatow but damn it the man just deserves it. He’s given me so much joy and so many laughs and he’s only the producer here. The real brain trust is Seth Rogen and Evan Goldberg working with director Greg Mottola who made this the smoothest, best-looking of all the ApatowCera and Jonah Hill as believable best friends. The two work out their issues of co-dependence and independence (and learn a bit about the opposite sex). While their story is played in basically a real world with real consequences the film gets its zany fix from McLovin and his wild ride with Officers Slater and Michaels. While McLovin starts the film a geek and a joke he ends it a legend. It’s invigorating to watch each time you revisit it and gives the film a nice sense of balance. If I make this all sound fairly deep it’s because the emotions are, but the film never once lets you forget that it’s a comedy and you laugh from beginning to end and “That’s good shit, huh, Hiroki?”
The Sickness Scene: One word, three syllables (sing it with me) PAN-A-MA!
The Sickness Performance: The temptation is to put newcomer Christopher Mintz-Plasse who wears McLovin like a glove, but the real emotional weight, the heart of Superbad is Michael Cera who ushers the film into both its darker and sweeter moments.

13. Sweeney Todd: The Demon Barber of Fleet Street- Like I said, on paper this thing looked like a mess. One of my favorite musicals of all time as interpreted by the man who has become the Hot Topic (the store, not the concept) auteur with a cast of non-singers. Blech! But Burton brings all his skill to the fore as he cuts and slices around the songs with the deft touch of his titular protagonist turning Sweeney makes rivers of sumptuous blood flow from the necks of his victims and its so much fun (in a dark, sick sort of way). The proceedings are most exhilarating when our odd-ball couple is on-screen as and into its own uniquely marvelous experience. In the monochromatic town where "the vermin of the world inhabit it." Depp and Bonham-Carter create a grand guignol sort of nuclear family unit along with newcomer Ed Sanders, that all falls to shit as secrets and lies are exposed on that all too convoluted path of revenge. The pair are so fascinating that when the film centers on their pretty boy Anthony and their dreary Johanna I found myself wishing to be back with Sweeney and co. Oh sure I'd have liked a slightly livelier rendition of "A Little Priest" but otherwise Burton makes good on the promise aided by his first rate material.
The Sickness Scene: Having just missed his opportunity to take out one of his enemies Depp brings all his singing skill to bear and Burton shoots the hell out of "Epiphany." The audience cheered.
The Sickness Performance: Shock of shocks I must give it to Helena Bonham Carter who upchucks my expectations and turns Nellie Lovett into the maternal wannabe from Hell. Her "By the Sea" is pretty damn delightful.

12. The King of Kong: A Fistful of Quarters- There are documentaries that expand your world view and spark your interest in a subject or stimulate you intellectually or boil your blood until its bubbling under your skin (No End in Sight did all three) but how often does a documentary actually touch you? How often does a documentary put all your soul behind a guy who not only has the skill but is just a nice guy who keeps getting screwed? Sounds like the fodder for a pretty damn good sports movie doesn't it? Well this little gem is about the world of Donkey Kong players. Yes, Donkey Kong, the original, the widow maker of arcade games. As this doc explores the world of competitive arcade gamers your first instinct is to laugh, hard. But as the story of perpetual underdog Steve Wiebe and larger than life (more mulleted than life too) Billy Mitchell unfolds you find yourself sucked in and completely invested in the film's final outcome. Ever thought you'd find yourself clawing at your seat at the prospect of Mario narrowly avoiding a fireball? This is the movie that will have you standing up and cheering by the end. Or chuckling contentedly.
The Sickness Scene: Billy visits the arcade Steve is playing at AND NEVER SAYS A WORD TO HIM! Bastard! I'm still mad about it.
The Sickness Performance: That the producers want Nathan Fillion to play Steve Wiebe in the fictional version of the story speaks volumes about the guy's integrity, but the real heartbreaker is Mrs. Wiebe who wants to be supportive after years of seeing her love almost succeed time and again. Except, you know, he's playing Donkey Kong.

11. Enchanted- AHHHHHH! "Why isn't it higher?" cry the dozens of regular readers Well I'll let you in on a little secret. I can see the flaws in my great cinematic love of the year. Oh yes, I know the third act is hampered by an inconsistent CGI dragon and a performance by Susan Sarandon (who I typically enjoy) that doesn't match what else is on screen (and her dialogue gets almost Shrek-y in places). But now that's out of the way let's get to the heart of the matter. This film is pure bliss. I mean it, so well intentioned, so clever, so fun, so perfectly skewering the ridiculousness of being a fantasy princess while at the same time underlining what makes the fantasy so popular in the first place. Director Kevin Lima keeps things just as bright and colorful in the real world as he does in the film's gorgeous animated sequence and there is more then enough Disney minutiae to keep even super-fans looking like it's the greatest trivia challenge ever.
But this is a film about discovery, the exquisite Princess Giselle discovers that given the choice of perfect contentment as a princess finds that there is a much greater depth and reward in the messier adult world of New York City. But it's also a movie where the LARGE audience discovered the twin joys that are Amy Adams and James Marsden. These two are so perfect, so hilarious, so honest that it's difficult to remember the perfectly enjoyable supporting cast of stand outs including Timothy Spall, Idina Menzel, McWhatsisname, Rachel Covey and Pip (adorable). But come on, watch this movie and tell me that Adams and Marsden aren't perfect animated characters made flesh. God I wish I could run through the street shouting how great they are but the block captain of Underhill avenue has already given me a stern waring not to do that again.
The Sickness Scene: Can't I just say everything up until the moment after Marsden says, perfectly straight-faced, "I don't know what melodramatic means." Oh all right, I suppose it's a toss-up between the opening animated scene to "True Love's Kiss" (Haha! We shall be married in the morning!) and the amazing "That's How You Know." FACT: Watch the scene where the prince finally sees Giselle in the middle of "That's How You Know" right after he calls her name he half bites his fist. I laugh so hard every time (EVERY TIME) I see that because it is AWESOME! It's like "Oh man, I finally see her and now I'm going to bust the greatest most romantic move anyone has ever seen in song" and then he is hit by cyclists.
The Sickness Performance: Have you been paying attention at ALL?!?!?

10. Knocked Up- To say that expectation were high after the instant classic 40 Year Old Virgin would be an understatement. Did Apatow's second directorial outing meet expectations? Damn right it did. Using the same perfect alchemy of manly bonding, raunchy good times and emotional honesty Apatow delivered one of the two great comedies of summer. Seth Rogen as Ben Stone showed that he had the chops to lead the way for generations of "beta males" to follow as a night of passion forces him to grow up (slightly) a lot faster then he was planning. here has been plenty of hullabaloo that this movie advocates the couple's behavior but I am strongly of the opinion that the film gives no guarantees. Ben and Alison never have that big "I love you" moment but they are committed to each other and their child. It's actually a rather bitter-sweet pill to take, though the spoonful of sugar that helps this medicine goes down is that the movie surounding this rather desperate situation is devastatingly funny. Absolutely hilarious. It would be criminal to neglect the tremendous comic ensemble present especially stand-outs Paul Rudd and Leslie Mann's less than Hollywood ideal marriage. The film's run-time is hardly an issue as its such an incredible joy to hang out with these characters.
The Sickness Scene: "Fuck you, hormones!" everything that is great about this film in one simple scene.
The Sickness Performance: Leslie Mann, hey somebody ought write about that.

9. I'm Not There-Todd Haynes newest film is a bold, exciting portrait of an artist that swim in the possibilities of cinema. How anyone could ever go back to to watching conventional bipoics after this film is beyond me. Mercurical, avant-garde and exceedingly thoughtful, the film approaches it subject with the concept that no person is truly knowable, but in showing all the facets of Dylan the viewer leaves with a much broader picture of the artist then they did when they came in. With loads of inside jokes and references for Dylan-ologists, the movie may be difficult for some viewers, it doesnt hold your hand ad is sometimes deliberately evasive, but then again so is Dylan. The film's central conceit in having Dylan played by six wonderful, decidedly different actors works perfectly and as I mentioned before nicely underlines the film's thesis. This is solid heady stuff and one I will really enjoy returning to in order to scrape up new insights I missed the first time around. Having a soundtrack made up of some of the best songs in all of popular music probably doesn't hurt it much either.
The Sickness Scene: Jude (Cate Blanchett) is driving along, annoyed by the constant media hounding when who should show up but Alan Ginsberg (David Cross) on some sort of bizzare jalopy. It's a moment that is so surreal that even Jude can't believe it.
The Sickness Performance: Everyone has been going ga-ga over Blanchett (and rightly so) but I found myself incredibly moved by the tender, earnest work of Marcus Carl Franklin as "Woody Guthrie."

8. Juno- My friend Peter PERFECTLY summed up this movie when he caught it in an early preview screening, "That movie gave me a hug." It's true, for all the criticism about the "cloying", "cutesy" dialogue this movie has a deep and earnest heart. The movie beautifully juggles two lovely stories both of which illustrate the maturation of Juno MacGuff (Ellen Page); the more obvious one is here giving her baby to the the too-good-to-be-true Lorings (Jennifer Garner and Jason Bateman) and her growing awareness of her love of Paulie Bleeker (Michael Cera). Both stories inform one another as Juno, for all her worldly wisdom and oratory savvy learns to let her guard down and let other people in. The movie has such a deep and abiding love for all its characters and this completely carries over to the audience which explains why people seem to be responding so strongly to the film, you can't help but connect to it. These aren't indie-quirky cartoons, they're people, maybe a little more interesting then average people but they are wonderfully written, dynamically performed people. And I can't wait to see them again, thank you so much Ms. Cody.
The Sickness Scene: "'Cause you're, like, the coolest person I've ever met, and you don't even have to try, you know..." "I try really hard, actually." And the tears started flowing.
The Sickness Performance: Frank is right, for all the hoopla over Ellen Page, Michael Cera and Jennifer Garner, the unheralded stalwarts of this film are Allison Janney and J.K. Simmons as Juno's frustrated but supportive parents.

7. Persepolis- Marjane Satrapi's adaptation of her acclaimed graphic novel is a glorious emotional whirlwind and while superficially couldn't be more different from Juno the films does bear a thematic resemblance. Both films feature young women overcoming adversity to discover their identity. But to say that Marjane had to go through a BIT more to go through is an understatement. In a backdrop that regularly features revolutions and war, Marjane deals with family romantic relationships, fashion, assimilation, religion, art, ideology and finding a true home. In one beautifully animated scene after another, Satrapi and co-director Vincent Paronnaud tell heir story in a variety of moods in a deceptively simple graphic style that is capable of conveying a wide array of emotions. Persepolis is a movie that has you pulling for Marjane every step of the way. Beautiful.
The Sickness Scene: Marjane, after a difficult emotional period, decides she's not going to sit around and mope anymore and you will never look at "Eye of the Tiger" the same way ever again.
The Sickness Performance: There's a lot of powerful voice work here, but the person who made me shed my first tears in the movie was Catherine Deneuve as Marjane's mother.

6. The Diving Bell and the Butterfly (Le Scaphandre et le papillon)- The story of Jean Dominique Bauby (played in the film by Mathieu Amalric) is overpowering stuff but not in the way one might expect. Under the careful eye of painter/director Julian Schnabel the true story of the Italian Elle editor who's stroke causes him to suffer from the incredibly rare locked-in syndrome. The once vibrant man in the prime of his life is rendered a parapelegic who can only move one eye but has his complete mental faculties. It would be simple for Schnabel to play this like a Lifetime movie that courts sympathy for "Jean-Do" but the film opts to be much more. The film begins with Jean-Do waking up from his coma and the film is shot from his POV and with us hearing Jean-Do's thoughts. We're not sympathizing Jean-Do, WE ARE Jean-Do. His frustration become the audiences frustrations, his desires become the audiences desires, we never pity him. We empathize, we don't sympathize. Also because of Jean-Do's limited range of vision the edges of the frame are blurred giving a good chunk of the film the feel of a water-color painting. When we do eventually see Jean-Do he is revealed gradually and even Jean-Do can't believe seeing his reflection "I look like something born in formaldhyde." As Jean-Do struggles to make even the slightest movements and re-learn to communicate we examine the totality of his loss and the new insight his condition has given him. It is in his mental exploration that the film gets his title. When shut-in he is like a man in a deep-sea diving suit, completely sensory deprived, unable to move, but through his limitless imagination he can traverse time and space he is as free as the butterfly. It's an amazing journey that everyone should go on.
The Sickness Scene: Jean-Do is taken to the beach to spend time with his wife and child. Jean-Do watches his children be strong and play for him as his wife watches appreciatively. Then the Tom Waits soundtrack kicks in. Devastating.
The Sickness Performance: Mathieu Almaric hindered by make-up and bound to his chair gives an amazing voice-over performance and tells the entire story with just a flicker of his eye. Though he doesn't get off easily cause Max Von Sydow demonstrates in a few short scenes why he's been a living legend of the cinema for over sixty years for his brief moments as Jean-Do's father.

5. Once- For all the big musicals that came out this year (a lovely sentence to be able to type) the one that hit me in my sweet spot the hardest was this tiny independent film. Once is so simple, so straightforward that it seems surprising no one has done anything like it before. Think Before Sunrise with an alt-folk-rock soundtrack. But here the characters don't talk, the sing. This is a film about the joy of making art, specifically making music, even more specifically the joy that comes with finding that perfect collaborator. It's this rare idea that you don't often see in movies where one person's counter-point is just shining out of the other. It's the kind of thing that all the McConaughey-Hudson team-ups in the world never even get CLOSE to achieving. It's amazing to see the attraction grow into love and respect, especially considering these aren't professional actors. They are however amazing musicians. Glen Hansard's voice as this unforgettable keening quality that when he howls its with all the force of his soul and Marketa Irglova conveys such tenderness and precision. The film may be small but it takes up space in your brain and I can foresee it as a movie a lot of couples fall in love over.
The Sickness Scene: "Falling Slowly" in the music store just knocks you off your ass.
The Sickness Performance: This is a beautiful duet of two performers and I can't in good conscince pick one over the other, so props to both Hansard and Irglova.

4. Hot Fuzz- As naturalistic and free flowing as Once is Hot Fuzz is a tight, controlled comic masterpiece. Exquisitely directed by Edgar Wright this homage to the glory days of American buddy cop action films is the ultimate gift to the ten year old boy in us all. Though the subject matter may be juvenile the handling is something for grown-ups to appreciate. Wright's script (co-written by star Simon Pegg) perfectly pokes fun at the tropes of the genre while at the same time underlining what makes them so fun in the first place (hmmm this is starting to sound familiar). The script also immaculately sets up its gags. There is no fat in these movies, EVERYTHING gets a pay-off and the more you sit up and watch the film, the more you are rewarded with laughs. Additionally, this movie has the most fun ensemble of any movie to be released this year, a joy for both anglophiles and genre fans (LOOK: JAMES BOND! BELLOQ! SGT HOWIE!). Everyone looks like they're having a ball. At the center of it all is the friendship/romance of Simon Pegg's Nicholas Angel and Nick Frost's Danny Butterman. These two men are best friends in real life and shows in every frame of this film. This film is pure fun from start to finish and I will never get tired of watching it. It makes you want to demand more from your comedies AND your action movies.
The Sickness Scene: Ugh, put a gun to my head why don't you? I guess when Sgt. Angel rides back into town.
The Sickness Performance: Simon Pegg steps it up as a sexy man-good as perfectionist Angel who doesn't know how to switch it off.

3. Ratatouille- Where to even begin? Should I sing the praises of Brad Bird's brilliant direction that makes this film alternatively thrilling, thoughtful and hilarious? Maybe the sumptuous visual palette of the Pixar animators? How about the playful vocal work of the cast headed by Patton Oswalt? What about the exquisite scoring by Michael Giacchino? The way the film discusses art through the device of cooking, while equally giving the nature of criticism a good shake? My god, this movie is glorious. I realize that ostensibly Pixar films are family films that play to children but why do I feel they ultimately end up touching more adults? Especially Bird's material that not only demands the most of its characters but of the audience watching. Time and again the movie calls for raised standards but with the noted caveat that not everyone can be the best at everything. Linguini may be a nice kid, but he's a lousy cook and he suddenly doesn't become a great one by the end of the film. Not only that but there are consequences for his actions in the film and it gives the piece a real weight not often found in these types of films. Also its pretty amazing to think ina time where ration seems to be giving way to faith that we can find an exchange like this in a children's film: "This is the way things are; you can't change nature." "Change is nature, Dad. The part that we can influence. And it starts when we decide." Now that's some perspective for you.
The Sickness Scene: Ego's review. Breathless stuff.
The Sickness Performance: Peter O'Toole's Anton Ego is quite simply my favorite character of the year.

2. Into the Wild- As I mentioned way at the top of this article (seemingly days ago) that a large contributing factor in creating this list was how much I was touched by a given film. Had I been touched by Into the Wild anymore I would've had to taken it to court and shown on a dummy where it touched me. The film is guided with a propulsive energy by its director (Sean Penn), its star (Emile Hirsch) and its environment (breathtaking). In cracking open Jon Krakauer's account of the travels and end of Christopher McCandless, Penn reveals what made the wilds of America so appealing for young Chris. What's astonishing is that as beautiful as the scenes are Penn and Hirsch aren't afraid to let McCandless come off as less than likable from time to time. He could be stubborn, myopic, terse and extremely self-righteous. He may have some valid points about wanting to make his own way and find himself but his method is all wrong. The people he encounters along his way try to convince him, but he's not having it. It's what makes it so frustrating ut oddly compelling to watch. This fim is not about death but ultimately tells the story of a life, that if pushed a few inches in another direction, could have been extraordinary. In tapping into the potential Penn moves us (or at least me) to want to be something better, make something better, do something better then we did when we entered the theater. That is a truly rare and beautiful thing.
The Sickness Scene: Hanging with retiree Ron Franz (Hal Holbrook), Chris encourages the old man to go for broke and run up a hill. It may not sound like much but this scene is a killer that has to be seen for a master class in screen-acting.
The Sickness Performance: Hirsch brings the goods but Holbrook is heartbreaking in his limited screen time.

1. There Will Be Blood- I fought long and hard with myself before I went with this one. Anything you see between here and eleven was at one point or another a contender. At the end of the day though Paul Thomas Anderson's masterwork won out. The simple reason being is that ultimately the film is a boxing match between the two central character. A simple almost stage bound premise, but, because this is a film, from this simple premise out gushes a geysers worth of material. Like a Rorschach Test made of oil this conflict works on an infinite variety of levels. It can be seen as an allegory regarding our nations twin corrupt bulwarks: big business and religion. It can be seen as a haunting historical epic. It can be a story about fathers and sons, or one of brothers. A story of identity; about the masks we wear in public and the brutal truth that lies beneath. It's about consumption and capitalism, about madness and brilliance and ecah pair is constantly in competition. It is so many things (though unfortunately it is not a woman's story, though the story's LACK of women is very telling). One could even read this a text about our disposable society, wherein we cast aside that which is burdensome, bothersome or no longer pleases us. While the meaning is up for grabs the steadfast aspect is the work as a technical achievement. From it's gorgeous percision cinematography by Robert Elswit to the haunting Bernard Hermann-on-crack score by Johnny Greenwood this film is a feast for the eyes and ears. Then there are the performances, the central performances I should say (though Ciaran Hinds, Kevin J. O'Connor and newcomer Dillon Freasier do very fine work) the movie belongs to Daniel Day-Lewis and Paul Dano. Day-Lewis' Daniel Plainview is a monster in capitalist clothing. Beneath his convincing and confident manner lies a seething contempt for all humanity set to boil at a moments notice. He is a terrifying creation and we instantly get him. It is because that Day-Lewis opens up so immediately that you think you know how the character will react and it gives every scene a nice underlying tension. Except when Plainview bucks your expectations and goes completely nuts or bone chillingly cold. Then there is Dano, whose lithe frame belies a firey anger and frustratio that he too can call upon to alternatively rally or distance others. One look at this acting match-up and you'd think that Day-Lewis would wipe the floor with his scene partner ad bucking that expectation is part of the fun of watching these two work. Dano's calm, cool composure gives way to something as sinister as anything Day-Lewis can cook up. Though the end is never really in question (though it's execution is pretty jaw-dropping) there's only one way this thing is ending. Look to the title and the brace yourself for whatever Anderson is doing next.
The Sickness Scene: "I DRINK YOUR MILKSHAKE!" My. God.
The Sickness Performance: Game. Set. Match. Day-Lewis.

Never mind the sore bum: Best Moviegoing Experiences of 2007

Oops, sorry I know this was supposed to go up last night but the siren song of an all night Rock Band party proved to be irresistible. Oh well without further ado here are my Top Five movie-going experiences of 2007. Just to clarify, these aren't necessarily my top five films of 2007 (though three of them will show up on my list), rather this is a look at the film-going memories that will rank as some of my favorites when I look back at the actual experience of sitting in a theatre and enjoying the show.

5. Preview screening for Spider-Man 3 at AMC 25
Yeah that's right, Spider-Man 3, the internet and lay persons filmic whipping boy. Spidey and Sam Raimi were so good to you for two amazing films that you couldn't cut them a little slack for taking an indulgence here or there could you America? Oh no, it was "too much dancing this" and "bad acting" that. But I am more then willing to forgive the film its trespasses and enjoy it for what it is: a remarkable spectacle meant to be enjoyed by a large number of people. I am sorry but this film GETS Peter Parker and and it GETS Spider-Man. The action sequences are still remarkable and the application of weight and movement to decidedly inhuman ability is really exhilarating. The crowd totally got behind Jonah's pill regimen, Topher Grace in general, the very relaxed James Franco, Gwen Stacey's rescue from the crumbling building, the Sandman and Spidey fight in the armored car and damn if I didn't get a little bit teary as Spidey swung down high-fiving the fans in his celebration as the marching band played the 60's TV theme. That's everything I need from Spidey film right there and you'd never think anyone thought one bad thing about the film based on that initial outing.
4. AMC Loews Lincoln Square 13 Enchanted
I came into the theatre with moderate expectations and fell madly in love. People applauded every musical number AND the opening animated sequence (which, have I mentioned this yet, is gorgeous). Plus cameo in-theatre appearances by Bernadette Peters and Joel Grey (though I was the only one who noticed). When you pay ten bucks and get back a hundred bucks worth of memories (and a film mascot for the blog) THAT is a GOOD experience.

3. AMC Loews IMAX Lincoln Square 13 Beowulf in 3D
Despite the tenor of this article I must express that these experiences are the exception, not the rule. As technology improves and civility goes out the window during screenings for more tender fare like Atonement and Juno (seriously why wouldn't that woman SHUT UP?!) it becomes harder and harder to justify not staying in and let netflix do all the heavy lifting. But once in a while you get an experience that just isn't possible for home. Beowulf more then any movie on this list (with the exception of Grindhouse) just could not work as well at home. Seeing the genuinely epic (but decidedly witty) film unfold on a mammoth screen with its staggering depth of field and mammoth scope was exhilarating. My breath was literally taken away from me several times and made me wish I was younger so I could go imaginary play Beowulf with my friends when I left the theatre (didn't stop me from yelling "I am Bewowulf" a bunch of times that night though-thank YOU Captain Morgan). Now THAT is impressive.

2. Union Square Midnight opening of Grindhouse
I can't imagine a better way to see this movie. In a packed theatre (and judging from the b.o. receipts maybe the only packed theatre in the entirety of Grindhouse screenings) full of film nerds. Also taking into account that for a good rowdy audience you can't beat Union Square (we threw plastic snakes at the Snakes on a Plane screening for goodness sake), it was the perfect environment for the bladder testing film. When a crowd claps for Michael Beihn's credit, you know you're in the right theatre. I also loved the gasps and "oh shit" exclamations during the chase in Deathproof. Lots of laughs and clapping and hooting and hollering. I couldn't BELIEVE that no one else would want to subject themselves to this kind of fun. The entire theatre was transported to another time and place and I liked it there.
1. Lincoln Center Hot Fuzz Preview Screening-Part of the Hot Fuzztival
As though there could ever be any doubt. This spectacular birthday present courtesy of my friend Frank found us and several other lucky souls at ground zero for awesome. The evening started off with the sensational (but surprisingly short) Edgar Wright introducing one of the many films that influenced Hot Fuzz, Electra Glide in Blue, easily the most bizarre and counter-culture cop film I've ever seen. The out came Edgar again with co-writer and star Simon Pegg (dazzlingly handsome in person) and co-star Nick Frost. The crowd of Spaced and Shaun of the Dead fans were salivating and nothing could prepare us for what came next. Through bales of laughter and applause unspooled, simply put, one of the best comedies of 2007. To be fair it's probably one of the best action films of 2007 too (and it features one of the best ensembles, but I'll save all this for when I rank it for the year). Then the spokesman for Lincoln Center came on to inform us that he would not be running the Q&A and instead he would pass hosting duties over to a huge fan of the Wright boys. At this point I turned to look back at entry wing of the theatre and the hairs on the back of my neck stood up. I shook my seat companion and whispered "Frank, LOOK" and sure enough, there was Kevin Smith. When he was announced the already ecstatic crowd completely lost it. From there on it just did not stop: the announcement that Paul Freeman (BELLOQ!) was in the audience (a mere two rows behind me), this was huge as Raiders of the Lost Ark easily my favorite movie of all time, the hilarious Q&A that was easily as funny as the movie, meeting CHUD writer Devin Faraci (one of my favorite writers on the web-yes even though he doesn't like the end of Batman Begins), shaking hands with Nick Frost while he took in a smoke. It was the type of thing you never forget and eternally bonds you to a film. Good stuff.

I'll be back later with my honorable mentions and worst of the year entries (links later tonight too you lucky blog reader).

Out Romancing Gisele in New York City

How do you know that you love her/How do you show her you love her

How about 100 million bucks? Does that do anything for you? Yes our beloved mascot film (you know the one) hit the nine digit mark today. Congrats to Disney, Kevin Lima, Bill Kelly, McWhatsisname, Elphaba, Susan Sarandon, Pip, Timothy Spall, James Marsden and of course Amy Adams. Oh and with these numbers and the golden globe nod Adams is now officially at the next level (which means she gets to work with PSH and Streep next year-bitchin'!). Fingers crossed for an Oscar nom (I'm thinking best actress musical/comedy is in he bag, yes?). Want more Adams right now and ushers are looking at you funny for coming to the big E so many times? Check out the excellent Charlie Wilson's War also out in theatres right now.

Late post addendum: In examining the Enchanted wikipedia entry (shut up) it would appear that Idina Menzel DID originally have a song in the film. The song was to be called "Enchanted" and was set to be a duet with James Marsden. As it stand right now the song is NOT on the film's soundtrack (though Disney does have a tendency to go back and relase deluxe editions of soundtracks with deleted material such as "High Adventure" on the Aladdin deluxe soundtrack) so the best we (and by we I mean me and the other 10 year old girls who love this movie) can do for now is wait until the April of '08 (my birthday hiiiiiint) DVD release of the film where hopefully "Enchanted" the song will in some capacity be attached to Enchanted the movie. Screw that Blade Runner suitcase, where's my Menzel/Marsden duet?

Random Film Thought: Missing you?

Warning: This post is a product of insomnia conjoined with hours of reading Diablo Cody's blog and the Onion AV Club's top films of 2007 list. You'll inevitably encounter vain attempts at being clever alongside nonsensical, incoherent ramblings. Enjoy!

As I slowly begin to prepare my final top 20 of 2007 (which by the way is at any time or place, including well into 2008, up for revision) I've begun to ponder, does distance help or hinder what one thinks of a film? Pauline Kael would infamously only watch a film once (she would rarely revisit) and only once to put it under critical analysis (but fuck that, I'm a Sarris boy). I can see Kael's reasoning though. The critic's opinion is undiluted, pure, unfiltered feeling and rationalizing right after seeing the subject. There's been some to consider but the film but for the most part it's fresh.
When you've first seen a film, say in the first day or so of its release, maybe you've only gotten a minimum of advanced word, maybe read a review or two before you headed into the theatre so as a result that first impression is pristine. Whatever you think isn't being subject to anyone or anything but you. But see a movie a couple of weeks into its release with some critical leg-work behind it or some bad word of mouth and that's going to affect how you look at it. "Obviously", you might think to yourself. Now I know I have plenty of strong independent thinkers who read this blog and would never stoop (stoop? yeah stoop) to let their own opinion be guided by what a critic has to say, or betray their own passion just to fall in line with what's popular. But the fact of the matter is we are all effected by our environment (unless of course we're all wingless angels guided like puppets by lil' Georgie's lord) however imperceptibly and it gives me pause to think "do I like/dislike No Country for Old Men because I liked other Coen brother movies and since everyone else likes this one I ought to. Furthermore as I get farther away from it will it become clearer that I admired it on a technical level but am losing a personal interest in a cinematic but still fairly rote adaptation of the book?" AHHHHHHH! Perspective, where did you go? Probably down the well into the land of no-happily-ever-after. (And with that my once an entry mention of Enchanted quota is FILLED).
What the hell am I getting at? Do you ever find yourself altering your opinion because of critical consensus? Have your feelings about a movie ever radically changed depending on when you saw it? Let me throw out a few examples. I saw Lost In Translation several months after its release at which point critics were tripping over themselves to sing the flick's praises. I thought it was perfectly pleasant but hardly the world breaker everyone had been trumpeting. On the other end of the spectrum is the delirious religious experience of being first in line at the old Mann Valley West 7 a very special May 1999. The nerds know what I'm talking about. Oh man, there were a lot of delusional nerds in a state of faux-euphoria walking out of the theatre that day. UGH! I liked the Phantom Menace, but I promise I only liked it for that first week I swear. What? I was going to say I didn't like it? I'd only been waiting for a new Star Wars movie since I was five!?!?!? Oh how I pity high school me. So what of it mesa-bloggers (BTW that was a Jar-Jar reference not a geographical one) how has time shifted your feelings on a film either positively or negatively.

Sad for me, Amusing for you

So I officially put Enchanted as one of my favorite films (it's just on my mind too much for it to be anything but love) in my blogger profile. I then clicked on it to see which other bloggers liked it too. I figured it couldn't POSSIBLY be that many as the film is so recent. WRONG!

520

Actually 521 if you count me. Unbelievable. Another interesting fact, the median age of my fellow Enchanted lovers is about 15. They're also almost all female and all Asian (Malaysia, Singapore and the Philippines being the biggies).

In conclusion I am a young Asian girl. I expect to be adopted by Brad and Angelina any day now.

Oodles of links

Hola my merry band of blogditos,

Once in a while I want to show you what's going on to influence the posts that I put up or just direct you to something cool and film related. To that end I will be providing helpful links to various articles I stumbled upon (or were referred to me) during the week.

Nate over at filmexperience (the blog that inspired this one) has comprehensive Golden Globe speculation and top notch criticism of the nominees. Click here

The good folks over at the independent film channel have a list of the best action scenes from 2007, I disagree with some of them but I appreciate Hot Fuzz getting some love so late in the year (Also I just picked up the three disc special edition and it is GLORIOUS). Click here

Cary recommended this little piece on the religious undertones in Atonement, very helpful for almost making me like the second act (but alas, it didn't). Click here

Speaking of long tracking shots, filmcritic.com has a list of the ten best of all time. Click here

This one is incredibly cool, Disney blogger Jim Hill has a massive catalogue of Pixar in-jokes and cameos in their movies. Wall-e is in Ratatouille, who knew? Click here

Puzzled or frustrated by the end of No Country for Old Men, this might help. Click here

My intense girly crush on Enchanted continues. Quint over at aicn has a thorough interview with director Kevin Lima. Click here

I've been dreaming of a true love's kiss

Honestly loyal blog-readers, there are many movies out there I don't like. Honest and truly. I'm not some sap with no taste that giddily approves of everything I see. It just so happens I've been lucky/unlucky enough to hit a streak of material that not only connects with me on an emotional level, but has had enough critical grist for me to chew over. I will hopefully appreciate lots more films on an intellectual level for the rest of the year but I doubt I will love (and I mean LOVE) another movie that comes out this year the way I loved Enchanted.

Yes, yes I am a giant lame girly-girl. Now shut up and read. This is the best film that Disney (sans Pixar) has put out since the Lion King. Oh yes, I went there.

Director Kevin Lima has flown under the radar for a while with reliable but not particular memorable flicks both live action and animated (Tarzan, 102 Dalmatians). Here, he connects with screenwriter Bill Kelly who has written a few high concept screenplays such as Blast from the Past, with intriguing premises but suffer from lackluster execution. With Enchanted everything comes together for these two in a way that is nothing short of extraordinary. As sturdy and fun as the concept is (animated princess and prince stranded in live action New York for those of you who shut themselves indoors during Thanksgiving) the film's heart beats because of two performances; Amy Adams and James Marsden as Giselle (love that name) and Prince Edward respectively.

This is not to say that Adams hasn't been outstanding before. Her work in 2005's Junebug was remarkable (though admittedly at the time I attributed this to her playing an overtly likable character in the script). She's also been perfectly pleasant in her brief bits in Catch Me If You Can, The Office and as Will Ferrell's act three romance in Talladega Nights. Enchanted, however, is Adams chance to step up to the plate on a national level and she knocks the sucker right out of the park. It's a character that any other actress would've been walking a thin line at best. Giselle could come off as cloying, winky or God help us, saccharine. I shudder at the thought of Zellweger or a Bullock taking a crack at this. With Adams though every move and gesture, every word out of her mouth is so completely genuine. She is simply a Disney animated princess come to life. There can be no other explanation. Look at the way she moves her hands, the way she sits, her singing and dancing (both of which make the film a contender for my favorite musical of the year despite only three brief but charming Menken/Schwartz songs-all three got applause from my audience). Everything is effortlessly lifted from all over the Disney cannon. No way Adams doesn't at least win the Comedy/Musical Golden Globe. A gorgeous redhead princess named Giselle. Sigh, I'm in love.
One performance this outstanding would be enough for any movie. Enchanted has TWO. James Marsden is having a year un-equaled by any male actor (with the possible exception of Josh "Holin' in my" Brolin*). I don't know if it's him or his representation, but Marsden has unquestionably found his niche in Hollywood. He'd been stuck in bland second-man parts, but in light musical-comedy...forget it, the man OWNS! Take everything I said about Adams and change the gender and you've got Marsden in this film. He's gloriously brash and buckles swash with the best of them. Every single line and move elicited huge laughs from me. It's an incredibly bold performance, but again, never tounge-in-cheek.

As for the other actors, Patrick Dempsey turns in fine enough work but he's in an unenviable position of being surrounded by out-sized incredibly fun characters. Who could compete? Susan Sarandon plays the wicked Queen in a different kind of over-the-top that doesn't quite match what Adams and Marsden are doing (and her dialouge at the end is obvious and nearly dips the movie into, heaven help us, Shrek territory). Timothy Spall and a CGI chipmunk are also way more winning then I expected, the later being a clear audience favorite. Idina Menzel (who alas does not sing in the movie) as the other woman and Rachel Covey as Dempsey's daughter give good reaction but again its hard to talk about them considering what they're up against.

The film is loaded with all sorts of references to other Disney classics some obvious, others more subtle. It'll be fun revisiting the film (something I plan on doing often) to look for more. The script also has some fun in exploring the social mores of the pristine animated fantasy world against our own less idealized one. There's a part of me that wishes this went deeper (the script hints at this when Giselle notices Dempsey's chest hair poking out his bathrobe and its not played completely for laughs) but ultimately this a film that anyone can go see and enjoy be they total gushing romantic or if they have fond memories of the Disney animated classics. Consider this a new addition to that list.