(U-WIRE) SALT LAKE CITY – They took convention and ran with it. Embraced it. Turned it on its ear. Pissed on it. Broke it. Put it back together again. Humpty Dumpty was easy by comparison.
The filmmakers who defined 2007 took cinema into their own hands. (Cue Movie Trailer Guy voice): In a world where audiences are conditioned to the point of misunderstanding, where responses are virtually pre-determined, when hope was lost, a few brave men dared to stand up … and fight back. (And cut.)
Contrary to the beliefs of noted critic James Berardinelli, among others, it was one of the best and most interesting years in quite some time. Sure, the mold has been broken and re-broken (or at least cracked) time and again over the years, but rarely has there been a year when so many filmmakers have taken huge risks-often doing so under the radar, it seems, buried beneath the white noise, caught up in the righteous indignation of railing against the annual slate of blockbuster sequels.
The filmmakers who defined 2007 rejected formula and Oscar-trolling normalcy, daringly violating our expectations-to the frustration of those who don’t like their assumptions subverted, to the glee of those who do-with even the most shopworn of genres.
The biopic. The historical drama. The action movie. The suspense thriller. The romantic comedy. The slasher movie. Turns out, they’re a bit more malleable than we all thought.
1. “The Assassination of Jesse James by the Coward Robert Ford” (directed by Andrew Dominik)
History is just stories, and Andrew Dominik refuses to simply retell old stories in “The Assassination of Jesse James by the Coward Robert Ford,” a masterpiece of mood and character. Dominik doesn’t simply present his titular characters — the larger-than-life James (Brad Pitt), the lower-than-dirt Ford (Casey Affleck) — and throw them into conflict. Instead, he focuses intently on the two, both as men and as myths — not who they were, but who they might have been and who the history books said they were. “The Assassination” is a slow waltz toward death and destiny, an epic character study contrasting a Jesse James crippled with paranoia and fatalism by his own reputation, and a Robert Ford, obsessed with the great outlaw, who seethes with insecurity, resentment and fear.
Brought to another level by Roger Deakins’ jaw-dropping photography and Nick Cave’s haunting, dreamlike score (high-pitched bells ring in the film, a precursor to the spectre of death that hangs over the film’s characters), “The Assassination” is fascinating in the way it puts its pieces in order — slowly, methodically — paying off with a final sequence that brings everything full-circle in sudden, stunning poignance.This is not a shoot-em-up, and it has more on its mind than simply the killing of an American legend. When that scene finally comes, consider the way it plays out-not as an action sequence, not in a sudden eruption of violence, but with mournful calculation — as if the characters are certain they are simply acting out what has already been pre-determined. That the film goes on for another half-hour — its most important half-hour — is telling in itself: It is not a single act that is at issue, but the ultimate fates of two different men. This is Dominik’s second feature film, but it’s safe to say that few filmmakers would have had the guts to make this film in this way. “The Assassination of Jesse James by the Coward Robert Ford” has been thrown under the bus by its studio — probably wary of its mainstream appeal — but the joke is on them: what they had was the best film of the year.
2. “There Will Be Blood” (directed by Paul Thomas Anderson)
From the jarring disquiet of the 2001-inspired opening to the final fit of madness in which it ends, Paul Thomas Anderson’s “There Will Be Blood” is a complete visceral reinterpretation of both American history and the cinematic form. Like the “Dawn of Man” sequence in Kubrick’s now-legendary opus, “Blood” opens in primitive conditions with misanthropic prospector H.W. Plainview (the inimitable Daniel Day-Lewis) mining for silver with now-archaic tools and gradually building himself into a titan of the oil industry.
Twenty years from now, we will likely look back on this film — and Anderson’s work in general (“Magnolia,” “Boogie Nights,” “Punch-Drunk Love”) — as the dawn of a new wave of filmmaking. “There Will Be Blood” proves beyond all reasonable doubt that Anderson has inherited the mantle of the great ’70s generation of American filmmakers. It is dark, passionate, brutal and tragic-and, in its hyper-stylized manner (Jonny Greenwood’s powerful, offbeat score, for one), expresses insights into the American soul better than just about any documentary or tell-all ever could.
3. “Knocked Up” (directed by Judd Apatow)
Diablo Cody has stolen Judd Apatow’s thunder. The story of the year, it seems, has been the former stripper’s rise to prominence with the teen pregnancy dramedy “Juno.” Yet, Apatow’s “Knocked Up” remains the best pregnancy movie of the year. More honest and revealing, “Knocked Up” shows the same empathy and grace that made Apatow’s “The 40-Year-Old Virgin” and his TV show “Freaks and Geeks” so appealing.
It’s no secret that comedies are routinely overlooked this time of year, but this, for all its raunch and male childishness (before the boy has to inevitably grow up), is closer in tone and quality to “Sideways” or Billy Wilder’s classic rom-coms than the influential sex comedies of the ’80s with which it has been lumped. This is not a great “guy” movie, this is a great movie, period — as emotionally revealing as it is childish, as painful as it is funny.
4. “No Country for Old Men” (directed by Joel and Ethan Coen)
Dark, sardonic, suspense movie? The Coens have been there and done that, haven’t they? “Blood Simple.” “Fargo.” But paired with the pessimism and relentlessness of Cormac McCarthy? Now, that’s a different story. The result is a piece of classic filmmaking that both violates and exceeds our expectations with each uncovered layer, each passing scene. The satchel of $2 million sets the wheels in motion for one of the most gripping extended chases in cinematic history, but it is merely the MacGuffin.
As is often the case with the Coen brothers (too often written off by some folks as mere ironists), more is at stake thematically. Neither simple chase thriller nor simple allegory, “No Country for Old Men” is a visceral examination of human nature-or the inexplicability of such.
5. “I’m Not There” (directed by Todd Haynes)
“Ray” and “Walk the Line” can have their Oscars. What they were lacking was insight, creativity, balls.
Todd Haynes’ “I’m Not There” has balls and has them in spades-even if one of his six versions of Bob Dylan is, in fact, a woman (Cate Blanchett, transcending mere imitation). Taking Godard to heart and utilizing a full vocabulary of film techniques to create something unlike any other biopic, Haynes has crafted a portrait of Dylan as only he could craft one-impossible to pin down, impossible to define in simple terms. In six drastically different narratives, the six Dylan proxies-interchanging in a free-form style-present the idea that, contrary to what previous musical biopics may lead us to believe, one cannot “understand” anyone with tags or labels or even his or her own words. The relationship between celebrity and media-or celebrity and spectator-is a shallow one. In getting that point across, “I’m Not There,” strangely enough, finds some insight-maybe not into the real Dylan, but into the enigma that is Dylan.
6. “Grindhouse” (directed by Quentin Tarantino and Robert Rodriguez)
Quentin Tarantino and Robert Rodriguez have long held to the school of thought that you should make movies for yourself. Or rather, make movies for like-minded audiences.
They’ve also never shied away from fulfilling their own ideas about what they want-even if it’s 1970s kung-fu/Spaghetti Western hybrids that few
in this generation can completely get (“Kill Bill”). Or, in the case of “Grindhouse,” exploitation B-movies from their childhood. Cheap zombie movies with cheap blood. Silly slasher movies.
If nothing else, no one can deny that the two filmmakers know their material inside and out. Despite what box-office numbers suggest, putting two 90-minute films together-complete with fake trailers and commercials-was a stroke of genius. It’s not their fault that some people (no joke) didn’t understand that “Grindhouse” was a double-feature and ended up leaving after one half. The brilliance of their method is still there-from the stone-faced irony of Rodriguez’s “Planet Terror” to the complete deconstruction of both the slasher genre and the slasher himself in “Death Proof.” “Grindhouse” was an indelible experience that cannot be compared to anything else that hit theaters this year.
7. “Manda Bala” and “12:08 Bucharest” (tie) (directed by Jason Kohn and Corneliu Porumboiu, respectively)
Two political films that take decidedly apolitical forms, the documentary “Manda Bala” and the absurdist Romanian comedy “12:08 Bucharest,” were among the best and most overlooked movies of the year, despite both finding fascinating ways to put socio-political issues into new contexts.
“Manda Bala,” directed by Errol Morris protege Jason Kohn, takes a stab at Brazilian corruption-and, thus, power and corruption in general-with a series of cross-cut vignettes examining the booming kidnapping industry; a dubious frog farm; a seemingly untouchable politician; a plastic surgeon who specializes in replacing detached ears; and the sudden trend of bullet-proofing cars. Scary, disturbing and presented with inscrutable detail and energy to spare, “Manda Bala” is a telling portrait of the realities of corruption. Two scenes, in particular, say it all: The camera focuses on a set of mansions, including one that houses a prominent politician. It slowly pans out to reveal that the slums-dilapidated shack on top of dilapidated shack-are right next door.Then, at the end, a professional kidnapper-hidden in a ski mask-who has been interviewed and served as one of the film’s many voices, explains, in all earnestness, “Maybe one of my kids will grow up to be president … and fix all this mess.”
On the other side of things, Romanian filmmaker Corneliu Porumboiu takes a radically different approach to Romania’s politics in “12:08 Bucharest.” The vast majority of the film depicts a local television show-from the perspective of the camera, which apparently (and hilariously) doesn’t have a competent operator-in a small Romanian town as two “scholars” and a moderator discuss whether or not there was a revolution in Bucharest 16 years ago.
That’s the entire concept? Yes, folks-that’s the entire concept. It is played with such conviction and inexplicable humor that it has to be seen to be understood. A sharp observational look at political discussion, inaction and indecision, “12:08 Bucharest” solidifies Romania as a slowly growing cinematic heavyweight.
8. “Hot Fuzz” (directed by Edgar Wright)
When one can take a satirical, self-conscious action movie-made by the guys who, admittedly, have seen “every action movie ever made”-sell it to audiences who know action movies like the back of their hands, and still manage to surprise us all, there has to be some genius in that. Edgar Wright and Simon Pegg-who brilliantly deconstructed zombie movies with “Shaun of the Dead”-may have outdone even themselves with “Hot Fuzz,” a loving homage to action that takes every possible convention of the genre in completely new directions.
Everything is telegraphed from the beginning: “Arrest me! I’m a slasher! And I must be stopped!” exclaims the overly charismatic Simon Skinner (Timothy Dalton). Now, is there any doubt that he is, indeed, the bad guy? Of course not. In fact, Wright and Pegg make every layer of the plot obvious to the point of absurdity-and then, in an inspired bit of genius, completely pull the rug out from under us. Everything is completely and obviously what it seems…only it isn’t. What it is, though, is a shot in the arm that action movies haven’t had since Tarantino.9. “Ratatouille” (directed by Brad Bird)
Pixar’s “Cars” last year was a disappointment-one of the few offerings from the studio that can say so. With the great Brad Bird at the helm for this summer’s “Ratatouille,” all was perfect once again. A fairly simple story on its surface-a rat with an uncommon culinary talent and a teenage klutz who needs a job-team up to make the finest delicacies in France. All while under the nose of the greedy, nosey head chef.
Bird’s talent — he previously made “The Iron Giant” and “The Incredibles,” and got his start on “The Simpsons” — transcends all the story’s perceived limitations. The result is a surprisingly witty comedy with warmth and visual personality rarely seen from an animated film — or any film, for that matter.
10. “Before the Devil Knows You’re Dead” (directed by Sidney Lumet)
After more than a decade of pure irrelevance (“Gloria,” anyone?), Sidney Lumet-old-school helmer of such films as “12 Angry Men,” “Network,” “Dog Day Afternoon,” “Fail-Safe,” “Serpico” and “The Verdict” — returned to prominence in shocking form with the savage noir, “Before the Devil Knows You’re Dead.”
Starring Philip Seymour Hoffman and Ethan Hawke as brothers, both hard up for cash, who decide to rip off their parents’ jewelry store, the film utilizes the talent of its actors and the convenience of its plot elements to unlock the power of long-held resentment, jealousy, vice and torment.
Like “The Departed” a year ago, “Before the Devil Knows You’re Dead” bristles with anxiety and emotional electricity before it finally-and inevitably-crescendos in mad Shakespearean tragedy.
HONORABLE MENTIONS
Naturally, in a year this good, there are more really good movies than just these. In fact, it comes as a shock even to me that a few of these didn’t make the final cut for Top-10. In their honor, here are the rest of the best of 2007.
Tim Burton’s “Sweeney Todd: The Demon Barber of Fleet Street” was a return to form for the idiosyncratic director, as he makes an agile transition to the musical form with a deliciously sardonic and gleefully bloody take on Stephen Sondheim’s musical.The documentary “The King of Kong: A Fistful of Quarters,” about two gamers competing for the all-time record in “Donkey Kong,” finds a hero/villain dynamic so perfect, it wouldn’t even be plausible if this weren’t a true story.
The great edith Piaf biopic “La Vie en Rose” is anchored by an essential performance by Marion Cotillard. Not as ambitious as “I’m Not There,” but far more creative than others in this genre, this operatic character study is also a triumph of cinematography and production design.
Danny Boyle’s gripping space opera “Sunshine”-while suffering from an erratic transition in the third act-is a beautiful meditation on the ethics of man’s ability to play God. (The fact that this film wasn’t on the Oscar shortlist for special effects was a travesty.)
“The Lives of Others,” featuring the late Ulrich M’uuml;he’s heartbreaking final performance, is a thought-provoking account of loneliness, oppression and sacrifice in East Berlin during the 1980s.
Satoshi Kon’s visionary “Paprika” and the return-to-form “The Simpsons Movie” were two of the best offerings from a strong year in animation.
David Fincher’s astonishingly dense “Zodiac” and Tony Gilroy’s gripping and accomplished “Michael Clayton” took mystery and suspense in new directions.
The little-seen character study-cum-heist movie “The Aura” was one of the highlights at 2006’s Sundance Film Festival, but will unfortunately be the final film from Fabi’aacute;n Bielinsky, who died at the young age of 47.
Judd Apatow and Jake Kasdan savaged the biopic-more blatantly than did Todd Haynes-with the hilarious “Walk Hard: The Dewey Cox Story.” Joon-ho Bong did much the same with American imperialism in
the form of the monster movie, “The Host.”
Julie Taymor’s endlessly ambitious, one-of-a-kind musical “Across the Universe” is a hit-or-miss affair, but one of the most original and thrillingly creative films of recent years.
“Gone Baby Gone” was an impressive directorial effort from failed A-lister Ben Affleck, while his good buddy Matt Damon once again kicked ass in Paul Greengrass’ stunning “The Bourne Ultimatum.” Finally, although release dates are up in the air, this year’s Palm d’Or winner “4 Months, 3 Weeks ‘ 2 Days”-yes, another Romanian film-was a worthy addition to Cannes’ impressive history.SPECIAL MENTIONS
Just in case they never get released stateside, two of the best films I saw all year were Joachim Trier’s “Reprise”-a brilliant take on youthful passion and folly, appropriately influenced by the French New Wave-and Roy Andersson’s brilliant absurdist comedy about human grief, “Du Levande (You, the Living).”
Listen up, U.S. distributors: Pick up the rights to these two f***ing movies!
Also worth checking out: “Away from Her,” “Superbad,” “Juno,” “The Lookout,” “Harry Potter and the Order of the Phoenix,” “Interview,” “Hairspray,” “Once,” “Lake of Fire,” “My Kid Could Paint That,” “Persepolis,” “The Darjeeling Limited,” “Rescue Dawn,” “Rocket Science,” “The Orphanage,” “Crazy Love,” “Enchanted,” “No End in Sight,” “Bee Movie,” “Margot at the Wedding,” “The Great Debaters,” “Sleuth,” “Into the Wild,” “American Gangster,” “Shoot ‘Em Up,” “3:10 to Yuma,” “The Wind That Shakes the Barley,” “The Astronaut Farmer,” “Charlie Wilson’s War.”