Top Ten Albums and Songs of 2009

10. Passion Pit, Manners
This collection of bouyant, shimmering gems is the best example of indie electronic this year.

9. Antlers, Hospice
Combining ambient textures with dark, propulsive anthems, this is certainly one of the best albums of the year. Complex and deeply cinematic.

8. Sunset Rubdown, Dragon Slayer
With this latest album, Sunset Rubdown reaffirms why they are one of the most ambitious, moving, and powerfully idiosyncratic bands of the 21st century.

7. Handsome Furs, Face Control
With this newest release from his Wolf Parade side project Handsome Furs, Dan Boeckner again produces a fantastic album full of gritty, rousing electronic indie rock.

6. Phoenix, Wolfgang Amadeus Phoenix
Phoenix's brand of sleek, electro-pop was a major winner this year with this outstanding album, in which seemingly every song is a single.

5. Foreign Born, Person to Person
This album of pristine, scintillating indie rock is the second stunner from the California based Foreign Born; the first being their extraordinary debut, On the Wing Now.

4. WHY?, Eskimo Snow
Not only is the only one of the most sorely underrated albums of the year, but in my opinion it is also one of the best. It shows the band in their intimate and emotionally affecting light.

3. The Middle East, Recordings of the Middle East
Although this is technically only an EP, it's seven songs are as hauntingly beautiful as anything I've heard in a long time.

2. Neko Case, Middle Cyclone
This album represents the pinnacle of Neko Case's career in my opinion. At least for now. The songs here are more lush and penetratingly beautiful than anything she's ever done.

1. Dappled Cities, Zounds
This oft-underlooked Australian band releases the best album of their career with this soaring collection of big, bold, emotive indie rock songs.

Top Ten Songs of 2009

10. We Were Promised Jetpacks, Quiet Little Voices

9. The Horrors, Primary Colours


8. Phoenix, Big Sun


7. WHY?, Eskimo Snow


6. John Vanderslice, Too Much Time


5. Handsome Furs, Radio Kaliningrad


4. Neko Case, I'm an Animal


3. Passion Pit, Moth Wings


2. The Middle East, Blood


1. Julian Plenti, Only if You Run

Up in the Air... and Top Ten Films of the Year

There are still plenty of films I want to see before I my top ten is truly complete, but this is what I have so far:

10. Bruno
I'm perfectly comfortable knowing that I'm one of the few who believes this film is better than Borat. Just to be clear, both are spectacularly funny, abrasive comedies, but in my opinion Bruno reaches nearly unprecedented heights of subversive comedy. This Sascha Baron Cohen vehicle satirizes America's homophobic, celebrity-obsessed culture more saliently and bracingly than any other film in recent memory.

9. Up in the Air
This may be Jason Reitman's most self-conscious effort to date. The film, following a corporate job termination specialist's assiduously disconnected lifestyle, doles out heavy-handed lessons on the importance of family. Despite its maudlin predictability and occasional triteness, Jason Reitman's third film is at times deeply moving and always exceptionally well-crafted. In particular, Vera Farmiga and Anna Kendrick are wonderful.

8. Zombieland
While this film doesn't utterly reinvent the zombie movie, it does add a refreshingly spirited and full-fisted spin. Anchored by muscular direction , a surprisingly perceptive script, and great performances from Jesse Eisenberg and Woody Harrelson, it's one of the most fun films of the year.

7. Adventureland
Greg Mottolla's follow-up to Superbad is a funny, moving, cringingly honest portrayl of confused youth.

6. Moon
Sam Rockwell delivers a bravura performance in this tale of a Moon miner awaiting relocation back to Earth.

5. District 9
Much has been made of this film as an allegory for South African apartheid, but with it's narrative of a multi-national's domination over an "alien community" this film is truly an indictment of the post-modern marginalization of the third world by international corporatism.

4. (500) Days of Summer
Zooey Deschanel and Joseph Gordan Levitt both shine in this rich, innovative romantic comedy.

3. Observe and Report
Many found this film to be uncomfortably perverse... I agree with them, but that's what this film is: a portrait of a somewhat disturbed, alienated individual, Ronnie. I consider it a great tribute to Jody Hill and Seth Rogen that I found the treatment of Ronnie to be so vulnerable, disturbing, and hilarious.

2. The Fantastic Mr. Fox
Wes Anderson's most recent film is also one of his best. Not only is it staggeringly beautiful, but is also one of the funniest films in recent memory.

1. Der Baader Meinhof Complex
Uli Edel's rivetting examination of Germany's radical 1970s group the Red Army Faction is one of the most powerful and incisive studies of terrorism.

The Wonderful World of Coca-Cola

So far, my trip to Atlanta has been marked by a grueling, completely unnecessary hike up a landmark known as "Stone Mountain", which as it turns is partially a time-capsule of Southern Confederate nostalgia--the landmark proudly brandished the Confederate flag, the Confederate state flag, and monuments to Robert E. Lee, Stonewall Jackson, and Jefferson Davis--and an equally unnecessary trip to the "World of Coca-Cola".

First, a word about the Confederacy and the Civil War. If Southerners want to emblazon the iconography of the Confederate South on their pickup trucks or trailers, then that's their right. However, they can't simultaneously argue that this iconography doesn't represent a profoundly racist past. And anyone who argues that the Civil War was not about slavery, but rather was a noble struggle over state's rights, is an apologist for one of the most reprehensible parts of human history. Technically, the Civil War was about state's rights... a state's rights to treat human beings as property, and the Confederacy's attempts to obscure the influence of slavery is what would be referred to today as spin.

Now, onto the "World of Coca-Cola". This facility was perfectly emblematic of the rampant corporatization of modern America. According to their presentation, Coca-Cola, which is merely a soft-drink product, has achieved the status of a cultural icon. In addition, I found out that when one opens a can of Coca-Cola, they are in fact opening "happiness". This is what our tour guide actually said--"opening happiness". Not only that, but they referred to the Coke factor as... you guessed it, a "happiness factory". Seriously? If it weren't all so mind-numbingly real, it would be satire.

The Road...

Saw The Road tonight and my initial impression was... Good. But as the night has worn on, I find that the film has conspicuously left my thoughts entirely. And that is not good. For anyone who doesn't know, the film, based on the highly acclaimed Cormac McCarthy novel, follows a father and his young son as they struggle to survive in a post-apocalyptic landscape. The audience is never told how exactly the world became like this. All we know is that almost no animals have survived, there are minor earthquakes that seem to occur in places that geologically don't support such activity, and many people have resorted to cannabilism in order to survive.

This film simply doesn't bring enough to the table. Film audiences have been exposed to far more complex and emotionally gripping post-apocalyptic cinema than this. And for a movie to be so weighted in contextual ambiguities, much has to be done right to compensate. Well, this film does not do everything right. And as a result, the ambiguities that seemingly enriched the novel, detract from the film. If the film had had more creative ambition--and more of a dramtic spine--than ambiguity would not be an issue. Unfortunately, in this film director John Hillcoat, more often than not, plays it safe and lets this world speak for itself TOO MUCH. The problem is there is only so much that a perpetually grey landscape, falling trees, and dirt-caked survivors can evoke before one expects the director to do more. On a positive note, Viggo Mortensen, struggling to do much with little, turns in a very good performance.

Why?... Paranormal Activity... V

As you can tell by the title, this particular post will cover three subjects.

First, I saw the wonderful band Why? this weekend at the Spanish Moon. They mainly played material from their two most recent albums, Alopecia (one of the best albums of the decade) and Eskimo Snow (one of the best albums of the year, pitchfork be damned). It was a great show, not to mention an interesting night... from the couple who literally seemed to making out for two straight hours, to an awkward exchange I had with this nice girl. She was telling me and some friends about how her father designed the medical PET scanning device. We were all very impressed and told her how cool her father was and then she said, "Yeah... he died of radiation exposure." And then for some reason I said, with far too much enthusiasm, "Well, at least he got the PET scan down!" Wow, right?

Secondly, I saw Paranormal Activity this weekend. Initially, I was very skeptical of this film. I felt the beginning was marred by a feux naturalism the couple was trying to convey, but the film slowly built into a potently frightening experience. A very good movie.

Lastly, a note about the premier of the new show V. I saw it over the week and was supremely unimpressed. In case you're not familiar with the show, V follows events on earth after an advanced alien race, who call themselves "the Visitors", reveal themselves in massive interstellar ships over the major cities on the globe. One of the show's main developers is Scott Peters, who was executive producer on The 4400, one of my favorite sci-fi series. As I was watching the pilot to V I thought to myself, "so much of what they got right in the The 4400 they've gotten terribly wrong in V. Firstly, all of the mystery surrounding the alien race is dispensed with in the first half-hour, in which the audience learn that the aliens are not only bad, but they've planning to take over Earth for years. Also, we find out there are alien defectors. Those who have abandoned the Visitors and are working to help the humans. Hmm, a distinct race disguised as humans who ultimately decide to embrace their inner humanity? If that sounds like a vapid facsimile of Battlestar Galactica, it's because that's what it is.

Finally, my last problem with V is it's suspect political inclinations. In the show, the Visitors ingratiate themselves to Earth by offering universal health care and attempting to engage the youth of the world. Not to mention the fact that the aliens rhetoric constantly emphasizes peace and hope. Peace, hope, engaging the young, univeral health care? What could this be an allegory for? Either this show is presenting an insipid allegorical critique of the Obama administration or the show's creators are so dense that they don't realize what they're doing.

Top 100: 5-1

Finally... here is the final installment.

5. Schindler's List (1993, dir. Steven Spielberg)
If there was any doubt that Steve Spielberg was one of the pre-eminent storytellers and visual artists of our time, I would certainly hope that this magnificent film could lay those to rest. It is one of the most complete films I have ever seen. In terms of performance, production, content, direction, nearly every aspect of this film is perfectly executed. But the film also has certain intangible qualities that make it transcendent, one of these being the seamless presentation of the title character, Oskar Schindler. But more than anything, Spielberg's artisty shines in this movie. It is the most bracingly vibrant and powerful film of his career.

4. The Insider (1999, dir. Michael Mann)
Although I was underwhelmed by his most recent effort, Public Enemies, I know one thing about Michael Mann with absolute certainty: he is capable of being an ingenius filmmaker, and nothing illustrates this better than his best film, The Insider. Let me say one thing from the outset, I think Al Pacino's performance in The Insider is the best of his career. Godfather... No. Godfather 2... No. Dog Day Afternoon... No. Scent of a Woman... No. The Insider... Oh, Yeah! Secondly, The Insider is one of the most dazzlingly well-made films of all time, and it is perhaps the best example of Mann's extraordinary abilities as a director. And finally, this film just sticks it to the tobacco companies, and in reality I find this film to be a piercing critique of the corporatization of America in general.

3. Children of Men (2006, dir. Alfonso Cuaron)
Cuaron's visually astonishing Children of Men is the best film of the 21st century, and it stands as a stark but brilliant plea for humanity to take a stake in their own world, and each other.

2. Rear Window (1954, dir. Alfred Hitchcoc)
What I love about this film is that for the first 30 minutes it is a genuine, deeply involved character study, and yet, it transitions seamlessly into an absorbing voyeuristic mystery. One of the most compelling and richly entertaining films of all time.

1. JFK (1991, dir. Oliver Stone)
Occassionally, or perhaps even frequently, a film may require a totally open and unbiased second viewing in order for a person to fully appreciate that film’s distinct quality and transcendent power. Oliver Stone’s highly controversial JFK is in my opinion a film uniquely deserving of a such a second look, although I must personally confess that one viewing is all it took for me to be completely astonished by Stone’s dazzlingly rich masterpiece. Even JFK’s most stern detractors would most likely be perfectly willing to admit that the film is technically brilliant. Its seamless and hypnotic juxtaposition of not only multiple film formats but also a dizzyingly impressive amount of alternate narrative strains alone makes it a modern cinematic landmark. More than advocating for any specific conspiracy theory, Stone's film is a passionate plea for Americans to take back their country from corrupt interests.

Damned Democrats

Just to clarify, I AM A DEMOCRAT and I want nothing more than a forceful, progressive, unapologetically liberal agenda to be successful in this country. I say 'damned democrats' because it so difficult to be enthusiastic about the democratic party when they continually show how comfortable they are with failure.

As some of you may or may not know, there were a few elections today of varying importance, and most of the outcomes were disastrous for Democrats, particularly governors' races in Virginia and New Jersey in which Republican candidates won both races.

The Republicans ran a candidate from the stone age in the Virginia race and he beat the democratic candidate by nearly 20 points. I mean this Bob McDonell criticized laws allowing married couples to use contraception, attacked homosexuals as "fornicators" and he also attacked working women and feminists as "detrimental to the family". This guy is crazy!

New Jersey now has a Republican governor-elect. New Jersey. This is one of the bluest states in the union. Granted, the state's Democratic governor Corzine was extremely unpopular, but still, this does not look good for democrats.

All of this on top of the fact that meaningful healthcare reform has still not been passed by Congress. It's fair to say that I've been less than impressed with the national Democrats legislative skills when it comes to crafting this healthcare bill. The Democrats' healthcare stipulations have been so diluted by Republicans, moderate Democrats, and corporate influences that we may not have public healthcare for years, at least until this public option trigger activates. Or maybe the states have an opt-out clause now. I honestly don't know, it seems like the Democrats legislative goals on healthcare change daily.

Truthfully, one of the people I blame is Harry Reid. I don't think he's a strong Democratic leader in the Senate (there's a big surprise). I have much more respect for Nancy Pelosi who seems like she is genuinely ready to go to the mat for the public option.

Now... I won't lay all the blame on Harry Reid because he is dealing with some truly despicable people in the Senate. Namely... JOE LIEBERMAN. What happened to this guy? 9 years ago he was a Supreme Court ruling away from being the Vice President of the country as a DEMOCRAT. Now he's an independent, former supporter of John McCain for president, and he says he'll use his powers as a senator to prevent a vote on the public option in the senate. When I heard that I was speechless. I wanted to strangle puppies. To not let Senate VOTE on perhaps the most important domestic issue of the 21st century!

How did George W. Bush and the Republicans do it. When 'W' was "elected" president in 2000 he had NO voter mandate and razor thin majorities in the house and senate and yet he still managed to push through gis sweeping tax cuts for the rich! What were the Republicans collectively smoking at this point and where can Democrats get their hands on it!

Top 100 Films: 10-6

OK... we've finally made it to the top ten, here's the first installment.

10. Blue Velvet (1986, dir. David Lynch)
David Lynch's beguiling film is one of those rare artistic feats that provokes extreme and profoundly felt reactions from nearly everyone who sees it. And for good reason... it's one of the most jarring cinematic experiences one will ever have. Both lyrically dream-like and viscerally, captivatingly real, Lynch's film is a masterpiece about the darkness lurking beneath even purest things.

9. In the Name of the Father (1993, dir. Jim Sheridan)
As I've said before, I'm someone who has a deep amount of respect for Jim Sheridan. When he operates at the peak of his artistic abilities, he is simply one of the most forceful storytellers there is, and his most potently expressed film yet has been In the Name of the Father, a stirring account of the false imprisonment and later release of the "Guilford 4". Daniel Day Lewis gives the most blisteringly vulnerable performance of his career as Conlon, a wayward Irishmen who along with his father is wrongfully convicted of participating in an IRA bombing. I've watched this film several times and the ending always brings me to tears.

8. Aguirre: The Wrath of God (1972, dir. Werner Herzog)
Mesmerizing... Haunting... Soul-scorchingly beautiful... All accurately describe Aguirre: The Wrath of God, Werner Herzog's singular vision of a doomed conquistador mission in South America. Quite simply, this film may be one of the most expressive and hypnotic visual achievements in cinema.

7. Lord of the Rings: Fellowship of the Ring (2001, dir. Peter Jackson)
So many superlatives have-rightly-been throw at this film that it's almost become fashionable to underrate it. I won't make that mistake, as I happen to believe that Jackson's masterful epic is one of the few indisputable modern classics. 50 years from now, Fellowship will most likely be remembered as one of the most important films in the history of recent cinema (here I go, addding to the superlatives). Despite my feelings about the other two films--strangely, I tend to think they are unusually flawed, particularly the Two Towers--this first installment in the trilogy is the best. Its structure is nearly perfect, its direction flawlessly inspired, and almost of the performances are memorable.

6. The Verdict (1982, dir. Sidney Lumet)
Conventional wisdom surrounding the 1982 Academy Awards, in which Richard Attenborough's Gandhi won Best Picture, is that the more beloved E.T. should have taken the top prize (hell, even Attenborough himself said that). I'm here to say there was yet another film that should have won: Sidney Lumet's The Verdict, an under-the-radar courtroom drama about a washed-up alcoholic attorney who takes one last stab at redemption. Admittedly, this film does not possess the flash or epic scope of either Gandhi or E.T., but it just may be the best film of the 1980s. Paul Newman's towering turn as the feeble but searching Frank Galvin is in my opinion the best acting performance of all time.

Top 100 Films: 20-11

20. Big Trouble in Little China (1986, dir. John Carpenter)
From 1978 to 1988, John Carpenter may have been the finest filmmaker in America. During that span he directed 9 films, including Halloween, The Fog, Escape from New York, The Thing, Christine, Starman, and They Live. One of his most under appreciated films from that time was Big Trouble in Little China, a fantastic and thrilling action comedy. Set in the magical underworld of San Francisco Chinatown, this is the most exuberantly creative film of Carpenter’s career. Kurt Russell is hilarious as the clumsily heroic—and I think iconic—Jack Burton.

19. Braveheart (2006, dir. Mel Gibson)
I don't know if Mel Gibson is an anti-Semite, although there is a certainly a preponderance of evidence that indicates as much. It's quite possible that if I ever met Mel Gibson we would get into a violent argument over politics and the crude religiosity of Passion of the Christ. But I do one for certain... Mel Gibson is capable of being one of the most exciting filmmakers working today. His 1995 film Braveheart is the most outstanding historical epic of the last 25 years. It's one of the single-most propulsive,moving, and powerfully made films I've ever seen.

18. The Thing (1982, dir. John Carpenter)
... And we're back to John Carpenter. If you haven't noticed, I'm an incredible fan of Carpenter's work, and I think his best film is The Thing. This nerve-shatteringly tense film sets the standard for paranoid horror.

17. Saving Private Ryan (1998, dir. Steven Spielberg)
Although some may disagree, I think this is Steven Spielberg's last great film. In fact, I would even suggest that Steven Spielberg's post-Saving Private Ryan filmography has largely been inconsistent. A.I., though visually stunning, was plagued by a dense structure that made the film's attempts at a meaningful thematic examination of humanity and technology fall flat. I found Minority Report to be a competent thriller but nothing more (I say competent, but at times I found the film to painfully conventional). His best film since Saving Private Ryan may be Catch Me if You Can, which is wonderfully entertaining but never strikes me as exceptional. The Terminal was sappy and forgettable; War of the Worlds was dazzling in many ways, but contrived in others. Even the highly acclaimed Munich faltered under the weight of its political and philosophical indecisiveness. And Indiana Jones and the Kingdom of the Crystal Skull, well... it's just bad. Saving Private Ryan, on the hand, is GREAT. Not only is it one of the most distinctive, involved, and visceral visual experiences in modern cinema, but it is also one of the most thought-provoking war films ever made. Few films depict the effects war on the human psyche as poignantly as Saving Private Ryan.

16. Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964, dir. Stanley Kubrick)
I sincerely wish Stanley Kubrick had lived long enough (and made films fast enough) to make a movie in every genre, because if there's one thing Dr. Strangelove proves it's that Stanley Kubrick could do anything he wanted as a filmmaker. In 1964, he made one of the most incisive and dangerously funny comedies ever with Dr. Strangelove. Quite simply, this film is nearly perfect.

15. In the Bedroom (2001, dir. Todd Field)
I think this is one of the most emotionally hard-hitting films ever made. All of the performances are fantastic, but in particular Tom Wilkinson's turn as the mild-mannered doctor grieving the loss of son is one of the best male performances IN CINEMA HISTORY.

14. Hannah and Her Sisters (1986, dir. Woody Allen)
For as wonderfully rich and funny as Woody Allen's work is, no one can accuse him of being an optimist, which is why it may be unfair for me to pick his most life-affirming film as my favorite. But I don't care. I love Hannah and Her Sisters. It's one of the funniest, most intelligent, and most human films I've ever seen.

13. Psycho (1960, dir. Alfred Hitchcock)
I don't care what anyone says... Psycho scares me. It's a stunningly well-crafted and psychologically disturbing horror film that is absolutely one of Hitchcock's best.

12. Fright Night (1985, dir. Tom Holland)
I know... no one ever says that Fright Night is one of the best films of all time (I certainly know it's not on the Criterion Collection's short list). Truthfully, no one ever says it's simply one of the best horror films of all time. All I know is I could watch this movie over and over (I know because I have) and still love every minute of it, that and also happen to think that it's brilliantly imaginative and well-stylized.

11. Unforgiven (1992, dir. Clint Eastwood)
Fuck The Good, the Bad, and the Ugly... when it comes to westerns give me Unforgiven any day of the week (just to clarify, I don't dislike The Good, the Bad, and the Ugly, I was just saying that for emphasis). Eastwood's haunting and beautifully made film expresses the tragedy of violence better than anything I've seen.

Top 100 Films: 30-21

30. 2001: A Space Odyssey (1968, dir. Stanley Kubrick)
The only Academy Award Stanley Kubrick ever won was for special achievement in visual effects, which he received for this film. Not only was the award completely deserved (as were many others as far as Kubrick is concerned), but 2001 is perhaps the most awe-inspiring visual achievement in cinema, period.

29. Nixon (1995, dir. Oliver Stone)
From 1986 to 1995, Oliver Stone was responsible for some of the most provocative and indelible films of the 20th century. In 1986 he released a personal, terrifying, and utterly unique statement on the war in Vietnam with Platoon; that same year he directed the fiery and brilliant political thriller Salvador. In 87, he presented the world with Wall Street, an eerily salient reflection of the role of economic greed in the American experience. In 89, Stone returned to the Vietnam War with Born on the Fourth of July, and in doing so produced perhaps the last great film on the subject. In 1990, Stone directed the flawed but inimitable Jim Morrison biopic The Doors. In 1991, JFK made Stone the "most dangerous man in America" and the release of Natural Born Killers in 1994 was arguably more controversial. But in 1995, Stone gave audiences one of the best films of his career with Nixon. Stone's dark, layered film achieves an almost operatic power in it's piercing study of America's most self-destructively human president.

28. Mississippi Burning (1988, dir. Alan Parker)
American has a complicated past when it comes to race relations and no matter how many African-American presidents we elect, that past will not go away. Mississippi Burning literally unearths the dead remains of that past with it's absorbing account of the investigation into the deaths of four civil rights workers in 1964. Amazingly directed by Englishman Alan Parker, this film comes closer than nearly any other in confronting the darkness of American history.

27. Annie Hall (1977, dir. Woody Allen)
Woody Allen may not believe he's made a masterpiece, but why would we take his word for it? Watch his movies and see for yourself. I've seen most of Woody Allen's work and one of my absolute favorites is Annie Hall. I'm obviously not alone in my love for this film. It did win Best Picture, and rightfully so. It's one of the most unique, funny, and emotionally true films ever made.

26. Sunset Boulevard (1950, dir. BillyWilder)
For me, this is the definitive film of Billy Wilder's diverse, wildly successful career. It is as finely executed and boldly overstated as anything ever done, right down to the film's expert structure and the go-for-broke brilliance of Gloria Swanson's performance.

25. The Shawshank Redemption (1994, dir. Frank Darabont)
In my opinion, Frank Darabont has a had a spotty career. I was one of those that thought The Mist was an inconsistent, though occasionally gripping, film that at times was damaged by contrived and simplistic characterizations (Thomas Jane's performance didn't help either). In the larger scheme of things, Darabont's sweet-natured but clumsy The Majestic was far too harshly criticized, but it was by no means a great film. And although The Green Mile was highly acclaimed and received a best picture nomination, in hindsight the film is not as striking as it seemed in 1999. However, I have nothing negative to say about Darabont's stunning 1994 feature The Shawshank Redemption. This film is a remarkably powerful emotional journey crafted with exquisite richness and simply great performances by Tim Robbins and Morgan Freemen.

24. The Departed (2006, dir. Martin Scorcese)
When The Departed was first released, many critics said it was Scorcese's best film since Goodfellas. I'll do them one better. I think it's a better film than Goodfellas. How can the Departed, a remake of the popular Japanese thriller Infernal Affairs, be better than something as imperceptibly perfect as Goodfellas? Well, firstly I don't think Goodfellas is perfect, but secondly I thought the themes of class, loyalty, and personal identity were more clearly and in some ways more relevantly expressed in The Departed. The performances are just as rich in my opinions with Leonardo DiCaprio, Matt Damon (in the best performance to date), and Jack Nicholson making wonderful turns in the film. Also, I think The Departed is as stylistically muscular as anything Scorcese has ever done. Overall, this a preciously rare example of a thriller being a truly great film.

23. Ghostbusters (1984, dir. Ivan Reitman)
As one of the most imaginative and breathtakingly hilarious comedies ever, it is entirely appropriate that Ghostbusters be considered simply one of the best films ever.

22. L.A. Confidential (1997, dir. Curtis Hanson)
I know what you're thinking... if he thought the career of Academy Award nominated filmmaker Frank Darabont was spotty, what will he think about Curtis Hanson? The truth is, I generally don't think about Curtis Hanson, especially since Lucky You left such a terrible taste in my mouth (that film was AWFUL). But I can't deny the extraordinary skill Hanson showed with L.A. Confidential. This utterly absorbing crime epic examines the complex nature of justice in a morally corrupt and exploitative world.

21. Rushmore (1998, dir. Wes Anderson)
Wes Anderson is one of the most innovative American filmmakers of the last twenty years. Over the course of his career making films like Bottle Rocket, the incomparable Royal Tenenbaums, Life Aquatic with Steve Zissou, and The Darjeeling Limited, Anderson has crystallized a wholly individualistic style that has proven to be broadly influential. Of all of his films, Rushmore is my favorite. In my opinion it is not only his most finely honed work emotionally, but it is as creatively well-wrought as anything he's done.

Top 100 Films: 40-31

First, I have to say, I apologize for taking so long to update this list. Alright, now that all three of you out there who were actually waiting have been allayed, here is the next installment.

40. The Curious Case of Benjamin Button (2008, dir. David Fincher)
I know this will seem like a controversial pick. Many people don't like this film, and a part of me understands why. It's not a conventional film, and I don't mean that condescendingly. David Fincher's epic follows the life of the backward aging Benjamin Button (played by Brad Pitt, who is magnificent in this performance) from birth to death. We see Benjamin experience his life in a profoundly unique way, and I personally found his struggle to live and love to be wonderfully moving. In addition, I think this film is one of the most superbly expressed and artful films of the last decade. David Fincher's direction is astounding.

39. Raging Bull (1980, dir. Martin Scorcese)
With all due respect to Robert Redford, his 1980 film Ordinary People, a sincere and emotionally affecting drama in its own right, should not have won best picture, and the reason is simple: Raging Bull was nominated. Martin Scorcese's film stands as one of the most powerful, complex, and gut-wrenching portraits of a flawed human being in cinema history.

38. Groundhog Day (1993, dir. Harold Ramis)
Is #38 too high for a mid-nineties comedy starring Bill Murray? If we're talking about Larger Than Life (1996), than the answer is yes; however, if we're talking Harold Ramis's ingeniusly hilarious Groundhog Day, then no. In this maniacally original film, Bill Murrary gives one of the most poignant-and perfect-performances of his career.

37. Crimes and Misdemeanors (1989, dir. Woody Allen)
Put simply, before there was Matchpoint, which was lauded by critics, there was Crimes and Misdemeanors, Woody Allen's more incisive precursor. This is a truly unique film that progresses along two radically different story lines: in one, an optometrist played by Martin Landau (in one of the best performances of his career) struggles to protect his reputation when his mistress threatens to reveal their relationship; in the other, a struggling documentary filmmaker (Woody Allen) languishing in a failing marriage must compromise his creative ethics when he's forced to take a job from his brother. Both stories are immensely compelling but that Woody Allen is weave them together as seamlessly and potently as he does is remarkable. This is one of Woody Allen's best films.

36. Apocalypse Now (1979, dir. Francis Ford Coppola)
When I said that Stanley Kubrick's Full Metal Jacket (1987) was possibly the most acute portrait of men in combat in film, I wasn't lying, but Francis Ford Coppola's Apocalypse Now may be the most searingly vivid and surreal vision of war ever presented.

35. Star Wars: A New Hope (1977, dir. George Lucas)
Whenever I come across Episode 1, 2, 3 (and trust me, I try to come across as seldomly as possible) I ask myself, "How did George Lucas get so much right in a New Hope and so much wrong in the newer films. One thing that comes to mind is actors. Overall, there are simply better actors in Episode 4 (Alec Guiness, Harrison Ford, and, yes, even Mark Hamill and Carrie Fisher, who perform admirably). But that doesn't stand up. No one can argue that Liam Neeson, Ewen McGregor, Natalie Portman, Samuel Jackson, and even a focused Hayden Christianson (his performance in Shattered Glass is very good) can give good performances. More and more, it seems that the answer is George Lucas himself. I think it's fairly obvious that when it came to certain aspects of the newer films, namely the writing, acting, and direction, George Lucas just did not try. But A New Hope was a different story. He actually tried, and in doing so crafted one of the most brilliant and enduring fantasy films of all time. I don't think I'm alone when I say I love this movie.

34. Pulp Fiction (1994, dir. Quentin Tarantino)
Seeing Inglorious Basterds this summer helped crystalize for me that I am not a perpetual fan of Quentin Tarantino. To put it mildly, I strongly disliked Inglorious Basterds, and truthfully I've found Tarantino's work since Pulp Fiction to be inconsistent. But Quentin Tarantino's first films are purely amazing. Pulp Fiction, in particular, is as bold, innovative, and stunningly realized as anything ever made.

33. Alien (1979, dir. Ridley Scott)
Ridley Scott is another filmmaker I'm not perenially fond of. I think he has made two great films (Blade Runner, Alien), some undeniably good films (American Gangster, Kingdom of Heaven, Blackhawk Down, Gladiator), and some bad films (Someone to Watch Over Me, Black Rain, White Squall, G.I. Jane, Hannibal, A Good Year). I think his most compelling feature is Alien (Blade Runner is spectacular but at times pulled down by the weight of its own abstractions). This 1979 film is one of the most visceral and brilliantly stylized horror films of all time and stands as a benchmark in the genre.

32. The Constant Gardener (2005, dir. Fernando Meirelles)
It must surprise some to see The Constant Gardener ranked above the wildly acclaimed City of God (2003), but I truthfully think it's better. In fact, I think Fernando Meirelles is one of the most important filmmakers working today. I've been moved by everything he's done (including the unfairly overlooked Blindness), but none moreso than The Constant Gardener, a gritty, vibrantly real, and emotionally powerful examination of human exploitation in Africa. In my opinion, Ralph Fiennes performance as Justin Quayle, a British diplomat seeking to unravel the mystery of wife's murder, is one of the five best film performances of all time. Period.

31. Goodfellas (1990, dir. Martin Scorcese)
I'll keep on my comments on Martin Scorese's remarkable mafia epic brief, and simply say this: Goodfellas is the definitive mob film in cinema, and I say this with full knowledge of the films it is competing with (Godfather 1 and 2, anyone?).

Top 100 Films: 50-41

50. Full Metal Jacket (1987, dir. Stanley Kubrick)
Stanley Kubrick's singular vision of the Vietnam War stands, perhaps, as the most haunting portrait of men in combat in film history.



49. Dead Man Walking (1995, dir. Tim Robbins)
Although Tim Robbins' film provides an impassioned argument against the death penalty, I hesitate to call it strictly political; rather, it is a powerful artistic statement about loss and personal redemption. Susan Surandon and Sean Penn give the best performances of their careers.



48. City of God (2003, dir. Fernando Meirelles)
To illustrate the importance of this 2003 film, let me ask a simple question: would Danny Boyle have ever conjured the manic inspiration to make Slumdog Millionaire without City of God. Fernando Meirelles' Academy Award nominated drama is the most resonant, sprawling, and recklessly brilliant crime film since Goodfellas.



47. The Natural (1984, dir. Barry Levinson)
At times Barry Levinson's simplistic approach as a filmmaker can be a severe detriment (Envy, Disclosure, and the utterly horrible Man of the Year are prime examples of this), but his style is perfectly suited to this sports fairy tale starring Robert Redford. Levinson's film achieves an expressive, painterly elegance that compliments the film's almost extra-mythical quality. And the film itself is as rousing a sports drama as any.



46. Se7en (1995, dir. David Fincher)
A few weeks ago I turned on the television and found myself watching a brooding, rain-drenched murder mystery. Was it Se7en? No. It was the 1999 film Resurrection starring Christopher Lambert. But that's the point. It's easy to forget just how influential David Fincher's Se7en is unless you've seen some of the numerous carbon copies like Resurrection that have been produced after it. This film is truly groundbreaking in its darkly realized stylization.

45. Being There (1979, dir. Hal Ashby)
Few actors have embodied a character as fully and as marvelously as Peter Sellers does in the remarkable comedy Being There. On first glance, one might view Seller's characterization of the simple-minded, slightly vacant, and television-obsessed Chance as being easy. And that's the genius of the performance. In this film, Sellers crosses the plane of mere performance and becomes Chance.

44. The Birds (1963, dir. Alfred Hitchcock)
Alfred Hitchcock's take on apocalyptic drama is as heightened and terrifying as anything that has been produced.

43. The Big Lebowski (1997, dir. Joel Coen)
There's not much to say about this film except that it's pure comedy genius.

42. The Lives of Others (2006, dir. Florian Hencknel von Donnersmarck)
In 2006 there was one foreign film that everyone was talking about: Pan's Labyrinth. And yet, what won Best Foreign Language Film at the Academy Awards that year? The Lives of Others. At his oscar party, Sir Elton John was apparently so surprised that his favorite didn't win he said, "What the fuck?" (or something like that). In this case, I actually think the Academy got it right. Not only was Florian Hencknel von Donnersmarck's penetrating look at the East Germany the best foreign language film of the year, it was one of the most interesting and powerful films in some time.

41. Magnolia (1999, dir. Paul Thomas Anderson)
Hard Eight... good. Boogie Nights... great. Magnolia... greatest. Although most might prefer Anderson's Boogie Nights, I'll take the epic, oblique, shamelessly emotive Magnolia any day of the week.

In Defense of Michael Moore

Controversial filmmaker Michael Moore recently released Capitalism: A Love Story. Naturally, much of the criticism surrounding the film has been focused on Moore himself and the seeming cult of personality he has created.

On imdb, I read an entertainment article in which the author claimed he couldn't take
Capitalism: A Love Story seriously because of Moore's presence in the movie. Now, I understand some people's ambivalence toward Moore. He inserts himself shamelessly into his work and his films blur the lines between documentary and propaganda. And yet still, my answer to his critics is simple: GET OVER IT.

To attack a man's work for such a superficial point is intellectually crass to the highest degree. And yet this makes perfect sense. After all, it's much easier to dismiss Moore as a muckraking egomaniac than to confront the hard questions his films ask.

Simply put, Michael Moore is one of the most important filmmakers in the country. No one challenges the corrupt power structures in this nation more forwardly and relentlessly than he. And I do believe that he is an equal-opportunity radical. He will attack anyone, no matter what their political affiliations or reputation. Remember Sicko (certainly, the most powerful indictment of the United States' immoral health care system that anyone has produced). In that film, Michael Moore criticized Senate and Congressional Republicans for accepting massive contributions from insurance companies, but he also exposes Hillary Clinton for doing the same thing.

I believe he is genuinely concerned for the well-being and improvement of this country and his films have been instrumental in revealing profound inequities in our society. And to those who criticize him for perceived factual inaccuracies in his work, I would say a few things. First, Michael Moore has defended his work tirelessly and almost every fact in them. Secondly, few people question the larger points his films make. For instance, there are disputes about some of the facts presented in Bowling for Columbine, but can anyone deny that the United States has more gun deaths than any advanced democracy in the world? And Moore's critics have certainly attacked Sicko, but can anyone deny that United States has one of the WORST health care systems of any western industrialized democracy? If you don't think so, look at the WTO, United Nations, and the Human Development Index, to see where the United States ranks.

One final point. NO ONE should feel sorry for Charlton Heston for being interviewed by Moore. First of all, Charlton Heston did not have Alzheimer's at the time, he simply had Alzheimer's-like symptoms. And if he did have Alzheimer's he shouldn't have allowed himself to be president of the NRA.

Top 100 Films: 60-51

60. The Shining (1980, dir. Stanley Kubrick)

Stanley Kubrick's 1980 chiller redefined the standards of gothic horror and is one of the most cerebrally terrifying films ever made. Jack Nicholson's performance, which some have criticized as being excessive or even hammy, is in my opinion a masterclass of slowly building insanity.



59. The Last Temptation of Christ (1988, dir. Martin Scorcese)

Martin Scorcese once said that Taxi Driver was Paul Schrader's film, Raging Bull was Robert DeNiro's, and Last Temptation of Christ was his. That doesn't mean Last Temptation of Christ is his best film, but I think it should at least be considered. It's an astonishingly vivid and full-fledged depiction of a religious narrative that literally billions are familiar with, but there has not been a bolder or more involving rendering of the subject matter than this. The fact that this film was so intensely criticized upon its release in 1988 for its distinctly human representation of Jesus is almost laughably ironic. Scorese's film is not an indictment of religious values or even the narrative of Jesus Christ. In fact, it may one of the most profoundly spiritual films in recent memory. All in all, a powerful and thought-provoking work that should be required viewing in Catholic schools.



58. The Royal Tenenbaums (2001, dir Wes Andersen)

It's hard to overstate the importance of the Royal Tenenbaums in modern cinema. In terms of its exacting, singular stylism, Wes Anderson's third film is quite possibly one of the most influential of the 21st century. Not only that, but it also happens to be an incredible, wholly original comedy filled with great performances.



57. The Exorcist (1973, dir. William Friedkin)

I don't think it's going too far to say that this is William Friedkin's last great film (I hope I'm not offending any Jade fans out there). But what a film. Other horror films since have attempted to capitalize on the deep-seated fears surrounding possession, but none is as effective as The Exorcist, which was nominated for best picture in 1973. In it, Friedkin masterfully constructs a hyperrealistic atomphere in which the fully audience accepts the prospect of demonic possession. Truly, a stunningly crafted and powerful horror.

56. My Left Foot (1989, dir. Jim Sheridan)

I don't know why Jim Sheridan decided to direct 50 cent in Get Rich or Die Tryin', because the man is certainly capable of producing great work. My Left Foot is one such work. Daniel Day Lewis' performance is rightfully applauded as an incomparable example of method acting genius. Yes, genius. Not only is his performance physically precise, but his emotional embodiment of Christy Brown is astoundingly real.

55. Fargo (1996, dir. Joel Coen)

Fargo is a unique film even for the Coen brothers. It's superb synthesis of the darkly comic and the genuinely dramatic is nearly unparalleled in its greatness. The performances are uniformly great, and many are even iconic (Frances McDormand as the spunky sheriff, William H. Macy as Jerry Lundergard).

54. Jaws (1975, dir. Steven Spielberg)

The beauty of this Steven Spielberg film is not necessarily in its thrills or its scares, although certainly they are; rather, it is in how surprisingly moving and emotionally nuanced the film is. The quiet moment between Brody and his son at the dinner table, the eerily affecting scene on the boat when the man share their scars... these moments are what makes this movie stand out as a masterpiece among blockbusters-as well as Spielberg's brilliant direction.

53. Edward Scissorhands (1990, dir. Tim Burton)

This was a benchmark film for Tim Burton. It solidified his reputation as a fantastical, uniquely expressive artist, but even more importantly it demonstrated his work's deeply emotional power. This is the most heartrending film of Burton's career, and I think his best.

52. Silence of the Lambs (1991, dir. Jonathan Demme)

As much about the depth of childhoold trauma (and the uniqely American character of serial killing), Demme's Silence of the Lambs is an expertly crafted thriller featuring Jodie Foster and Anthony Hopkins in the best performances of their careers.

51. The Godfather (1972, dir. Francis Ford Coppola)
I know it would be standard practice to rank The Godfather in the top 20 in the very least, but this is where I honestly place it. This shouldn't take anything away from it. It's a remarkable film-possibly, the best single collection of performances of any movie. Coppola handles the subject matter with dexterous skill, but at times I think the film's restrained aesthetic is too much. Personally, I think Coppola' best work as a director is after this film. But other aspects of the film are nearly perfect. As I said before, almost all of the performances are great and the relationships are as finely developed as any of the great works of fiction.

Top 100 Films: 70-61

Okay... here's the next installment.

70. The Big Chill (1983, dir. Laurence Kasdan)
I've always thought that Laurence Kasdan was an extraordinarily thoughtful and incisive filmmaker (or at least one with the potential to be so), and this is undoubtedly his most finely tuned work. The ensemble presented here (Glenn Close, Kevin Kline, William Hurt, Jeff Goldblum) is among the best in cinema history, and not only that, but the collective and individual chemistry between each performer is outstanding. All of the performances are top-notch, but William Hurt is particularly affecting as the cynical Nick Carlton.

69. Citizen Kane (1939, dir. Orson Welles)
Orson Welles debut is indeed a groundbreaking technical masterwork. Welles' principal contribution to cinema lies in his expressive use of mis-en-scene, and as key advancement in film it rivals Eisenstein's codification of montage. Beyond that, this film is also an engrossing, uniquely American tale of the rise and fall of Charles Foster Kane. For many, the fact that this film is not near the top ten in my list is outright blasphemy, but I would contend that while technically the film is flawless, there are aspects of the performances and narrative that are not beyond criticism.

68. Requiem for a Dream (2000, dir. Darren Aronofsky)
Darren Aronofsky's second film is unlike anything ever produced, and it arguably contains one of the most salient cinematic innovations in recent years with the "hip-hop montage", integrated into the film to brilliant effect. This is a movie is an unrelentingly visceral and even heartbreaking descent into the world of addiction-fueled self-destruction.

67. Network (1976, dir. Sidney Lumet)
Lumet's stunningly realized drama from Paddy Chayefsky's Academy Award winning script is not so much an indictment of television as it of the increasingly pervasive corporatism of American society, and one can not assess the current state of American corporatism and not think that Network is anything but revelatory. Perhaps no other film contains as many richly delivered, cutting performances, including Peter Finch's iconic Howard Beale (for which he posthumously won the Academy Award), Faye Dunaway as brazenly sexual, hard-as-nails executive, and William Holden as the aging veteran of the television world.

66. American Beauty (1999, dir. Sam Mendez)
This 1999 Best Picture winner is a wonderfully entertaining and poignant that perfectly evokes the post-modern, suburban complexion of American life in all of it's banality and, yes, beauty.

65. The Birdcage (1996, dir. Mike Nichols)
Conventional wisdom is that the 1978 original La Cage aux Folles is a genuine classic, while the 1996 remake is nothing than a charming approximation. I would disagree with that. I think Mike Nichol's film is an all-out comedy classic. In many ways, the movie is better suited as an American narrative because of the complexity of the American attitudes toward homosexuality. What is truly remarkable is that the film succeeds in drawing out full-hearted comedy from its farcical situations and yet remains a touching, penetrating statement about the potential for love in any relationship.

64. Little Miss Sunshine (2006, dirs. Jonathan Dayton, Valerie Feris)
Shortly before the 2007 Academy Awards ceremony, Steve Carrel, when asked if the family portrayed in Little Miss Sunshine was dysfunctional, said, "No. I think they're very functional." That succinct comment in many sums this movie up. The film is one of the most enjoyable and yet bracingly clear and even profound statement on the complex nature of family.

63. There's Something About Mary (1998, dirs. Farrelly Brothers)
Tasteless? Yes. Obscene? At times? Completely innovative and brilliant. Of course. This still stands as the Farrelly's brothers' best and most unique comedy, and with that distinction it also one of the astonishing comedy films ever made.

62. Born on the Fouth of July (1989, dir. Oliver Stone)
More than Stone's murky Platoon, this film drives home the ultimate truths of the tragedy of Vietnam. It's a gut-wrenching work of art that contains Tom Cruise in the most exposed performance of his career. Oliver Stone's focused, propulsive direction is fantastic.

61. Raising Arizona (1987, dir. Joel Coen)
This Coen Brothers comedy from 1987 is as much a mainstream delight as it is a dark, moving, and creatively ambitious fairy tale. One of the most purely enjoyable comedies ever made.

Top 20 Albums of the Decade

In about a week, Pitchfork will release it's top albums of the decade, so I thought I'd scoop them (after all, when I release mine no one will care about Pitchfork's, right?).

So, hear are my top 20 albums of the decade:

20. Mothers, Daughters, Sisters, and Wives (2006)/ Raised by Wolves (2005) - Voxtrot
It might be a cheat to combine the songs from two EPs, but taken together Voxtrot's early comprises some of the most stunning indie pop of the decade.

Best song: Wrecking Force

19. A Ghost is Born (2005) - Wilco
I remember this album being somewhat misunderstood when it was first released. I think the main reason for that was because Yankee Hotel Foxtrot was such a revelation and that created extraordinarily high expectations which couldn't be surpassed. When one simply listens to this album as a self-contained statement, it' wonderful. Overall, A Ghost is Born is a brilliant synthesis of Wilco's adventurous experimentalism and earthy, emotive brand of rock music.

Best song: Hell is Chrome

18. Wagonwheel Blues (2008) - The War on Drugs
You may not have heard of this band, but their work is exceptional, particularly this 2008 release that was unfortunately overlooked by most mainstream publications. The War on Drugs specializes in rich, shambling indie rock that owes no small debt to Bob Dylan.

Best song: Buenes Aires Beach.

17. Powder Burns (2007) - Twilight Singers
I think Greg Dulli's "side project" the Twilight Singers is significantly better than his original band, the acclaimed Afghan Whigs. On the surface, this album is merely a collection of a few hard-hitting rock songs, but in fact it is a soaring, emotionally wrought triumph.

Best song: Dead to Rights

16. Before the Dawn Heals Us (2004)- M83
Along with the Postal Service's Give Up, M83's Before the Dawn Heals Us may be the most palatable distillation of indie electronic in the 21st century--although in many ways, the two albums are poles apart. In this, Anthony Gonzalez creates dark, indelible soundscapes that are among the most lush and propulsive of the decade.

Best song: Moonchild

15. On the Wing Now (2007) - Foreign Born
With their impressive 2008 release Person to Person, California shoegazers Foreign Born are finally getting the respect they deserve, but On the Wing Now remains their best work to date. It's an exhilarating collection of layered, shimmering indie rock anthems that somehow manages to transcend every genre it steps in.

Best song: In the Shape

14. Things We Lost in the Fire (2001) - Low
With this individualistic masterpiece, slowcore pioneers Low finally triumphed over the occasional banality of their downtempo sensibilities to produce an uncompromisingly beautiful, heartrending record.

Best song: Medicine Magazines

13. Return to Cookie Mountain (2006) - TV on the Radio
This album crystallized TV on the Radio's position as the preeminent producers of pulsing, cinematic indie/experimental rock in the world.

Best song: Province (OK, maybe it's Wolf Like Me, but I'm trying to be different)

12. The Throne of the Third Heaven of the Nation's General Millennium Assembly (2007) - Le Loup
Although Le Loup consists of a sprawling collection of musicians, on Throne of the Third Heaven the band manages to produce a cohesive, conceptually rich, and deeply moving album that is like a combination of the best Sufjan Stevens and Godspeed You! Black Emperor.

Best song: Planes Like Vultures

11. Plague Park (2007) - Handsome Furs
Ostensibly a side project for Dan Boeckner of Wolf Parade, Handsome Furs plays blisteringly beautiful electronic indie rock on par with the best of Wolf Parade, and this 2007 release is a remarkably powerful album.

Best song: Handsome Furs Hate This City

10. Turn on the Bright Lights (2002) - Interpol
Interpol are exactly what everyone says they are: unabashed post-punk revivalists continuing in the tradition of such bands as Joy Division and Echo and the Bunnymen. But let's be honest, on this album, Interpol is better than all of the bands from which they take their cues.

Best song: NYC

19. Alopecia (2008) - Why?
How this truly individualistic album didn't make Pitchfork's top 50 of 2008 baffles me. In this album, the genre-defying Why? manages to be sincere, moving, self-deprecating, and irrepressibly brilliant.

8. Antics (2004) - Interpol
Conventional wisdom says that Antics is a compelling but less successful effort than Turn on the Bright Lights, but I happen to think Antics is the better album. In this album, Interpol steps out of the shadow of their post-punk roots to present one of the strongest collections of dark indie rock songs of the decade.

7. Glory Hope Mountain (2007) - The Acorn
A little known album full of pristine indie folk/pop from the sorely under appreciated The Acorn.
The opening track "Hold Your Breath" may be one of the best songs of the decade.

Best song: Hold Your Breath

6. Anytown Graffiti (2007) - Pela
Other than Arcade Fire, no one is making more rousing and emotionally infused indie rock than Pela. The sheer force of each track on Anytown Graffiti is remarkable.

Best song: Rooftops

5. Apologies to Queen Mary (2005) - Wolf Parade
This collection of gritty indie rock anthems should be regarded as a modern classic.

Best song: I'll Believe in Anything

4. Takk (2005) - Sigur Ros
Sigur Ros has been making some of the most beautiful and impacting music of any band for years, and on Takk they set forth their defining masterpiece of lush, toweringly cinematic songs.

Best song: Hoppipolla

3. Yankee Hotel Foxtrot (2001) - Wilco
Released in the 2001, nothing could have been more appropriate than this collection of searching, intricate, and mysterious experimental pop songs that highlighted a collective desire for post-millenial connection.

Best song: Jesus etc.

2. Funeral (2004) - Arcade Fire
Almost no other band that I've heard plays songs as emotionally charged and moving as Arcade Fire. On Funeral, the band raises the bar on creating stirring indie rock anthems.

Best song: Rebellion (Lies)

1. Boxer (2007) - The National
The National's unflinchingly beautiful Boxer is not only my favorite album of the decade, but I think one of the most impressive of all time. The band's ability to create lush, atmospheric, and heartrendingly honest indie rock/pop work is nearly unparalleled among their peers.

Best song: Apartment Story

Top 100 Films: 80-71

First of all... I'm sorry it's taken me so long to continue this list. The truth is, school has been occupying some of my time.

80. Traffic (2000, dir. Steven Soderbergh)
I find this to be a much more interesting and challenging film than Gladiator, which beat Traffic for best picture in 2000. What is fascinating about this film is how it provides an overarching perspective on the personal and moral toll of the drug trade in the United States, but it does this without become a polemic. Rather, it is all the more provactive and real for it.

79. 12 Angry Men (1957, dir. Sidney Lumet)
At times, I find that I connect with Sidney's Lumet's work more than nearly any other director, particularly his films that I think are his most personal statements: Night Falls on Manhattan (1996), Q&A (1990), Daniel (1984), The Verdict (1982), Serpico (1973). No other director is able to dramatize the personal and ethical struggle of his characters more than Sidney Lumet, who seems to be first and foremest concerned with flawed individuals struggling to do the right thing.

78. Malcolm X (1992, dir. Spike Lee)
Conventional wisdom seems to indicate that Do the Right Thing (1989) is Spike Lee's undisputed masterpiece, but I put forth this stunningly involving biopic. The force of Denzel Washington's towering performance and the weight of Spike Lee's masterful handling of the subject matter hit the viewer like a ton of bricks.

77. Kinsey (2004, dir. Bill Condon)
My vote for most underrated film of 2004 would go to Bill Condon's wonderfully absorbing biopic of Alfred Kinsey. In fact, I happen to think it's the best film of 2004. Although Laura Linney and Liam Neeson's sensitive portrayals carry the film in many ways, this is the film in which Bill Condon reveals himself to be a director of deep artistic vision.

76. The Apartment (1960, dir. Billy Wilder )
With wonderful performances by Jack Lemmon and Shirley Maclaine, Wilder's film is simply one of the most wildly entertaining love stories of all time.

75. Jurassic Park (1993, dir. Steven Spielberg)
A brilliantly entertaining film. Truly, a pitch-perfect blockbuster.

74. Erin Brockovich (2000, dir. Steven Soderbergh)
First, let me say this: I truly believe that Ellen Burstyn should have won the Academy Award for Best Actress over Julia Roberts; however, I do happen to think that Erin Brockovich is an exceptional film and that Julia Roberts gives clearly the best performance of her career.

73. The People Under the Stairs (1991, dir. Wes Craven)
This may seem like a bizarre entry, but I really that is film is an incredibly unique

and thrilling achievement.

72. When Harry Met Sally (1989, dir. Rob Reiner)
Punctuated by the great chemistry between Billy Crystal and Meg Ryan, this is Rob Reiner's best film. Truly hilarious.

71. Halloween (1978, dir. John Carpenter)
John Carpenter is perhaps the modern horror genre's main auteur. Halloween is not necessarily his best film (you'll more on the list), but it's a great film and it's influence can't be understated.

Class today

Today was a good day for the most part.

I received an extention on a number of sports articles I had to turn in to my editor at the Mid City Lagniappe and found out that I didn't have to edit my three minute short film until at least a week from now, which means my wednesday is now officially free.

Something occured to me today. I wonder if I react too harshly to some people's personal tastes. I really try very hard to be at least benign to other's tastes, but today in my advanced screenwriting class I found myself constantly rolling my eyes at what some people were saying, and it's not like they were saying anything outright douchish. Usually, they were just a making a statment on a film they liked. For instance, the teacher asked us what our favorite scenes were. What were the responses? One person said the end of Saw where

***SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS ***





Jigsaw reveals himself to be the man lying on the floor in the room.

At another time in the class, one of the students said they didn't like any Woody Allen movies? What? It takes a lot of balls to say something like that in a screenwriting class.

Well, like I said, I probably reacted too smugly today, although truly I try not to discount anyone's taste, unless they say they don't like any Woody Allen movies, in which case I do probably discount them.

Back at UNO

Alright, so officially I've been back at UNO for a couple of weeks now and I haven't blogged about it. Honestly, I don't why.

But this year looks good. I have a very comfortable schedule. My earliest class is at 1:30, not to mention the fact that I have no classes on Wednesday at all. A friend of mine pointed out that it's like having another weekend in the middle of the week. It certainly feels like the weekend considering that I didn't wake up until 3 o'clock today.

Something happened today that annoyed me terribly. One of my classes is called Introduction to Video Writing and in our first assignment we had to email the teacher a journal response to a reading selection. In the reading selection, it stresses how important in media writing to write in the active voice as opposed to the passive voice. In my journal response I pointed that out.

Well... today I looked at my email and saw I had an email from my Video Writing teacher. He told me that my journal entry was fine, except he chastized me for writing in the passive voice in it. Give me a break! First of all, the reading selection emphasized writing in active voice for media writing. I didn't realize that all I writing I turned in to this teacher has to be in active voice. Is this script description, a news story? No. It was a journal entry, and sue me... I wrote in passive voice.

I don't know why that upset as much as it did. It was only an email, but for some reason I was very distressed by it. I know that issue wasn't very entertaining, I'll try to fuck shit up the rest of the semester to mix things up.

An Inglorious Basterd of a movie

I went to see Quentin Tarantino's new film Inglorious Basterds on Friday and I was supremely disappointed--also consider that my expectations for the film were not particularly high.

Admittedly, I haven't been enormously impressed by Tarantino's recent work. While I thought Kill Bill 2 was a surprisingly moving and dynamic action film, I wasn't equally moved by Kill Bill 1, which I thought was too self-consciously derivative.

Unfortunately, I think Inglorious Basterds succinctly demonstrates the shortcomings increasingly inherent in Quentin Tarantino's homage-centric, spaghetti western appropriating, narrative fragmenting, cartoonishly violent approach.

The Good

Brad Pitt: As the implacable Lt. Aldo Raine, Pitt is a comedic revelation.

The look: As with other Tarantino films, I thought Inglorious Basterds was beautifully well-made, occasionally showcasing moments of scintillating visual power. I might even suggest that this film contains Tarantino's most inspired direction since Pulp Fiction.

Supporting cast: Truthfully, all of the performances in this film were at least competent, and some were exceptional, such as Christoph Waltz as 'Jew hunter' Hans Landa.

The Bad

I can't exactly categorize what I thought was wrong with this movie, at least not in multiple sections. Mainly, I thought Quentin Tarantino's trademark chronologically disorganized narratives did not serve this film well. The film's fragmented structure made any attempt to develop characters, or for that matter connect to the characters, virtually impossible. As a result, Inglorious Basterds was little more than a collection of isolated sequences, and although those sequences were at times very interesting, their lack of congruity with the rest of the movie was unbelievably frustrating.

The Ugly

SPOILERS-SPOILERS-SPOILERS-SPOILERS-SPOILERS-SPOILERS-SPOILERS!!!!!!!!!!






One aspect of this film that never settled right with me was how brazenly Tarantino altered history. In case you're not aware, Basterds is not a non-fiction film. There was no such group of Jewish American soldiers dropped behind enemy lines in France to conduct guerrilla operations against the Nazis, but that historical transgression was necessary for the movie and I thought even interesting (if only there had been more of it that is).

Later in the film, however, the whole of the Nazi high command, including Hitler, is killed at a movie premier in Paris. For some reason, I couldn't accept the film's essential alternate history conceit. So, I sat in the theater watching the beautifully violent and expressive deaths of Adolph Hitler and other war criminals with my mouth wide open with incredulity, not understanding completely how everyone was so entertained by a half-baked fever dream. Certainly, I felt some level of self-righteous glee at seeing the world's most notorious mass murder exploded with bullets, but I couldn't help but thinking that it was both morally and intellectually dishonest.

Top 100 Films: 90-81

90. Naked Lunch (1991, dir. David Cronenberg)
Based on the famously cryptic William Boroughs novel, Naked Lunch is an utterly original and fascinating film that somehow manages to be both grotesque and captivatingly sensual.
89. On the Waterfront (1954, dir. Elia Kazan)
Made after his controversial testimony to the HUAC committee, Kazan's film seemingly extolls the value of informing while characterizing unions as thuggish, cold-blood crime crime syndicates. This perception of the film is not necessarily wrong, only irrelevant. If one only sees this movie as a solipsistic attempt at self-exculpation, than certainly it does not seem as impressive, but when I look more deeply at this movie I see an astonishingly well-acted and humanistic morality tale.
88. The Player (1992, dir. Robert Altman)
Robert Altman's singularly uncontrolled style lends itself perfectly to this darkly satirical take on Hollywood. It's combination of scathing wit and extistential angst make it a truly rare and precious comedy.
87. Letters from Iwo Jima (2006, dir. Clint Eastwood)
Eastwood's indelible vision underlies the evocative power of this rendering of the Battle of Iwo Jima from the Japanese perspective.
86. There Will Be Blood (2007, dir. Paul Thomas Anderson)
Anchored by Paul Thomas Anderson's spellbinding direction and a haunting performance by Daniel Day Lewis, this was the best of film of 2007.
85. Ed Wood (1994, dir. Tim Burton)
A brilliantly funny and moving look at one of American cinema's most eccentric-and bad-artists.
84. The Color of Money (1986, dir. Martin Scorcese)
This Scorcese-directed sequel to The Hustler is a dynamic visual masterpiece containing one of Paul Newman's most affecting performances.
83. Quiz Show (1994, dir. Robert Redford)
A superbly crafted docudrama, which illuminates the ethical complexity of a media-pervaded American society better than nearly any film.
82. Shattered Glass (2003, dir. Billy Ray)
Hayden Christiansen gives a surprisingly vulnerable and enigmatic performance as disgraced journalist Stephen Glass, who fabricated dozens of stories during his time at the New Republic. Although Christiansen performs admirably, the real standout in this film is Peter Sarsgaard, who is outstanding as Glass' embattled editor.
81. A Few Good Men (1992, dir. Rob Reiner)
With memorable performances from the entire cast and tautly adept direction by Reiner, this is the most purely entertaining courtroom drama ever produced.

Top 100 Films

Recently, a friend asked me to give her a list of my favorite films. Now, I had already a list compiled, but it had been months since it had been updated so I decided to give it a full-blown make-over. I started by making a huge list of films I loved and then narrowed to a raw list of 100. Then, starting from 100, I began ordering the list to 1. I decided to present the new list on my blog ten selections at a time. Here it is:

Honorable Mentions (these were the last five films eliminated to get to the list of 100)

105. Escape from New York (1981, dir. John Carpenter)
John Carpenter's dystopic thriller is an imminently entertaining and compelling film that I would argue has been more influential than it is given credit for.

104. Peeping Tom (1960, dir. Michael Powell)
This unsettling and well-directed film has rightfully risen from obscurity in recent years, due in no small part to the efforts of filmmaker Martin Scorcese. It's a brilliantly disturbing portrait of a man's tortured psyche, but I happen to believe that Hitchcock's Psycho is a more effective depiction of a voyeuristic killer.

103. Little Children (2006, dir. Todd Field)
When one thinks of the best filmmakers of the 21st century, certain names probably come to mind: Clint Eastwood, Martin Scorcese, Peter Jackson, Danny Boyle, Paul Thomas Anderson. I might suggest that Todd Field should be considered in that group for the two films he has directed since 2000, In the Bedroom and Little Children. Field's second film, Little Children, is an bracingly insightful and moving look of the longing emotional dysfunction of modern suburbia.

102. Salvador (1986, dir. Oliver Stone)
In some ways, this highly independent feature may contain Stone's most effective political statements as a filmmaker. The film, follows world weary combat journalist Richard Boyle as he journeys through war-torn El Salvador and witnesses the carnage being inflicted on population by a United States-backed right-wing regime. Directed with stunning immediacy by Stone, this film communicates more than any other I've seen the folly of Reagan's South American foreign policy.

101. Manhunter (1986, dir. Michael Mann)
Unfortunately ignored when it released in 1986, Mann's film might be one of the most intelligent and richly made serial killers films ever.

Now for the actual list:

100. This is Spinal Tap (1984, dir. Rob Reiner)
Undoubtedly, one of the most purely funny and influential comedies ever made, this film solidified the mockumentary as a vibrant film genre.

99. The Wizard of Oz (1939, dir. Victor Fleming)
Although this film contains a childish coyness representative of its time, it's difficult to deny how restlessly creative and entertaining this movie is.

98. The Fisher King (1991, dir. Terry Gilliam)
The first half of this film is close to being a perfect fantasy comedy, containing a collection of wonderful, brave performances from Jeff Bridges, Mercedes Ruehl, and Robin Williams, and outstanding direction from Gilliam. Although personally I think the film falters slightly in the second half, it's still a remarkable movie.

97. Belle de Jour (1967, dir. Luis Bunuel)
Directed by the so-called father of surrealist cinema, Belle de Jour is a superbly artful and innovative work.

96. Beetle Juice (1988, dir. Tim Burton)
A wildly entertaining and imaginative comedy with a fantastic performance by Michael Keaton.

95. Serpico (1973, dir. Sidney Lumet)
Despite Charlie Day's brilliantly ridiculous impersonation of Pacino's Frank Serpico in "It's Always Sunny in Philadelphia", there should be no mistake: Sidney Lumet's film is gritty and powerfully absorbing and deserving of more praise than it receives.

94. The Truman Show (1998, dir. Peter Weir)
With Jim Carey's finely nuanced, touching, and completely funny performance, The Truman Show succeeds as one of the best and most interesting comedies of the 90s.

93. Dead Ringers (1988, dir. David Cronenberg)
This is possibly Cronenberg's most adult film that still contains his tell-tale themes of bodily invasion and profound human alienation. It's stunningly well-realized and Jeremy Irons dual performance is phenomenal.

92. The Matrix (1999, dir. Andy and Larry Wachowski)
Although the Wachowski brothers never lived up to the promise of their first features, there's no denying this film is both groundbreaking and wonderfully thrilling.

91. Million Dollar Baby (2004, dir. Clint Eastwood)
This emotionally profound and heartbreaking film, directed with breathtaking poignancy by Clint Eastwood, is certainly one of the best films of the 21st century.

Next selection will be 90-81.