Thanks

I am rather late with this, but I wanted to list five things I am thankful for and five things I enjoyed this past holiday.

Thanks
1. My wife and the completeness she brings to my life
2. My son's laugh, hugs, and kisses
3. God's grace and forgiveness
4. My wife's pregnancy
5. Hearing my wife and son read books together

Enjoyment
1. The birthday cake my wife made me from scratch
2. My son saying Happy Birthday Daddy
3. Spending QT with my B
4. Ben Folds and the Nashville Symphony
5. The latest Harry Potter film
(Honorable Mention: Oxtail Ravioli in a truffle cream sauce)

Ten Films that Scared me

(In no particular order.)

1. Rosemary's Baby - Pregnancy at a level you can't imagine.

2. Halloween - Great score. Great mask. Welcome Jamie Lee to the big leagues.

3. The Shining - King and Nicholson at there best. REDRUM

4. The Descent - Spelunking very much unlike my church youth trip to Mammoth Cave.

5. The Mist - Kept me in a fog.

6. Seven - Totally messed me up.

7. Night of the Living Dead - Classic.

8. Poltergeist - Can't imagine how scary this would have been with a HiDef TV.

9. Jaws - Suspense builds perfectly. Open Water owes a lot to Jaws.

10. The Exorcist - Tubular Bells send me searching for a blanket.

Ten Things that Scare Me

1. Cam Newton - Not sure if Alabama can contain him, or anyone for that matter.

2. A BCS title game between Boise State and TCU. Sorry, but they aren't the two best teams in college football. There, said it.

3. Paranormal Activity 2 - Told my wife to never watch the trailer. Ever. Maybe if I wasn't the dad of a toddler I could handle it.

4. The Exorcist - Still scaring the crap out of me.

5. Snakes. Period.

6. Les Miles as the Grim Reaper - We'd all be in trouble.

7. How many adults are not literate.

8. What I will have to pay for my son to go to college.

9. My fantasy football team.

10. Politicians who make educational policies.

Mid-Season Thoughts

Well, I haven't been a weekly contributor to my blog, as I had hoped. In fact, I had to go back and reread what I previously wrote to see what my thoughts on the season were prior to the first kick off. Well how did I do? Let's see.

• +1 for predicting Bama would lose a regular season game. SC had their number, and the ol' ball coach beat down Saban thanks to the one perfect game by Garcia. Here's hoping Bama refocuses and gains their swagger. If they don't, I'll be plus two.
• +1 for a QB winning the Heisman. I think this will still happen. Pryor, Robinson,Moore, and Newton are my top candidates right now.
• 0 for the spread dying. It's not dead yet, but it's not what it was. Let's see how it fares the second half of the season.
• +2.5 for USC(+1), the Irish (+1), and the Big Ten (+.5) being disappointed. The Buckeyes, undefeated and sitting atop the polls are not projected to be #1 in the BCS. Guess they need to play the type of schedule Bama just finished (which doesn't get any easier).
• 0 points for announcers. I am just glad when they get names right.
• -.5 for doubting the BCS title game could have Boise or TCU in it. It may happen, and I, like many football fans, may not watch.
• -1 for even mentioning Masoli. Who cares? I should deduct another point for not mentioning the Mad Hatter in my first blog. He's the most interesting character in the SEC.
• 0 for UT. That program is on the verge of shambles. If you're a praying man, start praying for Dooley.
• +3 for Cobb scoring in multiple ways (QB, RB, WR, Special Teams). He is a stud and UT has to watch in jealousy each week.
• -2 for Colt who ... Brantley who?

Well, my score at mid-season is a solid 4, which symbolizes two safeties. Maybe the "4" signifies there will be 4 undefeated teams at the end of the season, who knows.

Looking forward to the SEC West race. This division is better than any other league. Auburn, Arkansas, Alabama, and LSU all have the right to play for the national championship, via a bracket tournament.

So what are your thought?

It's the Most Wonderful Time ... of the Year

The high tomorrow is in the upper 70s, it's a three day weekend, and college football is in full swing (to use a baseball pun for a football blog post). Does it get any better? Well, actually it could, but only if the leaves on my trees were crisp golden embers, slowly dropping to the ground.

While there are numerous topics I could discuss, for college football's kick-off weekend, I am going to mention just a few storylines I plan to watch this season.

• Will the SEC win a fifth consecutive national championship? As a fan of the Tide, I am not expecting a repeat. I think Ingram's injury and the suspension of Dareus is foreshadowing a year of missed opportunities. With Tiffin and Arenas gone, they will lose a game simply due to special team play. Yes, I think they may lose their first regular season game since the birth of my son, and possibly two this season before the season ends. Florida will see if Urban can bounce back from his medical issues and not having Tebow to rely upon. The conference is 6-0 in the championship game, however, so if the SEC gets a representative this year, I expect a win.
• Which QB will win the Heisman? Yes, I think we go back to a QB winning college football's most coveted individual award. Right now, I'd go with Pryor or Moore. Darkhorse is Locker, who may be the best candidate for NFL success. I am not drinking the Mallett Kool Aid.
• Is the spread offense dying? I believe we will start seeing the spread be less successful. Defenses have adapted, thanks to the resurgence of the 3-4. Give me a strong defense, mistake free special teams, and a strong run game any day.
• Who will be more dissapointed this year ... Notre Dame, USC, or the Big Ten in general? Notre Dame thinks they will regain the mystique and invincibility of the leprechaun's pot of gold. Sorry, but those days are long gone. USC is going to have to fight to regain their swagger after scandalous affairs (even though their coach has more swagger and bravado than all of USC's alums combined). Can the Big Ten improve on a .476 BCS winning percentage? I would say I doubt it, but eventually they will improve won't they?
• Who will radio announcers fawn over now that Tebow's gone? Wait, I don't really care about this. Even though I like Tebow, and loved his passion for the collegiate game, the lovefest the media had on him actually made me nauseous at times last year.
• Is this finally the year a non-BCS team (TCU or Bosie State) plays for a BCS championship? While I don't think so, it could be interesting, especially with Boise State starting at #3 in the AP Poll. If they beat VA Tech, it could be interesting.
• What will Masoli do in the SEC, especially if he stays eligible for the entire season? Will he be as successful at Ole Miss as he was as a Duck? Will he outperfomr Mallet? Must say, I am intirgued.
• Will Coach Caldwell survive his first season as skipper of the Commodores and return for a second season? Stay tuned.
• Will UT get to a bowl game? Yes, this is interesting. I like Dooley and hope he has the patience of the UT faithful. Can't believe I am typing this. I couldn't stand The Great Pumpkin, er Phillip Fulmer, or the Cheatin' Kiffins, but Dooley is a likeable guy.
• Can Randall Cobb score a TD from three different positions? This guy is fun to watch, and with a coach named joker, anything can happen.
• Will Colt McCoy be long gone and forgotten with the emergence of Texas' future star QB, Garrett Gilbert? Can Brantley even live beneath the shadow of the epic Tebow?

Anyway, enough questions. Let the games, and the debates, begin!

Roll Tide Roll!

My Favorite High School Films

Well, I haven't blogged in months, and I haven't missed it like I thought I would. Unless I have a true theme, my motivation is literally non-existent. Therefore, in honor of school starting back, I have identified my ten favorite "high school" films. I know this list will not please everyone (especially with the omissions of Grease, Clueless, and Mean Girls), but this list is my list, and it is very personal. I also tried to include films that are not just about teenagers, but high school as well.

While it may not be the best way to review a film, in honor of my years as an English teacher, I have written the reviews as haikus.

In alphabetical order ...

American Graffiti
Lucas, Wolfman Jack.
Ford sans blaster or bullwhip
- soundtrack perfection.

The Breakfast Club
They only met once,
five stereotypes stuffed in
real world detention.

Carrie
Face the consequence -
an adolescent nightmare,
blood, vengance, more blood.

Dead Poets Society
Poetry. A death.
The teacher I never was -
yet wanted to be.

Election
Vote 4 Tracy Flick.
Not your average teenage pic,
Reese's best role yet.

Ferris Bueller's Day Off
skipping school so cool ,
Cubs game, parade, Ferrari.
80s cheese supreme.

Heathers
Cliques. The true Mean Girls,
I love my dead gay son, chain-
saw, Slater/Ryder.

The Karate Kid
Mr. Miyagi,
a whimpy outcast misfit,
Shue rocking my world!

Rushmore
Scool and love and war,
Expulsion. Revolution
- she was my Rushmore.

Say Anything
Lloyd Dobbler's boombox
blaring teenage angst and pain
high school realism.

Honorable Mentions: Hoosiers, Ten Things I Hate about You, Stand and Deliver, Scream, Back to the Future, The Last Picture Show, Fast Times at Ridgemont High.

Most Difficult to watch, yet stellar work: Precious.

Most dissapointing: Friday Night Lights (yet the TV show is an all-time favorite of mine!).

Still need to see ... you tell me!

Nashville Resliliency

Truth be told, I feel guilty.


Guilty that my home didn't receive damage. Well, let me rephrase that, my current home wasn't damaged by the flood. My former home, a house that had been in the family since it was built over fifty years ago, did receive damage. I drove by this week, curious. All looked well until I turned the corner and noticed that under the car port was the carpet from the basement, ripped out, along with wood paneling. I hurt for my former home, and felt sorrow for the new owner who hasn't been there a year. But deep down I was glad I wasn't the one dealing with the issue.

Truth be told, I am saddened.

Sad that I have not been able to volunteer. I applaud Belmont University for paying their employees for three days, but not requiring them to work, but rather volunteer in their community. I wish I had the opportunity to do more. Yes, I did make a donation to the Red Cross (fueled by new Twitter followers and Blog followers -- thanks guys!), but I haven't put in any sweat equity. I wish I had the time to do more.

Truth be told, I feel helpless.

Helpless that I cannot be of service to Bellevue and Neelys Bend, two areas that will always be a part of my life, one personally and one professionally. I have heard so many counts of loss, that my heart aches for these communities. From former coworkers to former students, there are many who have lost everything.

Truth be told, I am angry.

Angry that some students across the state will be held accountable for EOC (End of Course) when they have lost everything. How fair is it that we hold all students accountable for a simple test anyway, much less students who are grieving and dealing with the loss of homes, or worse family and friends? Students in my county will be largely unaffected as compared to their peers in Nashville, and NCLB cares not, nor has sympathy.

As I continue to write, I begin to realize guilt is not the emotion I wish to feel. I take pride in the fact Nashville has shown resiliency in the face of natural disaster. No, we haven't been the focus of the national media (although it is slowly starting to make mainstream national news -- thanks Cooper A!). No, Obama hasn't visited our flooded state, which is disappointing. If Nashvillians were looting and if there was pandemonium, we would be on every news channel or news internet site. But we are from Tennessee, the volunteer state, and even though I am not a UT fan, I am proud to be a member of the volunteer state. The charity, prayers, and deeds of Nashvillians are awe inspiring, enough so that I no longer feel guilty or angry, but proud.

Truth be told, Nashville will not just survive this disaster, but will be stronger for it.

Blind-Sided by The Blind Side

So, I finally saw The Blind Side. Here are my thoughts, in no particular order:

- Maybe the most over-rated film of last year besides Avatar.

- Suffered from Friday Night Lights Syndrome ... A film that nowhere near captures the story, much less the soul, of the book.

- Impressed with Sandra Bullock. She saved the film. However, a fairly weak, predictable Oscar performance compared to some of the most recent winning performances. The award probably belonged to either Carey Mulligan or Gabourey Sidibe.

- Speaking of Sidibe ... Quinton Aaron needs her acting coach. While both of these roles were probably difficult to cast based upon the physical attributes of each protagonist, Aaron did not capture the essence of Oher.

- Speaking of protagonist ... why was Leigh Anne the film's protagonist? Last time I checked, this was the story of Michael Oher.

- Screenplay was lacking, so was the director. So what did John lee Hancock actually do? Oh yeah, made Alcon Entertainment loads of moolah.

- Loved Jae Head's performance.

- Thought the high school coach was a buffoon.

- Didn't recognize McGraw ... except for the song of his playing over the credits.

Well, after reading your comments, you probably think I hated the film. I didn't. I was blind-sided about how mediocre it is though. I expected it to be what it was ... a feel-good Hollywood film that strayed from the book. Is it worth a look-see? Maybe for a buck on Redbox. But who is reading this who hasn't seen it?

Don't Let this Sly Fox Slip Past Your Family

So, if you are a fervent reader of my blog, you know that I was blown away by Up, even listing it as the best animated film of the decade. Well, maybe I spoke too soon. This weekend my wife and I finally were able to catch this Oscar nominated gem of a movie, and I suggest you follow suit.

I was a fan of James and the Giant Peach as a child, but I never read anything else by Dahl. Maybe I should (in fact, I assume I will as my son gets older). This is an engaging story of a sly fox who cannot shake his criminal habits, even after starting a family and promising his wife he will change his ways. Sounds eerily familiar (except I had no criminal habits, just selfish ones). As wonderful as the story is, and even with a who's who list of famous voices (Clooney shines in a performance right up with Up in the Air), the film belongs to its director, the talented Wes Anderson. His vision translates beautifully into the animation genre. At this time, I would rank the film as required viewing for anyone who enjoyed Rushmore and The Royal Tenenbaums (Anderson's bars of excellence).

While animated films of late are made to look realistic, this film's stop motion animation is perfect, even awe inspiring at times. Some may have been put off by this technique; however, it actually enhances the film. In fact, I would welcome more films shot in this style as opposed to another computer generated 3-D "cartoonastrophe. "

One caveat, this film is more suited for adults than children (or at least I think adults will appreciate the film more), even though it is an adaptation of a children's book. However, I would hope older kids would appreciate both the story, and the film itself. I can't wait until my son and I can watch films of this caliber togehther.

Omitting An Education

In an earlier post I listed, and reviewed, my Top Ten Films of 2009. I felt pretty confident about my list to be quite honest. That is, until viewing An Education last night (thank you Redbox!). This film was quite excellent, and deserved to be on my top ten list list.

The highlight of this film for me was the emergence of a future Hollywood star, the effervescent Carey Mulligan. Oft compared to Audrey Hepburn, and coincidentally slated to star in a remake of My Fair Lady, Mulligan hit a hole in one (golf players got the pun while the remainder of my loyal readers are looking up the word mulligan on google) with her portrayal of Jenny, the precocious, yet naive, London teenager who seeks a life beyond the mundane. With a smile that lights both the screen and the viewer's heart, Mulligan is destined for future Oscar nominations, and I predict an Oscar. While she and fellow nominee Gabourey Sidibe both felt honored to be nominated at such an early stage in their career, both turned in performances that were worthy of winning the Oscar. Now that I think about it, there are similarities with the two characters they played, and both actresses captured the essence, particularly the strength, of their character.

The strength of the supporting cast should be mentioned as well. Sarsgaard, Williams, and Thompson all brought depth to their roles, but for my money Molina was the supporting star of the film. It's hard to believe this is the same actor who played Doc Ock. At times embarassing and almost unloveable, your heart brakes with his during the latter portion of the film (No spoilers, so I'll say no more!).

Nick Hornby, the film's screenwriter, received an Oscar nomination for adapting Lynn Barber's memoir. (Spolier Alert ahead ... so quit reading and jump to the next paragraph). The script unfortunately failed to gain momentum in the final act, especially when comparing it to Up in the Air. I only make the comparison because in both films, the protagonist's love interest ends up being married. While Up in the Air caught me totally off guard, I knew something was amiss with Sarsgaard's character.

While this film would definitely make my top ten, as it did the Oscar nominee list for Best Picture, I would hesitate to place the film in my top five. However, I highly suggest you becoming educated and view this film.

Spring Break Films

It's hard to believe that it was mere days ago that I was resting (and reading the highly entertaining The Girl with the Dragon Tattoo, mind you) on the beach in South Miami. It was a rejuvenating trip, one that had many highlights. Unfortunately, the three films my wife and I chose to see were not all of highlight caliber.

Alice in Wonderland (3D)

I haven't read any Lewis Carroll. Nor have I seen any adaptation of Alice in Wonderland. Therefore, I went into this film open-minded. Well, as open-minded as one can be ... I mean this is a Burton/Depp/Bonham Carter collaboration.

I regret to inform my readers that I can't enthusiastically recommend this movie. Yes it has been a hit. Yes it stars one of the most popular actors of the last decade. Yes it is in 3D. However, these three facts do not necessarily equate to a great film.

I have been unimpressed with Hollywood movie hits as of late. Prime example, the below-average Avatar. I haven't felt excited about a mega blockbuster since Batman and Iron Man (and no, I am not a comic-con kinda guy). Apparently the majority of moviegoers are lifeless zombies who prefer being spoon-fed Chef Boy-Ar-Dee Spaghetti with BrainBalls as opposed to savoring plantain encrusted mahi mahi on a bed of creamy Cuban risotto (mmm ... Miami cuisine). I hate that I contributed my hard earned dollars to such garbage and didn't contribute them to such great films as A Simple Man and The Hurt Locker. Ok, you've heard my Avatar ramblings before, so I will get back to the film at hand. Basically, it may have been a blockbuster, but it wasn't great. Period. Guess there was truly no need to get back to that film after all...

Depp and Burton have done their shtick too many times for my liking. I was impressed ... when they first began collaborating. However, it seems unoriginal and even uninspired at this point. I wonder why Depp has chosen not to do more films like Donnie Brasco, where he played a different type of role. Here's hoping Depp is not involved with Burton's next project.

3D does not make a film better. While 3D may have saved Avatar from being unwatchable, I have yet to see the 3D film that both blows me away and also contributes to the overall film itself. I have heard the newly released How to Train Your Dragon is extremely successful in 3D, so there is hope. On the other hand, Trash of the, I mean Clash of the Titans, has been received as positively as the Tea Baggers welcomed health care reform.

On a positive note, I was impressed with Mia Wasikowska's performance as Alice. I look forward to her next role.

Shutter Island

I am a huge Scorsese fan, so as you can imagine, I was looking forward to his next film after The Departed. Unfortunately, this film is not near as good as most Scorsese films. My full review would echo those previously written -- bad Boston accent by Leo, great cinematography, predictable plot, solid performances throughout (although Ruffalo was not near as dazzling as he has been in some of his other films). I would say this is definitely a rental, and could be worth seeing as a matinee, but it isn't worth an evening admission for a true Scorsese fan.

As a footnote, I'd recommend Cape Fear instead. It has a similar tone, but is a bit more campy and DeNiro is excellent reprising the role of Max Cady that Robert Mitchum masterfully played in the original film of the same name.

The Ghost Writer

Aaahhh ... just typing the title of this film brings joy to this cinemaphile. This movie, check that, this film, is destined to be one of the best of the year. Polanski delivered a masterpiece, and seeing this film rekindled my love for great political thrillers (e.g. All the President's Men, The Parallax View, JFK, Bulworth, Spartan, etc.).

There is so much to say about this film, and yet, I don't want to say too much. I am afraid if I go into great detail I will not do the film justice, or I might sway you into thinking you shouldn't see it. I don't want either of these things to happen. It is too good to be missed. From stellar performances from the two leads (McGregor as the ghost writer turned detective and Bronson as the mysterious ex-Prime Minister) to incredible supporting performances (Tom Wilkinson steals the only scene he is in, Olivia Williams beautifully plays the woman behind the political man, and even Belushi is solid, yet almost unrecognizable). Polanski brings the best from everyone, except maybe Kim Cattrall who simply seems miscast (her accent is either non-existent or terrible, depending upon the scene). The writing is crisp (Polanski shared credits with Robert Harris who wrote the novel the film is based upon) and the directing is paced perfectly. One of my only complaints is that it is evident that none of this film was shot in the states, even though much of the film supposedly takes place in America (blame this on Polanski's warrant).

I'll conclude by saying that the ending of this film is magnificent, no wait, it is perfect. Best ending to a film in recent memory. For the ending alone, you'll feel like you got your money's worth.

(PS - If you want to read an incredibly good article about this film, visit http://www.huffingtonpost.com/william-bradley/the-ghosts-of-tony-blair_b_509269.html - my wife sent this to me and it is definitely essential reading if you see the film.)

Blog Name

So, it has come to my attention that there are questions as to where the name of my blog originated. As a (former) English teacher, I feel it is my responsibility to answer the question (basically, I want everyone to realize I am not an idiot).

First off, "doppelganger" is my favorite word, and it has been so for over twenty years. The definition I remember from middle school is "evil twin." I guess as a teenager I wished I had an evil, cool twin, as opposed to my dorky self (in other words, a guy who could get a date for a Saturday night as opposed to the nerd cruising the mall in my friend's mom's station wagon, embarrassingly named The Goodie Wagon for her home business).

The following are more informative definitions/explanations of the word doppelganger:

A formal definition is available found on-line at Merriam-Webster's website:
Main Entry: dop•pel•gäng•er
Variant(s): or dop•pel•gang•er \ˈdä-pəl-ˌgaŋ-ər, -ˌgeŋ-, ˌdä-pəl-ˈ\
Function: noun
Etymology: German Doppelgänger, from doppel- double + -gänger goer
Date: 1851
1 : a ghostly counterpart of a living person
2 a : double 2a b : alter ego b c : a person who has the same name as another

Wikipedia's entry states: A doppelgänger is the ghostly double of a living person, a sinister form of bilocation. In the vernacular, the word "doppelgänger" has come to refer (as in German) to any double or look-alike of a person. The word is also used to describe the sensation of having glimpsed at oneself in peripheral vision, in a position where there is no chance that it could have been a reflection. They are generally regarded as harbingers of bad luck. In some traditions, a doppelgänger seen by a person's friends or relatives portends illness or danger, while seeing one's own doppelgänger is an omen of death. In Norse mythology, a vardøger is a ghostly double who precedes a living person and is seen performing their actions in advance.

Clearly the word doesn't bring to mind butterflies, ponies, triple word scores that contain the letters "Q" and "Z", and doughnuts with sprinkles. You can't deny it's a cool word though.

The word doppelganger has gained recognition over the years (most notably due to Celebrity Doppelganger Week on Facebook). Unfortunately, there are some who only associate the word with the film starring Drew Barrymore (1993). This soft-core horror film is, well, let's say it's not Drew's finest cinematic performance, and if it's all you think of when you hear the word doppelganger, it's probably time to take off your Star Trek t-shirt and move out of your mom's basement.

Now that you know WHAT a doppelganger is, I know you are anxious to know where "duplicitous" came from? Well, I like alliterations, so I was thinking of an adjective to pair with doppelganger. I came up with something I liked, but didn't love, and my intelligent wife (who is the REAL English teacher of the family) said, "Why don't you call it The Duplicitous Doppelganger." I loved this. Not only is this an alliteration, but both words also have four syllables! Ah ... to be an English nerd ...

What I realized when I named the blog, is that some would simply see the term as a double negative. This is not the case however. As my wife just stated, a doppelganger doesn't necassarily have to be innately duplicitous. So, what is a duplicitous doppelganger? Well, according to me, and this is MY BLOG, it's defined as: "a deliberately deceptive alter ego." I began to write a blog to be creative, and to escape into a world where I wasn't known for who I am, but who I could be (a famous film critic!) The problem is, since the majority of my readers (wait, did I just type the phrase "majorioty of my readers"? - Who am I kidding?) know me on a personal level, so I am neither deceptive or my own alter ego ... or am I ... ?

Oscar Highs and Lows

Well, I am a wee bit late with my Oscars review. I could blame a chest xray, a chipped tooth, or a plethora of medical abnormalities (all of which are true); however, I'll cough (cough ... get it?) this one up to pure laziness and procrastination. Although I haven't read many reviews of the telecast itself, I imagine these thoughts are not purely original, however they are my thoughts, so take them for what they are.

Oscar Lows:

10. The opening monologue. I love Steve Martin. I love Alec Baldwin. I loathe "Steve Baldwin", or any other co-host for an awards show. With the exception of one joke and one bit (which I will reference later), the duo bombed, particularly the unfunny, LONG monologue. I'd prefer Letterman coming back, or just let Neil Patrick Harris host.

9. Miley Cyrus. Why is she presenting an award? And what was with that dress? Is this the future of Hollywood? I sure hope not.

8. Anything Avatar. Glad this film wasn't the big winner of the night. It deserved the awards it won (with the exception of best cinematography), but no more, and thankfully the voting members agreed.

7. Ben Stiller. Not funny.

6. James Taylor. Why is Taylor covering a Beatles' song? Was John unavailable? Is this the Oscar's answer to the Super Bowl Halftime? Surely we can find some musicians besides JT and Hannah Montana.

5. That awful dance number. Minutes of my life I can't get back. Between that sequence and Avatar, I could have finished Pride and Prejudice and Zombies, or worse, re-read the original Pride and Prejudice. Either would have been less painful. (BTW - My wife made me pause this sequence while she left the room to run into the bedroom. I resumed the telecast, she looked at it, and began to Facebook. Meanwhile, I was stuck in dance montage purgatory.)

4. Actors gushing on other actors. I hate the lead-ins for the acting awards. There is nothing more sickening than hearing an actor bestow accolades on a peer. Show a clip (preferably one that hasn't had as much airtime as a FreeCreditreport.com commercial), and get the actor on stage.

3. Sean Penn. What the hell?

2. Orchestra cut offs. There is no excuse for not allowing a winner (or multiple winners for a category) the chance to speak. Especially when there is so much uninspired filler.

1. Show's length. It's simply too damn long. Some things are meant to be long. Summer vacation for teachers. A good sub sandwich. The garden hose connecting the outdoor faucet to a wet banana slide. Karrem Abdul-Jabbar's pants. Its embarrassing the Best Picture award was awarded as quickly as Nic Cage agrees to star in another lackluster blockbuster.

Oscar Highs:

10. Damn Helen Mirren.

9. Paranormal Activity spoof. This, and the above mentioned joke, where the only instances the hosts made me laugh.

8. Christoph Waltz. Amazing performance on screen. Heartfelt acceptance speech. A perfect Oscar moment.

7. Dug the Dog from Up. He stole the show, much like he stole the audience's heart in Up. If dogs, or animated characters could win an Oscar, he would have.

6. John Hughes montage. I don't think I realized what a genius he was. He was taken for granted, I'm afraid, but luckily we have the films he made that we can cherish forever.

5. Neil Patrick Harris. The opening musical number was reminiscent of a lavish opening from decades ago. There was just the right amount of humor. As I said before, he should have hosted.

4. Horror montage. I'm not sure why this was included, but I enjoyed it. I'm already looking forward to October and the family ritual of watching scary movies (too bad the remake of Nightmare on Elm Street opens next month. There should be a law prohibiting the release of any horror film prior to September.)

3. Jeff Bridges. I think this was really just payback for his portrayal of The Dude.

2. Everything The Hurt Locker. David beat Goliath, as he should. 'Nuff said.

1. Kathryn Bigelow. What was more satisfying: Oscar history being made (first female to win Best Director), or sticking it to your ex-husband? Both seemed so sweet last night.

PS - Where was Jack? Why did Farrah Fawcett get omitted from the remembrance montage?

Well, here are my thoughts. Care to weigh in?

If I Picked the Winners....

While I hope to pick who I think will win a Golden Bald Man tomorrow evening, this entry will list who I think SHOULD win, which is much more important to all the nominees (ok, who am I kidding?).

Best Animated Film – Up. Hands down, the winner. Sorry Disney and your love-letter to New Orleans, Pixar has bested you once again. This is one of three races that need no other contestants.

Best Actor – Jeff Bridges. I really thought Clooney had another Oscar winning performance. However, the Academy has previously recognized him (albeit with a supporting actor win) and in this role many think he is simply playing “himself.” Bridges wins for a career of quality work. Plus, who doesn’t want to hear an acceptance speech from “The Dude” himself?

Best Actress – Who cares? This category is literally BORE-ING this year. Since I haven’t seen the Blind Side, I can’t say Bullock deserves to win (unfortunately, after seeing The Proposal last week it’s hard to root for her). Streep channels Julia masterfully, but if push comes to shove, nobody beats Gabourey Sidibe's gut-wrenching performance.

Best Actor in a Supporting Role – Christoph Waltz. Best performance of the year, in any category. In fact, this is one of the greatest performances of the past decade. This race was over when he won at Cannes after the film premiered.

Best Actress in a Supporting Role – Mo’Nique. Her performance ranks alongside Hopkin’s Hannibal Lecter and Charlize Theron’s Aileen (Monster) as one of the most villanous of the modern era. To think she’s a comedian, wait … she’s a comedian?!?! Her performance is so terrifying you hate her, but at the film’s conclusion, you feel sorry for her to too, which is a testament to her acting ability. Great work.

Best Screenplay – Inglourious Basterds. Who knew World War II was so hip and so cool? Only Tarantino could write such a unique tale about the war to ends all wars. His best script since Pulp Fiction. He deserves a bookend Oscar. (Can you say Bing-O?)

Best Adapted Screenplay – Up in the Air. Any other year this film would rack up several awards. Due to several incredibly good films (and one load of 3D crap), this may be the only statue this great film wins.

Best Film Editing – The Hurt Locker. A strong category. Basterds is as technically sound as anything in recent memory. Yet, The Hurt Locker is superior. So much of what makes this film great is the suspense, which is largely in part due to the editing of Bob Murawski and Chris Innis.

Best Cinematography – The Hurt Locker. While Avatar may boast a 3D wonderland, and may possibly win due to its groundbreaking visuals, The Hurt Locker is most deserving of this award. I wouldn’t be shocked to see Basterds sneak away with this, however.

Best Director – Kathryn Bigelow. Bigelow deserves this, and should make Oscar history as the first female to win a best director award. Many believe this is a competition between her and her ex-husband (Cameron). While Avatar is groundrbreaking on a visual level, if anyone deserves to steal this Oscar away from Bigelow, it’s Tarantino.

Best Film – The Hurt Locker. This isn’t a shocker if you’ve read this entire blog entry (which I doubt any of you have, unless you are married to me … thanks B!). If my memory is correct (and no, I am not THAT old), is this wins it will be the lowest grossing film to take home the Oscar. It’s a shame that so many have neglected to see this film (thank goodness for Netflix!), and maybe if it wins it will gain a greater audience. This film is the epitome of quality filmamaking.

Top Ten films of 2009

So, here is my list of the top ten of the year. No, you won’t agree, but isn’t that the fun? I will preface this list with the fact I have not seen the following films, which I hope to see on DVD : An Education, A Single Man, The Blind Side, Fantastic Mr. Fox, Star Trek, Paranormal Activity, Invictus, and The Messenger. So let the fun (and arguments!) begin... (sorry "B", Precious didn't make the cut ... just can't see myself rewatching this film, as great as it was, and with a top ten list, I should want to rewatch each film).

10. Sugar – This film was an early release last spring, after traveling around the independent film festival circuit the previous year. It received some critical praise, but the majority of moviegoers missed out on what is a great film. I reviewed the film extensively under a previous entry (Best Sports Film of the Decade). If you like baseball, underdogs, subtitles, and a protagonist with a big heart, catch this film this spring as baseball season swings into action.

9. (500) Days of Summer – Just recently we "RedBoxed" The Proposal. That was a mistake. The only original romantic comedy worth seeing this past year was 500 Days. Great storytelling (very Pulp Fictionesque), solid lead performances, and a great script. To top it off, the best use of a Hall and Oats song EVER. If you’ve ever been in love with that someone, who eventually doesn’t reciprocate, this film’s for you.

8. The Informant! – I am still bewildered to why Matt Damon received an acting nod for Invictus and not for this film. Tragic. Damon turns in a hysterically hypnotic turn as a bumbling, yet sometimes believable, buffoon who plans to "out" his company. Think The Insider with a comic, clueless pudgy Damon as opposed to a white haired, serious, scared Russell Crowe. Both actors deserve praise for delivering some of their best, most memorable work. Additional shout-outs to director Soderbergh and the rarely used Scot Bakula.

7. District 9 – This film, unlike Cameron’s majestic debacle that is Avatar, lived up to the hype. This sci-fi “mocumentary” follows Wilkus, a government agent leading a special military task force. Their objective – to relocate over one million “prawns” from District 9 in Johannesburg to a new location over 200 miles away. When Wilkus is infected with an alien virus, however, he becomes an unlikely ally for the prawns. This film is both entertaining, and a social commentary on race and apartheid. It is, without question, the best science fiction film of the year.

6. A Serious Man – The Coens strike again, this time writing and directing a film that feels semi-autobiographical. This black comedy doesn’t surpass Fargo, but fans of the aforementioned film will be more than pleased. The film follows Larry Gopnick, a professor at a local Midwestern college, who slowly watches his life unravel. His story resembles that of a modern day Job, although it is much more comical. I also feel this film does an excellent job of educating those who are unaccustomed to Judaism (such as myself). If you enjoy the Coens, or dark comedies, check this out. It is currently available on DVD. (PS – Possibly my favorite movie poster of the year.)

5. Where the Wild Things Are – I have previously reviewed this film on my blog, naming it the Best film Adapted from a Children’s Story, so if you want to read an extended review, check out my blog entry. This film, although not appropriate for young kids, is what a true children’s movie should be … a mixture of fantasy and realism. It blends the imagination of a young boy with the demons he faces growing up in a single parent home. A modern day Wizard of Oz ...maybe. Required viewing …definitely.

4. Up – This film also has been reviewed in detail. I named it the Best Animated Film of the Decade. Pixar delivers another gem, telling the story of a curmudgeon who finds happiness and contentment after losing his wife. This film has the sweetest montage I have ever seen (two people never seemed more in love). In addition, Dug (SQUIRREL!) is possibly the greatest canine actor of all time.

3. Up in the Air - I can’t believe I am ranking this film here. Two months ago I would probably have picked it as the best of the year. So what happened you ask? I didn’t feel it was fair to have a three way tie for the best film of the year … which in reality, is what I would like to do. I loved everything about this film, the lead performances (if Clooney wasn’t playing Clooney so well, he’d win another Oscar), the writing, the direction … there isn’t a false note. I believe this film is a modern classic, and will hold up over time as the one film that defines the latter half of the decade.

2. Inglourius Basterds – Tarantino, you did it. You made a film that is almost as good as Pulp Fiction. I cannot wait to watch this film again. At first, I wasn’t sure what to think, but as the film progressed I became a bigger fan. The first chapter alone is worth viewing, it may be Tarantino’s best work ever (yes, EVER). I can’t say what hasn’t been said about Christoph Waltz’s performance. With the possible exception of Samuel L. Jackson in Pulp Fiction, it is the best role (written and cast) in any Quentin film.

1. The Hurt Locker – There is no reason, I repeat no reason, this film shouldn’t win the Oscar for both Best Picture and Best Director (Crapatar … you only wish you had the heart and soul of this film). Kathryn Bigelow’s film sticks to your gut more than any film in recent memory, and for that reason I rank it as the best of the year, and possibly the best of the decade. After viewing the film (at home, unfortunately I missed it on the big screen) my first thought was, “Whew, that’s rough.” But the more I digested the film, the more I realized it wasn’t rough, it was simply upsetting because it was realistic. This film is the “Platoon” of the Iraq War, and in my opinion, it’s also the better film. Here’s hoping the Academy will feel the same way.

Best Western of the Decade

The Proposition (2005)

Ah ... to behold Leone hold the camera on a beady eyew (with a Morricone composition being played in the background), the beautyof a John Wayne silhouette frozen against Ford’s sweeping landscapes, or the beady eye of an aged Eastwood, seeking vengeance with a six shooter. It’s fairly obvious I have a deep love for good westerns, unfortunately Hollywood doesn’t put out many these days, much less any of great quality. Yes there was Open Range and 3:10 to Yuma. Yes, some would even call Brokeback Mountain a western (although I wouldn’t). With so few choices, I can easily call The Proposition the best western of the decade, and I would go as far to say it is one of the best westerns of the modern era.

This film is not your typical western. It takes place in Australia (a deadly, even sinister setting) during the 19th century. The film is almost scary. John Hillcoat masterfully brings Nick Cave’s screenplay (supposedly based on true events) to life. I had never heard of either of these men prior to this film, but I respect both for their work, especially in an era that does not appreciate the western genre.

Charlie (an almost unrecognizable Guy Pearce) must hunt down and kill his brother Arthur within five days, or his younger brother will be hung at the gallows. In addition, he will receive a pardon for the “family crime” (raping a pregnant Mrs. Hopkins and then killing the entire family). In addition to Pearce, the film boasts stellar performances from Ray Winstone, Emily Watson, and John Hurt.

The film is harsh, violent, and unsettling at times (much more so than Unforgiven). It portrays a hell that exists between men (brothers at that) and between man and his environment. There are no cowboys with white hats battling cowboys in all black. What there is, though, is an engaging story, well directed, superbly acted, and utterly satisfying. In short, this is the new wetern, and a modern classic at that.

Honorable Mention ... Three Burials of Melquiades Estrada

Best War Film of the Decade

The Hurt Locker (2009)

This category may have been too easy to choose. Inglourious Basterds could have possibly been here if it had not previously made my list in another category. Black Hawk Down is another war film of this decade that I also both enjoyed and respected. However, this particular film stands alone as the best war film of the decade, hands down.

Kathryn Bigelow is my choice for the Best Director Oscar this year. She made a film, which I believe, is a masterpiece today, and will also be a masterpiece in the decades to come. While there have been a multitude of war films about the current war in the Middle East (Stop-Loss, Brothers, Jarhead, In the Valley of Elah etc.), none have achieved both the critical and commercial success of this film. In fact, several “A-List” critics have proclaimed this film not merely the best of the year, but one of the best of the decade. I couldn’t agree more.

The film itself deserves much more praise than I can bestow. It is harrowing in its vision, style, and filming. It emotionally tears at you, and physically has you on the edge of your seat. It is a rare accomplishment in filmmaking.

The actors in the film seem less like actors and more like soldiers, thus leading to the realistic, documentary feel of the film. Jeremy Renner may become a bankable Hollywood star due to his portrayal of the cocksure, Staff Sergeant William James. As a bomb disposal expert, he feels more confident, and at home disposing of bombs, than he does being an everyman on U.S. soil.

I believe Up in the Air and The Hurt Locker will most embody the past decade. While one discusses the current economic climate, its effect on the common American, and the advancement of technology in the work force, the other embodies a war that has no end in sight (my apologies to the film of the same name, which I also recommend) and its effects on the soldiers, both during their deployment and their time back home. Both display the isolation and frustration felt by many Americans today.

Here’s hoping this film wins several Oscars, and possibly a greater audience. It deserves both.

Best Vampire Film of the Decade

Låt den rätte komma in (2008) (Let the Right One In)

I am not a Twilight person. I won’t mock it. I just refuse to read the novels or see the dreadful films (most film critiques have been less than kind). Maybe I should give the novels a shot. I never thought I’d like True Blood, but it is fairly addictive, even though I feel guilty for watching it (much like a felt guilty looking at the SI swimsuit edition as a young boy). Regardless of my opinion of vampires, I whimped out and made this category because I felt the necessity to list this film as one of the forty most fabulous films of this decade. Needless to say, there wasn’t much competition in my eyes. (Best zombie picture would have been pretty difficult though).

The film is set in Stockholm, and it follows the relationship of Oskar and Eli. Oskar is a twelve year old who is being bullied by classmates. He falls in love with Eli, who gives him strength and teaches him to fight back. The relationship becomes strained (or does it?) when Oskar realizes Eli’s secret, which probably isn’t much of a secret due to the fact this is a review of a vampire film.

This movie is great on many levels. It explores good and evil in a way that seems almost refreshing (but not in a “that blood sure quenched my thirst” kinda way). Good and evil seem to coincide with each other, even almost thrive upon the relationship betwixt the two. In addition, the film plays out as somewhat poetic, both visually and with the pacing of the film. Apparently this film is being remade for American audiences, and all I can say is that I believe this is a huge mistake. See it now on DVD, subtitles and all, before America ruins it.

Best Thriller of the Decade

History of Violence (2005)

So is there a difference between a good thriller and a good mystery (or drama for that matter)? Maybe not, but I decided to have both genres on my list. History of Violence could fall into several categories, but I think it fits nicely as the decade’s best thriller.

This is not a film for the squeamish or faint of heart. However, if you have the stomach for a film that truly portrays violence for what it is, where it comes from, and what it can manifest into, then this is the film for you.

I watched this film again just a few weeks ago and I was amazed at how much more I enjoyed it the second time around (sorry, but I am ending this sentence with a preposition). Clearly David Cronenberg is not a household name, nor a Hollywood A-list director, but here he proves he can make a film accessible for the masses (much like he did with his follow-up Eastern Promises, also starring Viggo Morttensen and also an excellent film).

The film’s protagonist is Tom Stall (possibly Mortensen's best role). He is a typical, mild-mannered restaurant owner is a small Mayberryesque town. He becomes a nightly news hero by stopping a robbery in his diner, and becomes somewhat of a town celebrity. However, things begin to slowly unravel in his family life as a result of his heroism. Violence, as the title suggest, ensues from this point on throughout the film. Needless to say this is a thriller, and I don’t want to spoil the film for you, because my bet is you haven’t seen it.

Mario Bello is excellent as Tom’s wife (very underrated actress in my opinion, again, I recommend The Cooler). William Hurt steals the film in its conclusion though. He is absolutely fantastic; earning a well deserved Oscar nomination as Best Supporting Actor, even though he clocks in less than ten minutes of screen time. For his performance alone, I can recommend this film.

Best Teen Film of the Decade

Juno (2007)

I included this category after discussing my list with my wife. She was of the opinion there could have been a category for Best Judd Apatow Film of the Decade. I chose to go in a slightly other direction, as you can plainly see. While this film may be for adults, I definitely would qualify it as a teen film at heart, even though it is rated R (much like The Breakfast Club).

Juno is the little film that could. It made stars of Ellen Page and Diablo Cody (screenwriter turned EW columnist) and made Jason Reitman a bankable Hollywood director. Unfortunately, as perfect as Michael Cera is in the film, it typecast him in such a way he has yet to do anything else that doesn’t remind you of his character in this film (or as George Michael Bluth in Arrested Devlopment, one of the greatest TV shows of the decade).

While there is quite a bit I could say about this film, what stands out isn’t the actual film itself, it’s that I have listed Jason Reitman’s last three films in my list of the decade’s best (Up in the Air and Thank You for Smoking). I never noticed I was such a fan. If someone asked me who my favorite directors are, I would name, without hesitation, Martin Scorsese. If I thought about the question (as I am doing now), I would probably also mention Frank Capra, John Ford, Steven Spielberg, Sidney Lumet, Oliver Stone, Francis Ford Coppola, and Quentin Tarantino.

Maybe I should give more love to Reitman, and if I were you and I hadn’t seen any of his films, I would say rent two for a double feature and then get to the theater to catch Up in the Air.

Best Super Hero Film of the Decade

The Dark Knight (2008)

For me, picking this category was not difficult whatsoever. Although I am not a comic book guy, I do enjoy a good superhero film, and this film exceeded any bar that had previously been set for this genre. (I must admit I also thoroughly enjoyed Batman Begins, Iron Man, and The Incredibles, yet I loathed the Spiderman franchise and the new Superman was average at best).

Since this film is the third highest grossing domestic film of all time (cashing in more than 500 million), there probably aren’t many of you reading this whom have not yet seen the film. Likewise, I cannot add much to any review that hasn’t been written, either in print or on-line.

I would like to reiterate two points: Heath Ledger’s performance as the Joker is both brilliant and unsettling, and the film truly deserved to be nominated for Best Picture. In addition to the Best Picture snub, Christopher Nolan was also deserving of a Best Director nod. I will say the one thing I did enjoy that is oft overlooked, is the look of this film.

If this franchise continues, I will be curious to see if any upcoming Batman film could top The Dark Knight.

Best Sports Film of the Decade

Sugar (2009)

If you know me, you know that I love film, and I love sports (particularly baseball and football). Therefore you should know how difficult a category this was for me to choose just one film. My wife and I saw this recently on DVD, and it jumped to the top of my list (prior to this I was considering The Wrestler). If you’ve seen this film, you may think I was biased because of the Kansas City affiliation, but that isn’t the case. This film is great on multiple levels.

The writer/director team of Anna Boden and Ryan Fleck hit another homerun with this film. Previously the two collaborated on Half Nelson (amazing film!), and I cannot wait for their next film. I wish their efforts were recognized on a widespread spectrum, but unfortunately they have yet to connect with a mainstream audience.

This film is about much more than baseball. In fact, it could have been my social issue pick of the decade as well. The film also addresses PEDs (performance enhancing drugs for those non-sports fans), illegal immigration, and racism, and it does so effectively, almost seamlessly.

The story is a simple one at its core. Miguel “Sugar” Santos is a Dominican pitcher who is recruited to play in Major League Baseball’s minor league system. The film follows the highs and lows of his brief, yet riveting, career. Although fictional, this film feels as if it was written from different accounts of true Dominican baseball players (currently more than 25% of MLB players were born in Latin America). As you watch Sugar’s journey, you root for him, even though at times you wonder what is truly best for him.

I definitely plan to see this film again, and I would suggest it to sports fans and non-sports fans alike. (Note to potential viewer: there are subtitles.) If anyone reads this, and has seen this film, I would love to hear your comments.

Best Social Issue Film of the Decade

Milk (2008)

This choice may hit on the nerves of many of my followers (wait, there are only three of you, and to be honest I am not sure how many of you actually read these entries). The only reason I expect any type of backlash is because this movie is about a homosexual politician (the first elected homosexual). There are many who simply don’t want to watch a movie about this topic. I’ll admit that although I was somewhat bothered by parts of Brokeback Mountain, this film didn’t give me the heebee-jeebees.

I believe Sean Penn may be one of the greatest actors of his generation, and more often than not, I usually like his performance, regardless of the overall quality of the film (my favorite performances are Carlito’s Way, Dead Man Walking, 21 Grams, The Assassination of Richard Nixon, Mystic River, and Milk). Here he wins his second Oscar for his (apparently) true to life portrayal of the late Harvey Milk. I feel sorry for those who can’t seem to brace themselves for watching a film on this topic, for Penn is excellent in the role.

Although i am a Penn fan, I am not a Gus Van Sant fan of any sort (although I did Like Good Will Hunting). However, here I felt he told a compelling story (Oscar winner for Best Original Screenplay, Dustin Black ), and he made the film much more mainstream than usual (similar to GWH). At over two hours the film moved briskly, covering several year’s in Milk’s life. Van Sant was honored with a nomination for Best Director, as he deserved.

In addition to Penn’s performance, there were several stand-out performances from his supporting cast. Josh Brolin plays Dan White, Milk’s nemesis. He does a remarkable job providing depth, compassion, and humanity to White, who truly is despicable. James Franco turns in the best performance of his career and Emile Hirsch shows his talent yet again (check him out in Penn’s Into the Wild).

As I stated earlier, I know this film isn’t for everyone, but it definitely is worth watching.

Best Sci-Fi Film of the Decade

Minority Report (2002)

There is no doubt in my mind I will get lambasted for this pick, probably more than any other on my list. This is in part due to the fact that Sci-Fi fans (or geeks) are very passionate about their favorite films, and the genre itself. While some might choose Avatar, Star Trek, or even Wall-E, I think Minority Report is a cut above the rest.

Spielberg made three great sci-fi films this decade: Minority Report, A.I., and War of the Worlds (ironically Tom Cruise was in two of the three). While each film is good, Minority Report is superior, and I must say it’s not due to anything Spielberg directly did. Simply put, it is a great story.

Based on the short story by Phillip K. Dick (his “Do Androids Dream of Electric Sheep?” was the basis for the greatest sci-fi film of the 1980’s, Blade Runner), it is truly a nightmare worth watching. In short, it is 2054 and pre-crime division is able to catch criminals before they commit a crime. Everything seems to be working without a hitch until one of pre-crime’s own (Cruise) is targeted for a murder he has yet to commit. Actually you can get this much information watching the first ten minutes of the film. The true pleasure is watching the remaining two hours unfold. While the acting is better than average (Cruise is solid, Farrell is watchable, Samantha Morton and Max von Sydow are great), the visual look of the film, along with the compelling story, make this film a remarkable piece of cinema. The cinematography is superb, and I love the overall look of the film with its muted blue tones. The special effects are incredible to say the least.

Even if you are not a fan of sci-fi films, I find it hard to believe you wouldn’t enjoy, or even appreciate, a film of this caliber.

Best Satirical Film of the Decade

Thank You for Smoking (2005)

This film is probably one of the least viewed films on my list, and that is a travesty. Besides Election (and possibly Wag the Dog), it is probably the best satirical film of the last twenty years. Jason Reitman’s creation is nothing short of spectacular.

The story follows Nick Naylor (Aaron Eckhart in a breakthrough performance), a spokesman and lobbyist for the Academy of Tobacco Studies. He is extremely talented and is able to defend the tobacco industry regardless of what claim against tobacco is thrown at him. The story also focuses on his relationship with his son (who lives with his mother), who accompanies his father on a business trip, hoping to get to know his dad. Things go amuck when a former lover, and reporter, discloses information shared while the two were in bed together.

If you ever want to see a great double feature, let me suggest viewing this after The Insider. The two films are both on a similar topic, and although they are told in different styles, they are both excellent. (Plus you get to see Russell Crowe’s performance in The Insider which truly deserved the Oscar, as opposed for the make-up Oscar he won for Gladiator).

Best Romantic Film of the Decade

Lost in Translation (2003)

I love, love, love this movie. There was no doubt this film would make my list as one of the forty best of the past decade. The question was simply where would I place it? I chose this category because I truly feel, at heart, this is a romantic film. For those of you who question whether or not this should be qualified as a romance, I ask you to view the film again and then write back to me telling me why it’s not.

There isn’t much I can say about this film that hasn’t been said before. Yes, Bill Murray is beyond phenomenal. Yes, ScarJo holds her own with Murray, and her performance is as beautiful as she is. Yes, Sofia Coppola makes up for her dreary performance in Godfather III by writing, and directing, such a great picture (she won a Best Original Screenplay Oscar).

The story is fairly simple. Bob Harris (Murray), a famous American actor, is in Japan shooting Japanese whiskey commercials. Charlotte (Johansson), a newlywed, is in Japan with her photographer husband. The two are both searching for something, and inadvertently find each other.

In my opinion, what makes this film great is that it subtly allows the audience to be drawn into the lives of these two characters. You feel what these characters feel, and yet you realize if you were in either of their shoes you have no idea what you would do. You also know what each character is saying, even though at times they don’t say a word (although I still would like to know what Murray whispers into Johansson’s ear during the film’s conclusion). There is no CGI, no dramatic action sequences. It is simply a story about two individuals, away from home, alone, trying to find someone, or something, to ground them.

The tagline reads “Everyone wants to be found.” If you haven’t found this film, you should.

Best Remake of the Past Decade

Casino Royale (2006)

If I wouldn’t have picked The Departed already, it would have landed here. However, I am pretty stoked to include this film in my list of The Forty Fabulous Films of the Decade.

This is actually the third adaptation of Ian Fleming’s novel of the same name. It originally aired as a television episode in 1954 and it was made into a satirical film in 1967. Although I haven’t seen either of the previous films, I truly enjoyed this one, although I must admit I am not a James Bond aficionado. In fact, I hate to say it but I’ve never seen a Connery Bond film.

There were many Bonds geeks who were outraged when Daniel Craig was cast as the new James Bond. After seeing the film, I can’t help but think they worried for nothing. Craig pretty much nailed this role. He is charming, brooding, witty, and just the right mix of bad-ass and sexy (according to my wife).

I guess I should mention something of the plot. The story takes place early in 007’s career. In fact, he is earning his “license to kill” in this film. Bond’s mission in this film is to keep Le Chiffre, a banker for the world’s most dangerous terrorist organization, from winning an extremely high-stakes poker tournament. Sounds easy enough, but the film is almost two and a half hours and it seems like a mere hour. Naturally there is a love interest, and this sets up the sequel, Quantam of Solace (which may be the worst titled film of the decade).

While many may think Star Trek is the obvious choice for this category, I’ll admit I have never seen any Star Trek movie. So there you have it, even if you don’t like it.

Best Period Piece Film of the Decade

Gosford Park (2001)

Much like musicals, I am not a fan of the period piece (in any media). I simply tolerated Scorsese’s Age of Innocence and I am Scorsese geek. I have trudged through Pride and Prejudice the novel and the film (but I am currently reading the zombie version of the book and find it fairly entertaining). Furthermore, I am not a huge fan of Robert Altman (although I did like The Player and I think The Gingerbread Man is the best film adaptation of a Grisham novel). However, I truly enjoyed this film, and have enjoyed it even more on repeat viewings.

The film is set at a country house in England in 1932. It is a multiple story lined film that follows the lives of the rich (upstairs guests) and the servants (who live downstairs). The film won a much deserved Oscar for the screenplay, and it was nominated for another six Oscars, including Best Picture and Best Director.

Altman assembled a pantheon of acting geniuses: Maggie Smith, Kristen Scott Thomas, Ryan Phillipe (maybe his best work ever, which isn’t saying much), Clive Owen, and Helen Mirren.

As with Once, I feel I can recommend this to anyone who likes film, even if they normally prefer it with a dash of car crashes, wizardry, or steamy love scenes. I can definitely say I’ll watch this film again.

Best Nerd Film of the Decade

The King of Kong: A Fistful of Quarters (2007)

I am not a nerd. Repeat. I am not a nerd. (There, my affirmation at least made me feel less nerdy.)

I am not a fan of The Revenge of the Nerds franchise. However, I really felt this film was one of the forty best of the past decade, so I made up this genre to include this film. (I did almost slate this as the best sports film of the decade but I couldn’t bring myself to calling gaming a sport.)

This documentary is thrillingly hilarious. Even though you know it’s a documentary, you almost think it’s a faux documentary, because there is no way this story, or these characters, could actually be true.

This story follows two men who vie to break Billy Mitchell’s Donkey Kong record (set in the 1980s). Steve Wiebe is “the good guy” trying to break the record. Unemployed as a science teacher (how can a science teacher be unemployed, I don’t know), he becomes addicted to the game from his childhood. His nemesis is Billy Mitchell, a hot sauce entrepreneur (I swear you can’t make this stuff up). Both claim to own the new record, and dispute each other’s claim. The showdown to see who is champion … well, let’s just say you have to see for yourself, whether you are a nerd or not.

Best Neo-Noir of the Decade

Far From Heaven (2002)

So what is neo-noir you say? Well, according to the popular, yet sometimes inaccurate Wikipedia it is defined as: “a style often seen in modern motion picturesand other forms that prominently utilizes elements of film noir, but with updated themes, content, style, visual elements or media that were absent in films noir of the 1940s and 1950s.”

The obvious choice for this genre is Far From Heaven. Todd Haynes (writer and director) may have peaked too early in his young film career when he created this modern masterpiece. This film should remain prevalent for decades to come, for many reasons, most notably the writing, the cinematography, art direction, and the acting.

The 1950s have made somewhat of a “dark” comeback as of late (see Mad Men if you haven’t). The stories told recently of this decade don’t show the Norman Rockwellian USA that your parents speak so fondly of. In Haynes film, he explores the codes/mores/values of the 1950s that rarely are seen. While the majority of middle class America strived to be “normal”, Haynes shows what happens to a “typical” family when the blinds are closed and the door is locked, and he does so with stylistic grace. The film is absolutely beautiful to look at.

The film revolves around the Whitaker family. Cathy is the suburban wife (Julianne Moore, never better, or more radiant) who is unsatisfied (with just cause). Her husband is played by Dennis Quaid, who turns in one of the most gut-wrenching, restrained performances of his career. Personally, I never would have seen him in this role, yet he is picture perfect. Dennis Haysbert rounds out the cast as their gardener. I do not understand why he is not cast more in film (enough insurance commercials already). You’d think after his performance here he would be on many A-list directors’ short list.

Needless to say, I am not going to reveal any spoilers for those of you who haven’t seen this film. Just see it.

Best Nazi Film of the Decade

Inglourious Basterds (2009)

I’ll admit … I made up this category just to include this film in my list. I picked this film up after Christmas on Blu-Ray after returning a gift I received from my wife that didn’t work. I was skeptical of flat out purchasing it prior to seeing it, but as a Tarantino fan I was fairly confident it would be good. Little did I know it would be great, which is why I made up this cute little category (I must admit, it’s not my favorite Nazi movie of all time, as that would be Raiders of the Lost Ark, or wait, maybe The Blues Brothers…no gotta stick with Raiders).

As you’d expect, this film is classic Tarantino. In fact, it may be his best work since Pulp Fiction (although Jackie Brown sure was good). The dialogue is crisp, the cinematography exquisite, the acting superb (it deserved the SAG for Best Ensemble Cast in a Motion Picture), and the violence, well, it’s Tarantinoesque (which isn’t nearly as violent as you’d think … I may write about his specifically in another blog entry).

The story is fictitious, to say the least, but it’s as entertaining as any yarn you’ll see. In classic Tarantino fashion, there are three storylines that overlap in an unconventional timeline. The script is delicious. I can’t wait to see this film again to simply savor the dialogue.

As mentioned, there are three storylines.

The first follows Col. Hans Landa, the “Jew Hunter”, portrayed with gusto and flair by Christoph Waltz (he deserves every award he’s received, and I am hoping he brings home an Oscar). His job is simple, to hunt and destroy every Jew he can find. As despicable as he is, you almost find yourself rooting for him.

The second story follows the Inglourious Basterds themselves, led by Brad Pitt as Lt. Aldo Raine. His band of misfits has only one goal, kill and scalp as many “Nazees” as possible. In fact, Raine commissions each of his men to bring him 100 Nazi scalps (this must come as a result from Raine’s Indian ancestry). At times Pitt’s dialect was annoying, but he played the part with just the right comedic edge.

The third story, and possibly the most interesting, follows the life of Shosanna, a Jewish escapee who runs a cinema in Paris. While her story is unique to the film, what I enjoyed most was how Tarantino treats both film and the cinema of this era. It was, to a degree, rather educational.

In addition to what I have mentioned, I have to also express my love of Tarantino’s homage to Leone’s spaghetti westerns of the late 1960s. I recognized this immediately and I felt it added to the film.

Needless to say, if you like Tarantino, you’ll love this movie, it’s not for the squeamish. Me, I’m glad I own it on Blu-Ray. I’m sure I’ll view it often.

Best Mystery Film of the Decade

Michael Clayton (2007)

Now that I am on my 25th film from my Forty Fabulous Films of the Decade, I have come to the (not-so) subtle revelation that I may have a man-crush on George Clooney. This is the fourth film he has starred in a film on my list. I feel kinda creepy actually. Shouldn’t I have Scarlett Johansen populating this list instead (talk about sexy!). Anyway … back to the matter at hand.

Michael Clayton is INCREDIBLE! I absolutely love this film. Last week when I was recovering from pneumonia, I watched this again (thanks to the Target cheap DVD bin, which normally has junk in it). This film is even better on subsequent viewings.

Since this is a mystery, I don’t want to reveal any spoilers for those of you who haven’t seen this (and if you haven’t, what are you waiting for?). In summary, the film follows Michael Clayton (hence the movie title), a middle-aged ex-lawyer who now works as “the fixer’ for a powerful law firm in New York. In addition to being dissatisfied with his job, he also suffers from personal issues (gambling addiction, failed business ventures, messy family life, etc.). While bailing out his friend, and lawyer genius, Arthur Edens (Tom Wilkinson in another stellar performance), Michael realizes that Arthur is not as insane as he appears. In fact, he may be the sanest character in the film. To discuss much more would be unethical at this point, and the last thing I want is Michael Clayton coming after me.

I would like to end by saying that the last line, and the final minutes of the film (via credits rolling) are pitch perfect. “Give me $50 worth … just drive.”

Best Musical of the Decade

Once (2006)

I’ll admit it. I am not a fan of musicals. I hated Chicago. Furthermore, I can’t believe it won a Best Picture Oscar. However, I do have quite a bit of fondness for this little movie. In fact, I would also recommend it as a great Valentines Day rental for you and your honey. It’s both a great musical, and a great date film … and as I said, I am not fond of musicals (so guys, I think you can handle this one).

The plot is rather simplistic, yet elegant in its own way. Our protagonist (an unnamed musician) repairs vacuum cleaners with his dad by day, but at night his passion comes to life as he sings and plays music on the streets of Dublin. He meets a girl (an unnamed Czech) who plays the piano whenever she can get a break from caring for her mom and daughter. Needless to say, guy meets girl and the rest is history … or is it? During the course of several days, the two musicians reveal their budding love for each other through song. I won’t reveal any spoilers, but as you can guess, this isn’t your conventional love story.

The songs in the film are magnificent. I bought the soundtrack and recommend it as well. I was equally excited when the two actors received an Oscar for Best Song (they wrote several of the songs in the film).

If you haven’t seen this, see it at least “Once” in your lifetime, you should.

Best Mind-Blowing-Experience Film of the Decade

Memento (2000)

So you ask what type of category is this anyway? It’s the category for the film that you constantly are asking yourself “What in the hell am I actually watching, and why don’t I quit watching it?” There wasn’t much debate on what film to place here (although Adaptation was close). Memento is unlike anything you have ever seen, or may ever see.

In a nutshell, this is the story of Leonard (masterfully played by Guy Pearce), a man who suffers from short-term memory loss. He uses notes, tattoos, and a Polaroid camera to search for the man he believes murdered his wife. While the story is interesting in and of itself, the storytelling is what is mesmerizing/confusing/mind-blowing. Christopher Nolan burst onto the Hollywood scene with his directorial touch in this film (he’d later go on to direct the revitalized Batman franchise and the excellent Insomnia and The Prestige). The film has as many turns as a goat’s path, and although you have no clue where it’s going, if you’re like me, you love to keep guessing.

While this film will be mimicked for years to come, it will never be replicated.

Best Literary Adaptation of the Decade

O’ Brother Where Art Thou? (2000)

Homer’s Odyssey has been retold countless times. Luckily for us, the greatest adaptation to hit the big screen occurred thanks to the Coen brothers. (Small shout-out to Matt Groening for the Simpson’s version of The Odyssey - - the greatest adaptation to hit the small screen). The Coens wrote and directed this highly enjoyable film, which I believe was just as good as Fargo and The Big Lebowski (they made these three films back-to-back - to back … what a trifecta!).

Everyone knows the story of The Odyssey (or at least you should … it is required reading in just about every ninth grade English class in America). This version takes place in the deep south during the 1930s. Three escaped convicts (led by Clooney’s masterful portrayal of Everett Ulysses McGill) search for hidden treasures while running from a myriad of characters (a Cyclops, Sirens, a wannabe governor and his opponent, the KKK, a blind prophet, and George “BabyFace’ Nelson himself).

While the movie may belong to Clooney, who proves here that he is more than just a pretty face, the soundtrack is superb. I am not a big fan of country/bluegrass music but I was hooked after seeing the film and I immediately bought the soundtrack. T-Bone Burnett’s collaborative producing effort is perfect for this film. Who doesn’t smile when they hear The Soggy Bottom Boys cover of Dick Burnett’s classic “Man of Constant Sorrow” … I certainly do.

Although this film may not help your ninth grade niece ace a quiz, it sure is more entertaining than trying to read Homer’s epic (unless of course we are speaking of Homer Simpson!).

Best Independent Film of the Decade

Before the Devil Knows You’re Dead (2007)

My wife and I were talking the other day about which actor may have had the best decade. One of the contenders was Phillip Seymour Hoffman. He shined in several films this decade (Almost Famous, Punch Drunk Love, Owning Mahoney, The Savages … just to name a few), winning a well deserved Oscar for his role in Capote. I’ll take his role in this film over any previously mentioned. He, and the rest of the cast (Hawke, Tomei, Finney) shine under the brilliant direction of Sidney Lumet, who at 83 made his greatest film since The Verdict (a must see for Newman’s spectacular performance as a down-on-his luck, alcoholic lawyer seeking redemption).

Here we have family dysfunction at its finest. Two brothers (Hoffman and Hawke) organize what they envision as a simple robbery … of their parents’ jewelry store. Needless to say the heist goes terribly wrong, and what ensues is a set of tragic events that build to a shattering climax.

This film didn’t receive the commercial appeal it deserved (hence the best independent film of the decade). I can’t praise this film enough. Hoffman is at the top of his game, and even Hawke turns in a memorable performance. Tomei is smashing in her few scenes (and a bit nude for those wondering). However, as I mentioned earlier, this film is Lumet’s throughout. I’d recommend you view this and Dog Day Afternoon for a Lumet heist double-header. The two compliment each other well.

PS Love the movie poster!

Best Horror Film of the Decade

The Descent (2005)

It may not be Halloween, but it’s never too early to watch a good horror film. While the decade seemed to steer more towards torture-porn (Saw, Hostel, etc.), I was pleasantly surprised to find this gem of a film.

This film has primarily an all female cast. Being a horror film, you’d quite possibly expect it to be a “T-n-A” extravaganza. Luckily, it’s not. It is a sit on the edge of your seat, scream out loud, horror film.

The story follows six friends, who reunite one year after one of them loses her family to a tragic accident. The friends decide to go spelunking, and all is well until the cave opening collapses. Their friendship is put to the test as they try to escape. With limited supplies, hunger, and fear consuming them, they realize they haven’t seen anything yet (literally). Fear truly strikes, however, as they begin to battle a savage breed of cave dwelling demons. The images are unsettling, and some scenes are so claustrophobic you’ll be pressing pause to either turn on the lights or even step outside.

For horror fans, this is a true must-see. For those cinemaphiles who prefer lots of gratuitous sex and nudity or macabre violence, skip it. You aren’t mature enough (or brave enough) for the likes of this film.