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.

Almost There: The Honorable Mentions of 2007

Oh man was this ever a year for good movies. I’ll admit it started out slow but by August I felt like I had a fairly decent list with at least three or four films that would become part of my cannon for all time. As usual, time makes fools of us all. With so many great movies the list of the twenty four that just ALMOST made the cut (and for some it genuinely hurt to take them off the list) are still worthy of your attention. Any other year this would be a list I would be proud to call best of the year but with such an embarrassment of riches they’ll just have to settle for honorable mention.

3:10 to Yuma
I love you, you’re perfect: Two Oscar caliber performances in a decidedly genre picture with a very modern sensibility. It’s packed to the margins with all sorts of fun character actors (and Peter Fonda doing a John Wayne impression). Oooo and a horse explodes. It opened my eyes to Ben Foster’s considerable acting talent. I also got a nice curve-ball when the film radically changed the ending.
But: Changing the ending kind of ideologically changes the point of the story. Though I suppose it fits into these more maudlin times (sigh).

Before the Devil Knows You’re Dead
I love you, you’re perfect: Philip Seymour Hoffman, Ethan Hawke, Albert Finney and Marisa Tomei circle each other like wolves as things go from bad to worse and then disintegrate into beyond worse. Sydney Lumet shows he’s still got it and screenwriter Kelly Masterson makes an incredibly impressive debut.
But: There is no joy in the film and almost unbearable bleak. There were some pretty “depressing” flicks tat made my top 20 but even if the characters weren’t having fun I always felt that the directors were.

Black Snake Moan
I love you, you're perfect: A not phoned-in performance from Samuel L. Jackson, some great music and the exploitation charm of seeing a chained to the radiator Christina Ricci. This is all to disguise the fact that it's actual just a very entertaining morality play.
But: Once the film makes its point it meanders a bit throwing obstacles just to pad out the runtime.

Breach
I love you, you’re perfect: Chris Cooper tears into a rare starring role which requires Ryan Philipe to step up his game significantly. Here is a wonderful adult thriller with some fantastically tense Hitchcock worthy suspense. Then there’s that ending.
But: It’s a very tiny film and while both leads are well played they’re not the sort that are especially fun to be around.

Bourne Ultimatum
I love you, you’re perfect: Paul Greengrass perfectly stages innovative, thrilling action sequences (the Waterloo station sequence comes to mind). The cast is smooth as silk.
But: This movie is lean and we don’t come away with a great deal of insight into the Bourne character and what we do learn is kind of inconsequential (oooo his name was David).

Eastern Promises
I love you, you’re perfect: Cronenberg continues his smooth transition from intelligent independent genre filmmaker to intelligent mainstream filmmaker collaborating again with Viggo Mortensen who gives one of the best performances of the year.
But: A lot of the points he made in this film were made more boldly in A History of Violence.

Gone Baby Gone
I love you, you’re perfect: Ben Affleck brilliantly captures the atmosphere of urban Boston with this gripping procedural with sterling performances from Casey Affleck, Michelle Monaghan and of course Amy Ryan. Hell even Morgan Freeman decides to actually do some serious leg work. It’s also rare for a movie to present the audience with a real moral dilemma and Affleck beautifully and devastatingly illuminates it for the films conclusion.
But: But nothing this was just a casualty of too many good movies.

Grindhouse
I love you, you’re perfect: So much fun as a group of collaborators I have an undying love for decide to make the ultimate prestige genre double-feature of schlock. Ridiculous over the top gore, car chases and bad-ass characters galore. The trailers, the presentation, it was really a transporting experience.
But: It’s like the biggest tastiest candy bar you’ve ever had. It’s delicious but you’re going to hate yourself for all those calories in the morning. Also as fun as it is I’d rather these guys would devote their time to something a bit more filling.

Hostel Part II
I love you, you’re perfect: Eli Roth’s directorial voice becomes clearer as he finally creates some sympathetic protagonists, decent dialogue and actually expounds on the themes of American arrogance, gender politics, exploitation and rampant consumerism and avoids rehashing the first film. A glorious gory mess.
But: At the end of the day there were just better films. Plus they do something terrible to Roger Bart’s Young Frankensteins and I just can’t get behind that.

The Lookout
I love you, you’re perfect: Scott Frank’s tight thriller has a lovely lead performance from the increasingly reliable Joseph Gordon Levitt has a lot of fun twists and turns.
But: As thrilling as it, at times it feels awfully derivative.

Margot at the Wedding
I love you, you’re perfect: Brilliant naturalistic performances from Nicole Kidman, Jennifer Jason Leigh and Jack Black. Noah Baumabach’s newest film is sharply edited, well paced and offers a wonderful look at some truly acidic relationship dynamics.
But: Similar, though not identical, material showed up in The Savages.

Michael Clayton
I love you, you’re perfect: George Clooney turns in one of the great movie-star/actor performances of all-time (you usually get to be one, not both). He gets some pretty handy support from Tom Wilkinson and Tilda Swinton. Poor Michael Clayton gets plunged deeper and deeper into a mess he doesn’t have a hope of getting out of and its just really gripping stuff. Hats off to Tony Gillroy on his directorial debut.
But: I feel the ending may reward certain characters more then is merited but otherwise this was on the top 20 for a while and just got edged out by too many movies.

A Mighty Heart
I love you, you’re perfect: A gripping procedural (even though the outcome is never in doubt). Michael Winterbottom’s work is pretty gripping stuff and Angelina Jolie performance is genuine and not for a moment exploitative.
But: The movie’s impact is diminished by the tremendous tragedy that surrounds and encompasses it.

The Mist
I love you, you’re perfect: A dark, thrilling, character piece that has all sorts of clever things to say about our culture where faith seems to be overcoming science and reason. At the same time Darabont shows us that faith is not without value. A wonderful mix of actors who react to all sorts of fabulous creatures (with a well thought out eco-system). Oh and that ending.
But: The mix of actors occasionally yields some less then worthy performance moments. The effects vary in quality greatly (no doubt because of the films rather hasty production schedule).

Mr. Magorium’s Wonder Emporium
I love you, you’re perfect: A smart, literate children’s film that I would be happy to show my kids. Dealing with death and change, pretty heavy stuff as opposed to the usual “be yourself but no not really, and buy our merchandise” that gets drubbed into kids heads.
But: Dustin Hoffman’s accent is somewhat grating, largely dependent on your tolerance for whimsy.

No End in Sight
I love you, you’re perfect: An unbiased, direct account of the invasion of Iraq and the absolute clusterfuck that followed. Speaking in a calm, clear voice the film devastates the viewer and keeps them enthralled throughout.
But: Edged out because of too many good films.

Ocean’s 13
I love you, you’re perfect: Combining the populist fun of the first film and the stylistic savvy flourishes of the second film.
But: It’s pretty damn frothy and quickly forgettable. Also if you saw the second film, you could guess the big “twist” pretty early on in the film.

Shoot ‘Em Up
I love you, you’re perfect: The Crank of 2007.
But: Maybe you don’t like Crank?

Sicko
I love you, you’re perfect: As usual Moore knows how to stir his viewer and he mostly keeps out of this one, letting his focus instead rest on the dire concern facing the country.
But: As usual Moore sacrifices some important details to the gods of entertainment. Cuba may have friendly health facilities but it also has a huge chunk of their population that can never go back.

The Simpsons Movie
I love you, you’re perfect: Everything you like about the best episodes of the show. Consistently funny and well-executed. Story felt big enough to merit a film.
But: There are stretches where you feel like you’re looking at filler, certain beloved characters get short-changed.

Spider-Man 3
I love you, you’re perfect: Has a good sense of fun (I ENJOYED the dance numbers so NEH!), incredible action sequences and has a keen understanding of its protagonist.
But: The one on the list that got closest to being a not-quite for some terrible acting moments, exposition-butler-guy (where the hell were YOU!?!?!) and waaaaay too much crying.

TMNT
I love you, you’re perfect: The ninja turtles are back and they seem pretty bad-ass. Hooray!
But: I’m not eight anymore.

Waitress
I love you, you’re perfect: Perfectly charming with a dynamic movie-star performance from Kerri Russell.
But: May be too cutesy and frothy for some.

Walk Hard: The Dewey Cox Story
I love you, you’re perfect: A dedicated performance by John C. Riley, incredibly clever and tuneful songs and some fairly amusing wry observations music biopics. Gets better use out of the Beatles in five minutes then all of Across the Universe combined. Jenna Fischer in lingerie and super horny.
But: Never gets into the nice broad groove that its forebears Airplane and Blazing Saddles hit.

Ehhhhhh: The Not Quites of 2007

Ah yes, we've come to the Not Quites. While I didn’t outright dislike this batch of films I found them all lacking in some way or another, ensuring that I’ll never say, purchase them on DVD but I wouldn’t object to watching a favorite scene on youtube or catching a moment or two between commercials when I'm watching something else.
Here’s a quick rundown of the Not Quites along with a brief explanation of what I liked and disliked about them

300
Yay: Gorgeous visuals, impressive abs, fun to yell “This! IS! SPARTA!” (but only in moderation)
Nay: No real character and thus nothing to invest in, simultaneously takes itself too seriously talking about “glory” and “honor” while at the same time being ridiculous and ignoring the larger allegorical elements of the story.

28 Weeks Later
Yay: Some inspired ideas not previously used in zombie films, characters faced with complex moral decisions
Nay: Again no character (although like 300 also has an actor from the Wire playing a government schmuck), dumb decision making, the aforementioned good ideas are poorly executed, ridiculous “lead zombie”

Across the Universe
Yay: Loads of ambition, Bono (I can’t believe it either) and for some reason James Urbaniak shows up as a sleazy manager
Nay: Repetitive motif of a single character walking through a sporting practice, takes itself too seriously, flimsy performances, elementary childish symbolism (carrying the statue of liberty while singing “She’s so Heavy” oh man was I laughing), broad 60-70’s iconography, lots of characters saying what they’re feeling, you can’t do that-it makes me feel angry.

American Gangster
Yay: Nice epic scope, doesn’t just glamorize its criminals, loads of character actors (Look Roger Bart as a racist DA!) and a very fine performance from Russel Crowe and Josh Brolin.
Nay: Denzel is pretty much coasting doing his usual thing. In trying to cover a lot of ground it doesn’t really feel like it’s about anything.

Atonement
Yay: An amazing first hour that is taut, tense and exciting. Beautiful performances and excellent direction and score.
Nay: Then comes the second hour and the film meanders along not really going anywhere until an inexplicable third act denouement that probably worked a lot better in print then it did in film.

Bee Movie
Yay: Excellent vocal performances, Seinfeld gave a tremendous amount of thought about the lives of bees, pretty consistently funny.
Nay: A lot of mixed messages; is it a pro-environmentalist message, a cry for individuality or advocating sticking with the community? Supplies enough bee puns to last me for the rest of my life.

Dan in Real Life
Yay: A powerful, layered performance from Steve Carell (his performance of “Let My Love Open the Door” is DEVASTATING), nice to see so many likable actors (Norbert Leo Butz, Emily Blunt, John Mahoney, Diane Weist AND Juliette Binoche) having enough of an effect on Dane Cook to make him tolerable…
Nay: Unfortunately this entire cast of characters are living in some perfect looking, happy-go-lucky, Nancy Meyers pristine world where family get-aways run like the greatest summer camp ever.

Death at a Funeral
Yay: Hilarious and daring performances from Alan Tudyk and Peter Dinklage and solidly directed comic bits from Frank Oz (nice to see him getting his groove back).
Nay: The rest of the characters and most of the plot are entirely forgettable.

Disturbia
Yay: A charismatic lead performance from LaBEOUF! Occasionally tense.
Nay: While I admire the courage to adapt Hitchcock it pales in comparison to Rear Window only one of the greatest films of all time.

Fracture
Yay: A fun little mystery that would make a great episode of Law and Order…
Nay: Unfortunately it’s a two hour plus movie.

Hairspray
Yay: Breakout performances for Nikki Blonsky, Elijah Kelley and Taylor Parks. Sterling supporting turns from James Marsden, Michelle Pfeiffer, Chris Walken and Allison Janney. It was great to see the public embrace a musical and most of the numbers have an infectious energy.
Nay: A movie about tolerance does not have the courage or conviction to show two men kissing at the end of a romantic number. The non-musical sequence are fairly dull and the movie moves more on the strength of the performers then how they’re shot. John Travolta’s make-up, accent and performance, ugh.

Harry Potter and the Order of the Phoenix
Yay: The kids keep getting better. Nice to see so many classy actors in one place even if they only get a few minutes of screen time a piece. Makes Harry more sympathetic then he seemed in the book.
Nay: The ending battle looks like a bunch of people quickly swirling CGI at each other, your mileage on this may vary. With the exception of fleshing out Harry a bit more this all seems like a very rote adaptation that is just going through the motions until we’re done with movie seven.

Hot Rod
Yay: Occasional bits of inspired comic brilliance, very fun performances from Will Arnett and Chris Parnell. Isla Fisher looks so cute and is part of my holy trilogy of modern red-heads.
Nay: Weak story, a lot feels like filler between the more inspired bits, Ian McShane is capable of being a very funny actor, but not this “type” of funny.

Music and Lyrics
Yay: Hugh Grant is a master of this genre, unquestionably. The songs by Fountain of Wayne front-man Adam Schlessinger are excellent. Doesn’t take itself too seriously. Appropriately light and fun.
Nay: I get nothing from Drew Barrymore. Britney Spears analogues are getting soooo tired.

Offside
Yay: On a technical level it’s excellent. Wonderful message.
Nay: Makes it point and then doesn’t really introduce any new ideas. Lacks some of the tension and energy found in Panahi’s earlier films.

Reno 911 Miami
Yay: Nice to see these characters embrace R-rated material so fluidly. Very fun cameos from Paul Rudd, David Koechner, Patton Oswalt and one particular action star I wouldn’t DREAM of spoiling.
Nay: The success of the individual bits is too inconsistent.

Stardust
Yay: Periodically nails the balancing act of the tone of the novel. The leads chemistry is pretty solid. The third act is greatly improved and genuinely exciting.
Nay: Over-designed and dumbs down a lot of the more mature material found in the book, characters go from being three-dimensional to one-dimensional and things are telegraphed way too early.

Surf’s Up
Yay: They work the conceit of a documentary fairly well…
Nay:… but the story it captures is frustratingly predictable. The characters and voice work isn’t particularly memorable which is a shame as I like a lot of the actors on display here.

Year of the Dog
Yay: Very fine performances coupled with very deep characters. An intriguing, small and original character piece.
Nay: The movie goes back and forth about whether it is mocking its characters or rooting for them, it vacillates so much that the viewer isn’t real left with anything or anyone to grasp on to.

My Eyes, My Eyes: The Worst of 2007

I like to make it a point to try to avoid absolute crap every once in a while, but sometimes something just calls to me begging me suggesting there is some glimmer of hope that I'm not about to subject myself to the 24 frames per second equivalent of a red hot poker to the eye. Sadly I can be wrong. Here are the eleven movies that wasted my time, money and brain cells. They aren't ranked as they all hurt my bowels pretty much equally.

Aqua Teen Hunger Force Colon Movie Film for Theaters- I like the show but my God there's a reason it has a ten minute run time. An amusing opening sequence DOES NOT excuse this awful, awful mess.

Blades of Glory- The death knell of the Will Ferrel sports comedy formula? The box-office would suggest otherwise. It remains a frustrating missed opportunity that completely misuses villains Will Arnett and Amy Poehler and fills time with the same damn joke (look at the silly outfits and ice-skating moves) and all the lingerie wearing Jenna Fischer in the world can't reverse that.
Evan Almighty- Aren't comedies supposed to be funny? This was a miserable experience all they way through especially since it features one of my favorite actors in the world. Bland, uninspired direction is not hid by millions of dollars of effects and animal training. There is a point about 5 minutes into the movie where Steve Carell says "I feel like the indian crying in front of all that garbage." Truer words were NEVER spoken.

Fantastic Four: Rise of the Silver Surfer- More like the rise of the bile in my mouth. "Dr. Doom" is even more embarrassing here. Its disgraceful the character even shares the name. Too childish and with too much slapstick completely undermining the stakes. Oh and another thing. The movie that adapts the GALACTUS storyline shouldn't kind of/sort of show a shadow of Galactus. That is RIDICULOUS! Galactus should be bigger, more threatening and more impressive than anything seen all summer and it is not. Shameful. And don't give me the whole it wouldn't adapt well in "the real world" of the film. This "real world" also has the world's smartest man punning like an idiot..frequently. And a giant rock man.

The Golden Compass- A movie so bad and an adaptation so boring that it made me like a book that I really wasn't all that enamored with in the first place. At least it's failure means we get a Hobbit movie.
The Last Mimzy- Ooooo the mom put the toys in the garbage in the front yard, how EVER will they get out of THIS jam? It's like ET, except for children too dumb to appreciate moments of awe, conflict, good child acting or any remotely challenging idea. So basically it's not like ET. This movie was painful. Bob Shaye should spend more time alienating directors who've made his company billions of dollars instead of making terribly incoherent childrens' films.

Live Free or Die Hard- Sir I've seen Die Hard and you are no Die Hard.
La Vie en Rose- In the cold hard light of I'm Not There and Walk Hard musical biopics seem silly and ridiculous. But if they make somewhat decent movies look rough imagine what it makes this unlikable, dull exercise about the life of Edith Piaf?

Pirates of the Caribbean: At World’s End- Better then the second one but that's not saying much. A lot of pomp and circumstance that all the smuggled in-theater rum can't make interesting.
Shrek the Third- Ugh, re-heated leftovers of leftovers. Every single "theme" and "joke" in this film was presented with greater clarity and originality in the first one. I only give it any credit for the brief Mary Poppins shout-out and the hipster casting of Amys Poehler and Sedaris, Jon Krasinksi and Seth Rogen (all are wasted). I like Enchanted even MORE for how bad it took this movie to school.

Transformers- The movie that jammed a power cube full of awful into my chest. It doesn't make shouting LaBEOUF any less fun though.

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).