The Top Ten Best Films of 2009 (Pt. 2 of 2)

1. “Where the Wild Things Are”




Moving, melancholic, and emotionally truthful, “Where the Wild Things Are” is the best film of 2009 and an instant classic. Capturing the highs and lows of childhood, Spike Jonze taps into an unshakable emotional truth that cannot be faked. Every frame of this film is marked with intense feeling and creative passion. Hats off to Jonze and co-screenwriter Dave Eggers for lengthening Maurice Sendak’s original story, while retaining the book’s simplicity. And while the film’s plot is simplistic, the emotions in the movie are complex, messy, and unflinchingly honest. Jonze has undoubtedly created true masterpiece. But, more importantly, he has created a film that means a lot to me. I will forever cherish this wonderful piece of personal filmmaking.






2. “The Hurt Locker”




A phenomenal mix of adrenaline-pumping action and believable, engaging characters, “The Hurt Locker,” Kathryn Bigelow’s Iraq War epic, is a triumphant directorial achievement. Bigelow, who directed cult classic “Point Break,” delivers an unbearably tense and devastatingly realistic picture, depicting the horrors of war without slapping on any explicitly stated political messages. Bigelow, working off a fantastic script by Mark Boal, merely shows the day-to-day life of three bomb tech soldiers. Orchestrating several superb action sequences, Bigelow not only rattles your nerves, but also engages your emotions through her sharp character focus. Bigelow also understands the geography of her sequences. In many supposed “war epics,” the action is so incoherent that the audience has no clue what the heck is going on. This is not the case in “The Hurt Locker.” Bigelow understands the immediacy of her action sequences and perfectly frames them to ensure the audience knows exactly what is going on. Thus, the film drips with intensity. This intense suspense, created by a seamless combination of action and character, makes “The Hurt Locker” proof of Kathryn Bigelow’s immense talent.





3. “Inglourious Basterds”



Filled with memorable characters and set pieces, Quentin Tarantino’s “Inglourious Basterds,” a film that defies any conventional genre description, works on several different levels. Whether viewed as a Jewish revenge fantasy, or a treatise on the persuasive power of cinema, Quentin Tarantino’s self-proclaimed masterpiece is the most unique film of the year. Boosted by meticulously crafted dialogue and excellent music choices, the film boasts several memorable sequences. From Hans Landa’s interrogation of the French milkman to Shoshanna preparing for her revenge to the tune of David Bowie’s “Cat People,” hardly a scene falls flat. The film also contains several great performances. Christoph Waltz perfectly embodies Hans Landa’s devilish charisma and malicious cleverness. Melanie Laurent captures Shoshanna’s anger and vulnerability with great subtlety. And Diane Kruger amps up Bridget von Hammersmark’s movie star persona, while still capturing the humanity of the character. But, of course, none of these performances would be praise-worthy if Tarantino had not crafted such interesting, layered characters. To conclude, “Inglourious Basterds” stands out as one of 2009’s greatest films from a truly original, insanely gifted, auteur.

4. “Duplicity”


Tony Gilroy’s “Duplicity,” a quick witted spy movie, delights with clever dialogue and suspenseful set pieces. Starring Julia Roberts and Clive Owen as two love-struck corporate spies, the film oozes with charm. While the film’s primary concern is the couple’s spy romance, it also cleverly pokes fun at the competitive nature of the corporate world. In the best opening credits sequence of the year, two corporate CEOs, played with cutting satire by Paul Giamatti and Tom Wilkinson, duke it out at an airplane tarmac. But, this is just one of many great sequences in “Duplicity,” all of which feature a fantastic original score from compose James Newton Howard. Smartly edited and superbly lit, “Duplicity” zips along with comic precision and cinematic pizzazz. Pure filmic fun!







5. “A Serious Man”


An impeccably crafted morality tale, “A Serious Man,” the latest from the great American directors Joel and Ethan Coen (“Fargo,” “No Country for Old Men”), entertains its audience with its deliciously dark humor, while simultaneously confounding them with its deep, often open-ended, themes. However, it is the film’s interpretative thematic queries that make it so fascinating. The film follows Larry Gopnik (Michael Stuhlbarg), a Jewish Physics professor, as his life spins out of control. His wife (Sari Lennick) leaves him for his patronizing colleague (Fred Melaned). His daughter is saving up money for a nose job. An unhappy physics student bribes him for a better grade. And his hillbilly neighbors are encroaching on his property line. All of these problems, ranging from trivial to tragic, make Larry question God’s presence in his life. Seeking answers to his run of bad luck, Larry just wants to know what it all means. By the end of the movie, audiences may be asking themselves the same question. This is not a bad thing. Interpretation and ambiguity, when used correctly, deepens and enriches film. The Coens always challenge their audiences with daring, original work, and “A Serious Man” is no exception.

"Duplicity" Review

I reviewed "Duplicity" before I started the blog, but I still want to share my review. For me, "Duplicity" is the number two film of the year thus far. And it worked just as well, if not better, on a second viewing. Unfortunately, the film tanked at the box office and not many people got a chance to see it. It's out on DVD now and is well-worth your time. I had to slightly alter my review due to both changes in opinion and stylistic choices I made in my review at the time. It's funny. I wrote this review six months ago, and I thought it was my best. And after reading it over, I am appalled by some of my stylistic decisions. Anyway, here's my original review of "Duplicity" (with a few slight alterations).


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About midway through Tony Gilroy’s spy thriller, “Duplicity,” corporate spy Claire Stenwick says to Ray Koval, her lover and rival, “Admit it, you don’t trust me either.” This clever quip underlines the film’s main topic, trust – particularly in relationships. And directors-screenwriter Gilroy successfully conveys this idea in a fun, stylish, clever thriller.

In Duplicity , Stenwick (Julia Roberts) and Koval (Clive Owen), two ex-government intelligence agents, team up to take down two pharmaceutical companies vying for a revolutionary new product. With Stenwick on one side and Koval on the other, the plan seems flawless, but much double-crossing and finger-pointing ensues as the con becomes more involved and the stakes higher.

While the film’s plot is complex and twisty, one never gets frustrated because the film does not take itself too seriously. And when the answers do come, they are clever and add to the film’s atmosphere. Much credit should go to Gilroy, who balances the complexity and the light humor of the film almost flawlessly. One scene near the film’s ending upsets this balance, but Gilroy is able to compensate for this small error with a pitch-perfect final scene.

Part of what makes the film so fun is the undeniable chemistry between Roberts and Owens. While Owens can be a tad dull at times, he is almost always charming. And Julia Roberts proves she still has the chops to carry a movie. She shines in both her comedic and dramatic scenes. Paul Giamatti and Tom Wilkinson also shine with delightful performances as the two sleaze bags in charge of the rival corporations. The opening credit sequence featuring the two rivals attacking each other in slow-motion is a joy to watch and adds even more flair to an already stylish film.

One sticking point that many will have with the film is that it is too talky. While the film does feel verbose, it is still energized and engaging. One sequence – with almost no violence – in which one corporation is attempting to steal the other’s secret, is more suspenseful than most modern action movies. While many filmmakers think that suspense is created by constant action, the minds behind “ Duplicity” realize that suspense comes from the stakes of the characters, rather than how many bullets are being fired at them. Accenting the film’s suspenseful, twisty plot is James Newton Howard’s upbeat, jazzy score. Also of note is Robert Elswit’s cinematography which displays the beauty of the film’s various locales. All of these elements combine to make a fun, fluid, and truthful film experience.

A-

Character Actor Profile: Tom Wilkinson

Have you ever seen someone in a movie, swear that you have seen them before, but cannot quite put your finger on the actor's name? You're not alone. So, to bring these underappreciated actors and actresses to forefront, I've decided to start a series highlighting some of my favorites. In this series, I will pick out three different films starring my character actor of choice and review his or her performance.



My first pick: Tom Wilkinson



Mr. Wilkinson has a very extensive filmography (see: http://www.imdb.com/name/nm0929489/). From horror films ("The Exorcism of Emily Rose") to light English comedies ("The Importance of Being Earnest") to comic book adaptations ("Batman Begins"), he seems to sneak himself into several films a year - almost like a mouse infiltrating a neighborhood of different houses, except Mr. Wilkinson is far from unwanted.

In Tony Gilroy's "Duplicity," Wilkinson plays Howard Tully, a corporate executive for a major pharmaceutical company. It does not take long for one to notice how much fun Wilkinson is having with the role. He embodies Tully with a sense of crafty calmness, an almost perfect contrast to Paul Giamatti's Richard Garsik (Tully's corporate enemy) who is an sleazy, dim-witted neurotic. Wilkinson gives you the feeling that Tully is in complete control - without an ounce of worry. This characterization is a joy to watch and - more importantly - makes perfect sense once the film has made its final reveal.



In 2007's "Michael Clayton" - also directed by Tony Gilroy - Wilkinson plays Arthur Edens, a lawyer at a well-established law firm. But, like most Tom Wilkinson roles, that would be just a bit too normal. So, of course, Wilkinson's character is suffering from a psychological breakdown after investigating a case involving a chemical company. Wilkinson nails the obsession of the character. His performance feels BIG, but never devolves into histrionics. The film's opening - a monologue by Wilkinson as the camera is racing through the law firm - is almost chilling in its intensity and brings the audience into the film immediately. And the intensity hardly ever lets up - especially when Wilkinson is on screen.

Perhaps Wilkinson's most critically acclaimed performance isin Todd Field's "In the Bedroom." In the film, Wilkinson plays Matt Fowler, a man stricken with grief after the death of his son Frank. Wilkinson - along with Sissy Spacek who plays his wife - beautifully convey the grieving process. The interactions between Wilkinson and Spacek are scarily realistic. Instead of going completely over-the-top, Wilkinson - with help from the great screenplay - depicts Matt's grief through simpler, quieter moments where the character is clearly just trying to get his son's death off his mind. This performance is one of Wilkinson's few leading roles, and it is easily one of his best.

So, what do you think? Are you with me in praising Wilkinson for his versatility, or do you think he is massively overrated? Are there any other character actors that you feel don't get enough praise? Feel free to answer these questions in the comments.

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