MIKE'S 100 BEST FILMS OF THE DECADE -- TOP 10 (In Order!)

Here it is! My ten absolute favorite movies of the last 10 years.

10) LOVE ACTUALLY (2002) -- (D./W. Richard Curtis)

This is the romantic comedy to end all romantic comedies. It is potent, man. There's like a dozen inter-twining love stories in this thing, and they all work. And it's not just about love in the sense of romance. It's also about love between friends, or love of family. In some instances it's about the lack of love, and the destructive power of love. Even when the movie succumbs to naked R-rated moments it never feels cheap. It's that charming.
The cast is amazing, featuring just about every great actor in Brittan, and they all play their parts perfectly. Even with so many different stories happening at once it never over-extends itself. It has the perfect balance of humor, romance, and drama. It's pretty flawless, about as good as you can make a romantic comedy. Basically, if you can't watch this movie and feel good, you probably don't have a soul.


9) ROGER DODGER (2002) -- (D./W. Dylan Kidd)

Roger is in advertising. His job is to make people feel inadequate about themselves in some way, and the only way to fill that void is to buy what he's selling. This is his social life as well. He's a player, and the product he's selling is himself. He's made a career of studying people and what they want, and therefore he thinks he understands them. To some degree he does, but not as well as he thinks. When his 16 year old nephew Nick shows up and wants to learn the art of meeting women, Roger sees it as a call to action. The film revolves around one night where Roger teaches Nick the ropes. As much as Roger thinks he knows all the angles of manipulation, he never goes below the surface, and seems uncomfortable when Nick's vulnerability, and genuine nature are more intriguing to women. The hypocrisy, and pathetic reality of Roger's lifestyle become more and more apparent as the night goes on.
This is a great movie with great performances. Some scenes go on for long stretches of time, but never get boring. The dialog and characters always keep things compelling. It's well written, well acted, and well directed. Dylan Kidd and Campbell Scott get huge praise for this one.


8) LET THE RIGHT ONE IN (2008) -- (D. Tomas Alfredson, W. John Ajvide Lindqvist)

This is a film about two lonely children finding each other. Oskar is the product of divorce where neither parent seems to care about him. The other is a vampire named Eli. This movie goes to very dark places. It is stark and washed out, almost colorless. The exteriors are as bleak as the character's interiors. It is unlike any vampire movie ever made, especially the teeny-bopper vampire films of late. It is a love story. It is a story of desperation and a longing for companionship. It is also a horror movie. It's frightening and disturbing, while being oddly romantic and heartwarming. It's a sick and beautiful film.


7) THE DARK KNIGHT (2008) -- (D. Christopher Nolan, W. Christopher Nolan, Jonathan Nolan)

This is how action movies should be made (Michael Bay, take note you retard). Christopher Nolan has the most movies in my top 100. In my opinion this is his decade to own. "The Dark Knight" is the most audacious, ballsy, sequel to anything I've ever seen. It's easily the most superior sequel ever made. Forget "T2", "Aliens", "Godfather II", or "The Empire Strikes Back." This one takes it's source material and goes to a whole new level. It becomes a larger, more complex story. Heath Ledger is as good as the acclaim he's received. The Joker is a more brilliant bad guy in this film than previous incarnations. He's not just out to cause chaos, he's out to test Batman and Harvey Dent, and force them to compromise their values in order to defeat him. Of course, Harvey fails and Batman doesn't. But it doesn't end happily, and Batman's determination not to compromise ultimately costs him. In a way, the film argues that the morality of the good guys ultimately favors the bad guys. Aaron Eckhart is terrific yet under valued as Harvey Dent. His performance is awesome. Gary Oldman as Gordon is also great. The action in the movie is fantastic. The Bat-Pod chase is all time. The movie is long but it's lean. No fat on the bones! This is a powerful, engaging, bad-ass spectacle of an action movie. They don't come any better than this.


6) MICHAEL CLAYTON (2007) -- (D./W. Tony Gilroy)

I love this movie. It's a hard film to describe. It's a morality tale about lawyers but it's not a legal thriller. That's all just a back drop for an engaging character study of a man, who despite being a successful lawyer, has failed in all areas of his life. He has achieved nothing but compromise in his career. He has a gambling problem. He's divorced and distant from his son. The restaurant he opened failed and has left him broke. On top of all this, his friend and colleague (played brilliantly by Tom Wilkinson) has gone nuts and is threatening to expose the huge corporation he was representing for the law firm. It all leads up to a powerful and unexpected third act twist that got me all fired up. It's a moment of heroics that is applicable to reality, not the movies. The best part about the the end of the film is that even though Michael Clayton does the right thing, and takes a moral stand, he doesn't feel good about it. It suggests that he has just destroyed his career, and possibly his life, to make a point. But it's unclear whether or not it was worth it. The film's ambiguity is what makes it great. I'm glad they end it where they do because I'd hate to see what happens to this guy next.


5) SHAUN OF THE DEAD (2004) -- (D. Edgar Wright, W. Edgar Wright, Simon Pegg)

The single best romantic zombie comedy made in the last ten years. Endlessly quotable. I have never tired of this movie. One of the few certainties I have in life is that at any moment I can put on "Shaun of the Dead" and it will make me laugh. Simon Pegg, Edgar Wright, and Nick Frost are a brilliant comedy team. Pegg impressed me the most in this movie. Even though this is a silly movie, he infused his performance with genuine sentimentality. All comedies, no matter how stupid, need an emotional through-line, otherwise they just become a series of gags. This film balances it all perfectly.
This is a film about becoming stagnant in career, relationships, and life. The opening credit sequence essentially shows people going through their daily grind like zombies. The zombies as a metaphor for conformity and stagnation is pretty obvious, but it's effective. There's a truth to the film's message. You can become a slave to life's routine if you allow yourself to, or you can go play video games with your undead friend in the shed.


4) BUBBA HO-TEP -- (D./W. Don Coscarelli)

I suppose the easy way to describe this movie is "A redemptive Elvis mummy picture." And it is. But it's so much more than that. Yes, it's comedy. Yes, it's B-Horror. Yes, it's a western. But aside from all that, at it's core, it's a drama. It's about fallen heroes. It's about older people being cast aside. Our culture is so youth oriented we tend to not make room at the table for the elderly. Elvis's roommate is a decorated soldier who passes away. His daughter shows up to collect his things and throws his purple heart in the trash. It reflects something very true about our society. Older people are invisible, and how quickly we forget their contributions.
I have long been an advocate of great movie music. Brian Tyler's score elevates "Bubba Ho-Tep" to something absurd and wonderful. His main theme, a slow, western-style hymn, harkens back to forgotten times and adds much needed emotional beats. It's awesome!
Bruce Campbell owns this flick. He plays Elvis as some kind of mythical hero, which in a way he is. It's a bittersweet performance that anchors the movie in both the ridiculous and the serious. Ossie Davis also turns in a great performance as a wheel-chair ridden old man who thinks he's JFK. The pairing of the two is brilliant and hilarious.
Beneath all the weirdness there is a sentimental side to "Bubba Ho-Tep." A great movie becomes more than the sum of it's parts. A redemptive Elvis mummy picture that is more than a redemptive Elvis mummy picture.... T.C.B. baby!


3) THE WRESTLER (2008) -- (D. Darren Aronofsky, W. Robert Siegel)

I'm not sure how much of Mickey Rourke's performance is acting, but it has a weight and authenticity to it that is incredibly powerful. Much of the main character's wrestling career parallels Rourke's own in many ways. He is a fallen pulp-culture giant who no longer has any relevance. He can't accept the state of his life, career, and legacy, and therefore can't seem to exit the stage gracefully. It's incredibly tragic. I'm reminded of a real wrestler, Jake "The Snake" Roberts, who's own life is very similar to this movie's fictional one. People love to watch these guys destroy themselves in the ring for their amusement, but when it's all over they are discarded, leaving a worthless shell of a person in their place.
Darren Aronofsky shoots this movie in a bleak, documentary-style. He lets the performances do the talking. It has a realism to it that is stark and painful. His use of music is excellent as well, made up mostly of old hair metal hits, constantly reminding us of a time that no longer exists. With one exception, an awesome song by Bruce Springsteen that plays over the end credits and was robbed, ROBBED, of an Academy Award in 2008. This is one of the most powerful movies, and most powerful performances, in the last ten years. Period. Fact.


2) SIDEWAYS (2004) -- (D. Alexander Payne, W. Alexander Payne, Jim Tomas)

I wonder how much the wine industry profited from this movie. In California's central coast where much of the movie was filmed, they do "Sideways" tours. Locals have become irritated by how their once sleepy town has become flooded with tourism. All of this from one movie about two friends in wine country. I agree, every time I watch this film I have an impulse to go out and drink wine, and pretend I know what the hell I'm talking about. But there is more to love about this movie than wine-speak and beautiful locations. It's about two terrific performances. Paul Giamatti (who was robbed of an Oscar) plays the most sad-sack, melancholy, darkly humorous character I've ever seen. He's the epitome of depressing. But he does it so well! Every scene is an inner struggle for him, battling with his own duality, it's really a sight to behold. One of the most layered, pained performances in history. Thomas Haden Church on the other hand plays the exact opposite. One of those guys who has past his youthful stage but still dresses and acts like he's 25. It's how he masks his own pain and depression. He is a man-child, and in many ways, is the saddest character in the movie.
"Sideways", in my humble opinion, is the best written film of the decade. It uses subtle, brilliant dialog to speak volumes about it's characters. The scene where Miles and Maya sit on the porch and discuss pinot is absolutely perfect. It also uses visuals to it's greatest advantage. The closing scene when Miles is sitting alone in a dumpy cafe eating a burger and drinking the bottle of wine he's been saving for a special occasion, is one of the saddest moments I've seen in a movie.
Rolfe Kent's score is phenominal. His music is unique, capturing the cool essence of the environment, as well as the despair of Mile's depression. It's pitch perfect in every way.
"Sideways" is a masterpiece.


1) STAR WARS EPSIODE III: REVENGE OF THE SITH (2005) -- (D./W. George Lucas)

Yes! Sith is my favorite movie of the last ten years. It's the movie I was most excited to see. It's the movie I went to see the most. I don't know a more epic and extraordinary cinematic tale than Star Wars, and it's final act is a fitting end to a series that has re-defined movies for the past 30 years. This final installment is the one that has been promised since 1977. And we get what was promised. Darth Vader rises, limbs and heads get lopped off, and the Jedi get wiped out. Even the little kid Jedis get taken down. Although it's not shown, we do get a great shot of little Jedis running to Anakin Skywalker for help as he fires up his lightsabre. We know what happens next. The fights are more sensational and more brutal than any previous Star Wars film, and Darth Vader losing his limbs and getting set on fire is surprisingly graphic.
I love how the sets and the costumes begin to look more like the original movie. It doesn't just bridge the two trilogies, but serves as a reminder of what came before. It's sad to see it all come to an end, to know that we can't revisit new adventures in this universe.
I have a great deal of respect for George Lucas, simply because he's the most successful independent filmmaker ever. He answers to nobody. He privately finances his own films, and as such he is able to tell his stories the way he wants to. Very few filmmakers can say that. To be honest, nobody has been able to do what Lucas has done. He has created a truly unique world that has changed the landscape of movies forever. With "Revenge of the Sith" he completes something larger than one single movie of this last decade, or any decade. He completes the most iconic, sensational, exciting, midget-employing, wookie yowling, droid-beeping, lightsabre wielding, bad-ass movie series of all time. May the force be with you.

MIKE'S 100 BEST FILMS OF THE DECADE -- PART 5

NUMBERS 27-11...

27) QUANTUM OF SOLACE (2008) -- (D. Marc Forster, W. Paul Haggis, Neal Purvis, Robert Wade)

The fast paced, action heavy continuation of "Casino Royale". It's different but not in a bad way. This one is focused on action and revenge. It's the closure to the set-up of the first film. I like the brooding, pained Bond, and his quiet, introspective moments, coupled with intense action sequences that rival anything in a Bond film to date. Daniel Craig continues to prove he is the coolest Bond yet.


26) HARRY POTTER AND THE PRISONER OF AZKABAN (2004) -- (D. Alfonso Cuaron, W. Steve Kloves)

This Potter movie stood out from the rest for me. I think it's the most effective adaptation, and it has a style all of it's own. It's darker than the first two chapters, which didn't impress me much, and it has more interesting characters, like Dobby the House Elf, and Sirius Black (Gary Oldman is awesome!). Alfonso Cuaron made the most of this material and crafted a fantasy unlike any other in the series.


25) WORLD'S GREATEST DAD (2009) -- (D./W. Bobcat Goldthwait)

I wasn't sure about this movie at first. I felt like it didn't know what it wanted to be, and then came the unexpected first act twist, and things started to become clear. It's an incredibly dark story, but it centers on Robin Williams' character who is genuine and kind, and gives the movie some heart. Even when he's doing some unspeakable things you still root for him. And why shouldn't you? He's a guy who's been dealt a pretty shitty hand in life, and he deserves better. To some degree I think I like this movie because it speaks to all of us who might feel we've been dealt shitty hands at times, and this is the big F.U. to the fates who dealt those bad hands.


24) KILL BILL VOL. 1/Vol. 2 (2003/2004) -- (D./W. Quentin Tarantino)

One thing I like about Tarantino's work is that he's original while being blatantly derivative. In the "Kill Bill" movies, everything from the camera shots, to the music, to the names of characters, can be traced to a prior movie that influenced him. And yet, it's so uniquely Tarantino. This is a love letter to Kung-Fu movies, Westerns, and 70's revenge flicks. It was wise to split the story into two parts. Vol.1 is the Kung-Fu movie, and Vol. 2 is the Western. The fighting is spectacular. The non-linear storytelling is typical, but makes what is kind of a basic story more interesting by how Tarantino chooses to reveal information. I feel like Tarantino is starting to repeat himself with similar themes of revenge in shlock like "Inglorious Bastereds". I liked the movie a lot better when it starred Uma Thurman and it was called "Kill Bill".


23) IN THE BEDROOM (2001) -- (D. Todd Field, W. Robert Festinger, Todd Field)

This is a movie that probes into the inner lives of common people. It reveals certain truths, and hypocrisies we never admit are there. I like stories about common people finding themselves in extraordinary circumstances. In the case of this story those circumstances are horribly tragic. The story is driven by Sissy Spacek and Tom Wilkinson, who are absolutely perfect in their roles. They understand their characters and know exactly how to play the hidden struggle beneath the surface. If anyone wants to be an actor they need not look any further than these two performances. These are masters at work. Tom Wilkinson has long been a favorite of mine. I think he's a truly brilliant actor and often times elevates inferior projects with his performances. This is a film about characters and less about plot. It's about how painful circumnstances force the slow reveal of people's true selves.


22) BIG FAN (2009) -- (D./W. Robert Siegel)

I don't think I ever want to meet any of my heroes. Bruce Springsteen, George Lucas, Steve Martin, Meryl Streep, Jack Nicholson...I'm sure they are great. No, awesome! I am certain they are awesome, and I will choose to believe that. Which is exactly why I don't want to meet them...because what if they aren't? "Big Fan" is a movie about living vicariously though your heroes. It's about a pathetic football fan named Paul who crafts so much of his identity in his team, when he actually gets victimized by one of the players, he would rather pretend like it didn't happen than press charges against him. So much of his own personal identity is wrapped up in this player, he can't risk having him sent to jail, because he'd be sending a part of himself away as well.
Patton Oswalt, known primarily for his hilarious stand-up, does a brilliant dramatic turn as Paul. He's funny and sad, he's the kind of ports fan we've all run into at some point in our lives. The movie is the first directing effort by Robert Siegel, who also wrote "The Wrestler."


21) CRAZY HEART (2009) -- (D./W. Scott Cooper)

Some will say "Crazy Heart" is this years "Wrestler". It shares some similar themes about a once great entertainer struggling with the twilight of his career. Both films are also centered on a great performance. Jeff Bridges has long been one of those actors I love to watch. He is one of the most natural performers I've ever seen. He seems so comfortable in his roles that you forget he's acting. Everyone from Jeff Labowski to Starman, to Flynn in "Tron". He completely becomes washed up country singer Bad Blake. It's a joy to just watch him work, even if the movie is not about anything joyful.
This is also a film about country music. I love country music. Not the Faith Hill/Taylor Swift/Carrie Underwood pop country bullshit, or the Toby Keith "I'll put a boot in your ass, these colors don't bleed" ignorant, dumb-ass country. I'm talking about real country music, where men sing about real life and real experiences. Guys like Johnny Cash, Willie Nelson, and Robert Earl Keen. Music about tough living and life's hard truths. It's painfully beautiful, just like this movie.


20) FREQUENCY (2000) -- (D. Gregory Hoblit, W. Toby Emmerich)

This is a clever fantasy/mystery/time-travel/thriller. It's about a father and son who, through some weird solar phenomenon are able to communicate with each other through a radio. The son is in 1999 and the father is in 1969. The son starts to use this phenomenon to help his dad stop a killer in 1969 who he believes murdered his mother. The killer was never caught of course, and is being discovered by the son in the present as well as his father in the past. This leads to a double showdown with the killer in two time periods, which makes for a very exciting and clever climax.
Dennis Quaid plays the dad, who I have missed in good roles since he played Tuck Pendleton in "Innerspace." The film also features Andre Braugher who is one of those actors I will watch in almost anything. "Frequency" has thrills, mystery, and a lot of heart, which is pretty much everything you want in a movie.


19) SPY GAME (2001) -- (D. Tony Scott, W. Michael Frost Beckner, David Arata)

This is what I love about "Spy Game". I like the film being told in flashbacks at CIA Headquarters with duel ticking clocks happening in the present. A young spy, played by Brad Pitt, is captured in a Chinese prison, set for execution in the morning, and the older spy who trained him, played by Robert Redford, is cleaning out his desk prepping for his retirement at the end of the day. As Redford recounts his time with Brad Pitt, from recruiting him, to training him, to eventually having a falling out with him over the morality of what they do to people. It leads up to Redford having to make a choice to redeem himself and prove his loyalty to the agent, and in a way, the son, that had abandoned him. It's a film about duty and morality, and seeing the difference between the two.


18) FRAILTY (2001) -- (D. Bill Paxton, W. Brent Hanley)

This is a ballsy movie. It's subject matter is unsettling. It's about a father, played by Bill Paxton, who is visited by an angel and told he has to murder demons in human form. Paxton accepts this and enlists his two sons who are 7 and 10 to help him in luring these demons to his home and murdering them. It's a crafty clever thriller that takes it's audience on an unexpected journey. At first it seems like the film is a study of a psychopath, then it becomes something else entirely. It's bold, daring, and creepy as hell.


17) MOON (2009) -- (D. Duncan Jones, W. Nathan Parker)

As I'm reflecting on this list I realize I gravitate to a lot of similar themes in movies. One of them is isolation. Maybe it's some deeper, existential part of myself that finds a commonality in these stories, or maybe I just like to watch people struggle with loneliness, I don't know. Whatever the reason, "Moon" hits all those notes. It's about a guy named Sam who is coming to the end of a three year contract on a moon base. He is all alone. Madness ensues. It is heavily influenced by Kubrick and "2001", however this a completely different movie with very compelling ideas. It is anchored by the terrific performance of Sam Rockwell. He is an actor who has faded into obscurity as of late, so I'm glad to see him getting a decent role again. He owns this movie.
I'm happy to see this movie and a few others (namely "District 9") are bringing human stories to science fiction films. It reminds me of sci-fi films from the 60's and 70's ("2001", "Westworld", "Alien", "Outland") that re-defined the genre with with more introspective, challenging character studies about the human condition. Films like "Moon" prove that sci-fi doesn't have to be about space battles and aliens.
Side note: I didn't realize until later that this movie was directed by David Bowie's son. Ground control to Major Tom, systems GO!


16) THE KID STAYS IN THE PICTURE (2002) -- (D. Nanette Burstein, Brett Morgen)

This is a delightful and engrossing documentary about the life of film producer Robert Evans. It chronicles his career highs as the head of Paramount Pictures, where he brought in projects like "Chinatown", "The Godfather", and "Rosemary's Baby", to his lows, when he loses his home, his job, and most of his money to drugs. Evans is arrogant, eccentric, and not entirely of this Earth. He's a cartoon of every sleazy studio exec in Hollywood. But he has character, and he is unapologetic about his life choices and career. He's the stuff that legends are made of, for better or worse.


15) AVATAR (2009) -- (D./W. James Cameron)

This movie is all spectacle, and it makes the list for no other reason. At times it is awe-inspiring. Most of the time the motion-capture performances are pretty good, too. Zoe Saldana is the most effective of the digital aliens. She is very alluring in real-life, and she makes her weird alien character alluring as well. Beneath the digital cartoon character there is a real performance that feels very life-like. I really got lost in the movie at times, which was fun.
The movie is very flawed, however. For starters, the reveal of everything was abrupt and awkward. The arrival on Pandora, the avatars, the Na'vi aliens. There's no big build up to any of it. It just happens. And because so, it felt kind of weak. The movie also features one of the most God-awful, over-the-top, performances since Edward G. Robinson in "The Ten Commandments". That would be Giovanni Ribisi as the absurdly evil corporate lackey who is running the whole operation on Pandora. It defies description. You just need to see it to understand what I'm talking about. Other gripes are: the plot is predictable and unoriginal, and the film lacks a booming, epic, movie score. What happened to movie scores the last two decades? A good score will always elevate your movie, so what gives? Anyway, despite the flaws, it is tremendous to look at, and the visual work alone earns it a spot on this list.
A final note in regards to "Avatar" changing movies. Yes, it probably will, but that isn't exactly a good thing. I started to see it in IMAX 3D but had to walk out after 5 minutes because it made me motion sick. I watched it in 2D and enjoyed it just fine. Even if 3D, motion capture, and IMAX are going to enhance people's movie going experience, they need to invest as much time and effort into crafting a good story to equal the visual spectacle. "Avatar" is close, but we ain't there yet.


14) ETERNAL SUNSHINE OF THE SPOTLESS MIND (2004) -- (D. Michel Gondry, W. Charlie Kaufman)

This is an original and creative movie about the debilitating pain of heartbreak. I think everyone has had their heartbroken once, and would love nothing more than to forget about the person who broke it. The idea of being able to erase the memory of someone who hurt you is explored in a really unique way, with the ups and downs that would come with such a procedure. At the end of the day it's easier to forget then it is to come to terms with a broken heart, but whether you remember it or not you will always carry the scar.


13) MAN ON FIRE (2004) -- (D. Tony Scott, W. Brian Helgeland)

This is a silly revenge movie, shot in the awfully pretentious shakey-cam, fast-cut style that has infected contemporary action movies. However, it is satisfying seeing Denzel Washington ruthlessly dispatch bad guys without remorse. I most enjoyed when he cut off a guys fingers for information, then drove him off a cliff. Nice work! Kudos for an enjoyable supporting role by Christopher Walken as well. In an era of political correctness, it's nice to see a little torture and revenge without due-process getting some screen time.


12) SHERLOCK HOLMES (2009) -- (D. Guy Ritchie, W. Michael Robert Johnson, Anthony Peckham, Simon Kinberg)

This movie is a lot of fun! Excellent chemistry between Robert Downey Jr. and Jude Law. It never gets bogged down in boring sleuthing. I don't really like Guy Ritchie's signature style in his other movies, but in this it's used effectively, like when the action slows to show you Holmes thinking process before he beats up a bad guy. This movie has the right blend of humor, action, mystery, and romance. And excellent music and set design as well. Nice work!


11) FROM HELL (2001) -- (D. The Hughes Brothers, W. Terry Hayes, Raphael Yglesias)

This is a Jack the Ripper movie unlike any other. It's based on the graphic novel of the same name, and has a very stylized, other-worldly, comic book feel to it. It's clearly taking liberties with the facts of the case for dramatic effect, most notably with Johnny Depp's drug-addicted inspector who can somehow see the future. It's weird. In fact I don't think he even existed. Anyway, I had taken a Ripper Tour in London (by the very tour guide who gave Depp a personal tour when researching the role), and I was surprised to discover that a lot of the facts in the movie were based on the truth. All the suspects were real, and the man revealed to be Jack the Ripper at the end is in fact the man widely suspected to have been the killer. He's played by a very creepy Ian Holm.
The big downside to the film is a horrible performance by Heather Graham. She, sadly, escapes the Ripper's blade, which made me sad. Regardless, it's a cool, gritty, Ripper movie, that is both fascinating and informative. Kind of.

MIKE'S 100 BEST FILMS OF THE DECADE -- PART 4

NUMBERS 45-28...

45) MILLION DOLLAR BABY (2004) -- (D. Clint Eastwood, W. Paul Haggis)

I think, as a director, Clint Eastwood has made his best work in the last ten years, and this one is certainly the highlight. It's a powerful movie about loss and redemption, with sensational performances from Morgan Freeman and Hilary Swank. Eastwood himself gives one of the best performances of his career. This is a movie that's most effective on a single viewing, when the third act twist takes you off guard. I picked up on a lot of the little nuances on subsequent viewings, but the first time I saw it, it really stayed with me, and I love movies that do that.


44) TRAINING DAY (2001) -- (D. Antoine Fuqua, W. David Ayer)

This movie is all about messing with audience expectations, and a brilliant performance by Denzel Washington. He plays hero, then villain, then anti-hero, then villain again...what is going on? I love it because the bulk of the movie we aren't sure if we're supposed to be on Denzel's side or not. Is he always one step ahead of the rest of us? Is he really a good guy? Even though the movie becomes a little ridiculous and coincidental towards the climax, it's constant reversals and great performances kept me engaged the whole time.


43) IN THE VALLEY OF ELAH (2007) -- (D./W. Paul Haggis)

There have been a lot of movies made about the war in Iraq, but with the exception of "The Hurt Locker", this is the only one that's any good. It's stars Tommy Lee Jones as a retired soldier whose son has returned from a tour in Iraq, but has mysteriously gone missing. So Tommy Lee goes to the base and starts searching for him. When he finds the answers he seeks it only raises more questions, that will never be answered. The movie manages to make a strong statement on war without getting too political. Much like "The Hurt Locker" it presents it's characters honestly. Not as heroes but as human beings.


42) ONE HOUR PHOTO (2002) -- (D./W. Mark Romanek)

Robin Williams plays Sy, a photo developer at a K-Mart type store. He becomes infatuated with the Yorkin family who routinely develop their photos with him. He starts making duplicates for himself and hangs them in his apartment, covering the walls. He loves looking at their pictures and imagines being a part of their lives. They are like his tabloids. He projects on them an expectation of what a happy family is, and when he comes to discover that they are not, he takes it upon himself to correct their lives. There's a scene in particular that bothered me, where Sy breaks into the Yorkins house and just hangs out. There's a shot where he's sitting on the toilet doing his business, and for some reason that seemed like the biggest violation of all. I don't know why. Ultimately this is a film about hero-worship and the disappointment when our heroes don't turn out to be who we think they are.


41) THE KING OF KONG: A FISTFUL OF QUARTERS (2007) -- (D. Seth Gordon)

Easily the most entertaining documentary I have ever seen. Every character in this movie is absolutely ridiculous, and even better, they're real! It centers around two guys who are competing for a Donkey Kong title. It sounds silly, but despite it's subject matter and absurd characters, it becomes an inspiring underdog story. It's hilarious, sometimes heartwarming, and slightly disturbing. Terrific, terrific movie.


40) THIS IS IT (2009) -- (D. Kenny Ortega)

Say what you will, but MJ was probably the greatest performer of all time, and this movie is the proof. He was weird and eccentric, and a kiddie-fiddler, but he could sing and dance his ass off, and it is something to behold. The fact that this movie is just rehearsal footage and was never intended to be released ends up being a benefit. It allows you to just dwell in MJ's process as he prepares, and that's more interesting than anything else they could have made. The film is a tribute to a master at work. R.I.P. MJ.


39) A HISTORY OF VIOLENCE (2005) -- (D. David Cronenberg, W. Josh Olson)

This is a thought provoking meditation on violence. It's the primal versus the civil. Viggo Mortensen's character fluxuates between loving family man, and savage killer. The title itself suggests this movie is about the main character's history with violence, but it's really about mankind's own violent past and present. It should be noted that William Hurt gives an almost comical performance at the end of the film, which I didn't quite understand at first, but I think that's the point. The movie takes the audience off guard and gives us things we wouldn't expect.

38) HOSTAGE (2005) -- (D. Florent Emilio Siri, W. Doug Richardson)

This movie is extraordinary. It's a hostage film within a hostage film. Part of what I love is the faceless bad guys who mastermind the whole ordeal, taking Bruce Willis' family hostage to force him into an active hostage situation to get something they need. The bad guys are scary, partly because we never see them. The other set of bad guys are insane teenagers, led by an unpredictable Ben Foster, who turns in an awesome performance. This is one Bruce Willis' best performances as well. I think Willis is a great actor who rarely gets a chance to show his range on screen. This is one of those movies where we get a glimpse of Bruce's range, and hopefully it won't be the last.


37) EASTERN PROMISES (2007) -- (D. David Cronenberg, W. Steven Knight)

David Cronenberg routinely makes films that make me squirm. This film's squirm worthy moments revolve around rape and a naked knife fight in a bath house. These are the things I've come to expect from Cronenberg. It's also a film with a mysterious and scary underworld of Russian gangsters. Viggo Mortensen is down right chilling, and the third act twist is surprising and leads to a satisfying conclusion. A great thriller.


36) HUSTLE AND FLOW (2005) -- (D./W. Craig Brewer)

It's hard out there for a pimp. I know these things. This movie is about how hard it is out there pimps and then putting those things into song. Hustling drugs and ho's is a tough life. There are so many artists out there who have lived these kinds of lives and used music as a release to cope, and in some cases to rise above their meager existences. Terrence Howard gives a really great performance as DJ, a name I always thought was kind of silly, but whatever. Anyway, the movie is really good. Craig Brewer is two for two in my book.


35) MURDERBALL (2005) -- (D. Henry Alex Rubin, Dana Adam Shapiro)

This is an inspiring documentary about making the most out of the worst situation imaginable. It centers on paraplegics who compete in a full contact rugby league with one another. It follows their lives, how they found themselves in wheelchairs to finding hope in the Murderball league. It also shows the players introducing the league to other young men who have recently found themselves in wheel chairs, and how it inspires them, and brings some optimism to their lives. It's uplifting and bad-ass.


34) BLOOD DIAMOND (2006) -- (D. Edward Zwick, W. Charles Leavitt)

"Sometimes I wonder...will God ever forgive us for what we've done to each other? Then I look around and I realize God left this place a long time ago." To me that line summarizes what "Blood Diamond" is about. Places in the world without law, morals, or regard for human life. It's centered on the diamond trade, and the horrors that surround it.
Leonardo DiCaprio is, in my opinion, a hugely overrated actor, however he turns in one of his best performances. Edward Zwick has made a great film that belongs alongside his classics "Glory" and "Legends of the Fall".


33) MR. BROOKS (2007) -- (D. Bruce A. Evans. W. Bruce A. Evans, Raynold Gideon)

I never thought I'd have a movie that features Dane Cook in my top 100. That said, I was pleasantly surprised to find myself enjoying this well crafted, psychological thriller. Kevin Costner is Mr. Brooks, a family man with a compulsion to murder people. He has a fractured psyche which is visualized by an eccentric William Hurt, who plays his invisible friend who appears when he needs somebody to talk him in to acting on his homicidal desires. He is constantly at odds with himself, trying to break free of his obsessions, at odds with his daughter, and with a young photographer who wants Brooks to mentor him in the ways of murder. Strangely I found myself sympathizing with Brooks and wanting him to succeed. It's a fascinating character study, and tightly crafted thriller.


32) CHARLIE WILSON'S WAR (2007) -- (D. Mike Nichols, W. Aaron Sorkin)

This movie is funny, compelling, and true. Tom hanks is terrific as a Congressman who singlehandedly got the funding to arm the Afghani's to fight the Russians during the Cold War. Further more he's a very immoral guy. the film opens with him doing coke with prostitutes in Vegas. But aside from Hanks, who is always great, it's Phillip Seymore Hoffman who really steals the show. It's one of the best supporting acts I've seen in a movie in years. The film raises questions about morality, right and wrong, and the futility of Government. Mike Nichols directs, and as always, continues to do great work. It's possibly his best directing effort since "The Graduate".


31) THERE WILL BE BLOOD (2008) -- (D./ W. Paul Thomas Anderson)

A film about the dark, seedy underbelly of greed, and the American dream. Daniel Day Lewis...enough said. This movie is a slow cooker, but there's a creepy, ruthless atmosphere to it. Some people claim the ending is over the top, but I think it's excellent. It's what the whole movie has been building towards, and what the title promises. It's the last stage in the devolution of a man slowly surrendering his humanity to his wealth and power.


30) THE RUINS (2008) -- (D. Carter Smith, W. Scott B. Smith)

Some horror movies aim to scare you by getting in your head, some try and scare you with monsters and maniacs, and some try to scare you by making you truly uncomfortable. This is the uncomfortable horror movie. This movie made my skin crawl. It uses a few different elements of deep seeded human fears to it's advantage. The fear of contracting some kind of disease. The fear of being trapped, and worse being trapped when you are in need of medical attention and don't know what's wrong with you! The fear of, literally having something crawling beneath your skin! And lastly the fear of having zero control of what's happening to you. I can't say I am eager to see this one again, but I respect it for achieving it's frightening goals so effectively. It is precisely what it wants to be.


29) IRON MAN (2008) -- (D. John Favreau, W. Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway)

As far as superhero movies go, this one has real flare. The bad guys are often the ones who are more fun and interesting (see The Joker, Lex Luther, all the Spider-Man villains, and the Dark Overlord from "Howard the Duck"), but I challenge you to find a more charming, flamboyant, and fun good guy than Robert Downey Jr. as Tony Stark. The baddies in this movie are somewhat insignificant, it's all about Iron Man. And since this is an origin story, a great deal of the film is just hanging out in Tony Stark's garage as he creates the Iron man suit, which is fine by me. I think it's a testament to good filmmaking when you can take a relatively unknown comic book character and turn him into a huge event at the box office. Others have tried and failed where Iron Man has succeeded.


28) WALL-E (2008) -- (D. Andrew Stanton, W. Andrew Stanton, Jim Reardon)

The brilliance of this movie lies in it's ability to tell a story without speaking. It's almost like a silent movie because it has no dialog for the bulk of film, however it does have brilliant sound design by Ben Burtt (the guy who did the sound design for "Star Wars", and came up with all those clever R2-D2 beeps and Wookie yowls). Ben Burtt's brilliance is part of what makes this movie come alive. On IMDB he is credited for Wall-E's performace, as he should be. All the little sound blips, the little nuances, are the emotional core of the character. Like all Pixar movies, it's candy for the eyes. Amazing animation mixed with skillful storytelling. Nice work nerds!

MIKE'S 100 BEST FILMS OF THE DECADE -- PART 3

NUMBERS 64-46...

64) BLACK SNAKE MOAN (2006) -- (D./W. Craig Brewer)

This is a movie about the blues. It's also a movie that proves Samuel L. Jackson is a brilliant actor when cast in the right role. Too often he gets cast as the same character, which is usually some variation of the part he played in "Pulp Fiction". His talent is squandered on inferior projects. This, however, is not one of them. This is an unlikely redemption story about a former blues man trying to cope with his wife leaving him for his brother, and a nymphomaniac who ends up beaten and left for dead in front of his house. The movie is a study of pain and it plays like a good blues song. So there you have it.


63) KISS, KISS, BANG, BANG (2005) -- (D./W. Shane Black)

Part detective movie, and part Hollywood satire, and part film noir, this is Shane Black's best work since "Lethal Weapon". This also marks Shane Black's first directing effort and he does a superb job, crafting a layered, fast paced comedy. Robert Downey Jr. and Val Kilmer display excellent chemistry and comic timing as a petty thief/wannabe actor and gay private detective. It's a shame Shane Black doesn't do many movies these days, but the few times he does he hits it out of the park.


62) THE INCREDIBLES (2004) -- (D./W. Brad Bird)

This is the funniest, most original creation Pixar has been able to churn out. It's kind of like "Unbreakable". It's about superheros dealing with everyday life, and, like "Unbreakable", it features Samuel L. Jackson. Clever, and fun, with a weird 60's style to it, it can't be missed.


61) ABOUT SCHMIDT (2002) -- (D. Alexander Payne, W. Alexander Payne, Jim Taylor)

The day that you reach retirement wouldn't you like to look back on your life's work, and your life choices for that matter, and feel like you accomplished something? This is a movie about looking back and finding none of those things. Finding that your life has been insignificant, and you haven't achieved anything. It's tragic, and melancholy, and hopeless until it's closing moments, where it provides just a glimmer of optimism. A life, no matter how insignificant, can still achieve some small measure of greatness.


60) HIGH FIDELITY (2000) -- (D. Stephen Frears, W. John Cusack, Steve Pink, D.V. DeVincentis, Scott Rosenberg)

A clever movie about relationships told through a record store owner played by John Cusack. It's also a movie about music, and Cusack's philosophy about life and love has been derived from the songs he listens to. His musical influences have influenced him as a person. It's full of great supporting characters (most memorable are Jack Black and Tim Robbins) and has a bitchin' soundtrack. Huge points for including an insightful Bruce Springsteen cameo!


59) LITTLE CHILDREN (2006) -- (D. Todd Field, W. Todd Field, Tom Perrotta)

This is a movie about adult matters, but treats it's adults as silly, trivial, childish creatures. It's told with narration that would seem to accompany a children's movie. The film contends that as adults we think we display a lot more maturity in our relationships than we really do. But in truth, we are just little children.


58) PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL (2003) -- (D. Gore Verbinski, W. Terry Rossio, Ted Elliott)

I didn't care for the second and third installments of the Pirates franchise, but the first film is about as good a pirate film as you can ask for. It doesn't feel much like the Disney ride, but who cares, it's still awesome. The effects are cool, the sets are cool, Depp is cool. It's just a great adventure movie.


57) THE CURIOUS CASE OF BENJAMIN BUTTON (2008) -- (D. David Fincher, W. Eric Roth)

One of my all-time favorite authors is F. Scott Fitzgerald, and I have read his short story the film is based on and really enjoyed it. The movie is different from the short story but it captures the essence of it. This is a tale about loss and the harsh reality that nothing lasts forever. Over time we lose those closest to us and ultimately life is just a series of chance encounters. Mine certainly feels that way at times and I'm sure I'm not alone.
I love David Fincher, he's one of my favorite directors. Alien 3, Seven, and Zodiac are among my favorite Fincher movies, and in my opinion the guy can do no wrong. The special effects and make-up in this movie are truly impressive and elevate Brad Pitt's performance. Also, the set-design is remarkable. This is a visually stunning movie.


56) AMERICAN PSYCHO (2000) -- (D. Mary Harron, W. Mary Harron, Guinevere Turner)

Man, this is a weird movie. I can't pretend to say I know what it's about, but it is immensely entertaining. It reminds me of The Billionaire Boys Club, a group of young, waspy, investment bankers who ran ponzi schemes in the mid 80's and eventually ended up murdering people for money. It's about the meaningless excesses of the 80's. I love when the young investors are trying to impress one another with the nicest looking business card. I also enjoy Patrick Bateman's long analysis of Huey Lewis, Phil Collins, and Whitney Houston. He also tries to feed a kitten to an atm machine. What the hell is going on? In the end it all ends up being a kind of fantasy that Bateman is having. His final words are "This confession is meaningless". And it is. And so is the movie, really. But I guess that's the point.


55) LOST IN TRANSLATION (2003) -- (D./W. Sofia Coppola)

Every so often a movie comes along that isn't driven by story, or action, or characters, it's just driven by the film's atmosphere. This is that kind of movie. Bill Murray does a wonderfully subtle, layered performance of a man in limbo, and completely out of his element. Just watching this movie makes me want to go to Japan.


54) PARANORMAL ACTIVITY (2009) -- (D./W. Oren Peli)

The whole "found footage" sub-genre of horror movies has never impressed me much. It's usually more of a gimmick than anything else (look at "The Blair Witch Project", "Cloverfield", and "Diary of the Dead" for further examples), sacrificing story for cheap thrills and gotcha-scares. In the end they are usually unsatisfying. "Paranormal Activity" is the exception of this rule and has used the gimmicks of "found footage" to it's most potential, without sacrificing character and story. This movie is an exercise in how to effectivly build tension, and continue to build on it. There are literally scenes of people sleeping where nothing happens, and it becomes riveting. That is a sign of masterful direction. Michael Bay should take notes. With 200 million dollars he can't make fighting robots and hot chicks in tight jeans watchable. What a disgrace. But Oren Peli took 11,000 dollars and made a film far more enjoyable, satisfying, and frightening. To that I say "Well done, sir".


53) KING KONG (2006) -- (D. Peter Jackson, W. Peter Jackson, Phillipa Boyens, Fran Walsh)

I am greatly opposed to re-makes of classic films. It's usually just an attempt to profit off of the name recognition of the classic. Did we need a shot for shot re-make of "Psycho"? Did a carbon-copy of "The Omen" need to be made? No. My biggest problem with re-makes is that they never give you anything new. They never build on the existing stories and take them into new directions. The few exceptions for me are Peter Jackson's "King Kong". You can tell that he has a great deal of respect for the source material. If anything, he is trying to build on the original story's vision, and realize the size and scope of a story that could only be imagined in the 1930's. Most importantly the heart of the story never becomes secondary. In fact it becomes more prominent in this film than the original. It has been, and still remains, a tragedy about loneliness and longing for companionship. For now, it's classic status remains in tact.


52) HALF NELSON (2006) -- (D. Ryan Fleck, W. Ryan Fleck, Anna Boden)

At times I'm not sure what this movie wants to be. It has moments of long, sprawling monologues about George Bush and Iraq, things which this movie doesn't seem to be about at all. It gets away from itself at times, but it's grounded in such excellent performances that it's always captivating. The ending is kind of forced, and a little too happy, but regardless of the film's short-cummings, it's still and great movie.


51) THE HURT LOCKER (2009) -- (D. Kathryn Bigelow, W. Mark Boal)

Kathryn Bigelow has always been a director I've admired, but has never really impressed me with films that have any depth. "Point Break" is great in it's own silly way, and "Strange Days" has some compelling ideas behind it, but nothing has been terribly impressive until I saw "The Hurt Locker". Maybe she was taking paycheck jobs, or she just didn't have anything to say up until now, but this movie was a smoldering, gritty piece of work. Jeremy Renner, an actor I've always liked, has finally been given his moment to shine as well.
I really liked this movie's non-story driven narrative. It doesn't concern itself with actions so much as just setting a tone and atmosphere, and letting the characters exist in it. There is a sequence with a sniper that is long and silent, and totally enthralling. It deals with the effects of war on soldiers, but not in an overt or melodramatic way. It simply just plays out. No real resolution. No real answers. It just is.


50) A GOOD YEAR (2006) -- (D. Ridley Scott, W. Marc Klein)

This is not your typical Ridley Scott/Russell Crowe collaboration. It's a sweet little comedy about family, love, and most importantly, wine. It's also a movie about a loner who unwillingly finds himself in the company of people who need him, and he needs as well.
It's not often we get to see Crowe doing comedy, but he does it great. Shot in the south of France, the scenery makes up for any shortcummings the movie might have. I came across this movie while I was working on a cruise ship and was allowed on land for a few hours. I felt quite isolated at the time and this movie was a pleasant surprise that kept me company for a few hours.


49) WONDER BOYS (2000) -- (D. Curtis Hanson, W. Steve Kloves)

Films that revolve around struggling writers are always going to be rife with one or all of the following: witty banter, existensial crisis, eccentric characters, and pithy observations about life. This has all of that, and more. I'm thankful the "Harry Potter" franchise is coming to an end so Steve Kloves can go back to writing stuff like "Wonder Boys".


48) UP IN THE AIR (2009) -- (D. Jason Reitman, W. Jason Reitman, Sheldon Turner)

George Clooney is always so damn cool that it's nice to see him in a movie where he isn't. Of course, he starts out that way. He's charming, sauve, but as the movie goes on you see a different Clooney. A lonely, sad, insecure Clooney, longing for human contact. This is a funny, sophisticated, human story that hits all the right notes, and proves that Jason Reitman has become a master director.


47) RELIGULOUS (2008) -- (D. Larry Charles, W. Bill Maher)

Quite possibly the biggest threat to the future of mankind is religion. Throughout history, how much death can be attributed to religion? How much insanity can be attributed to religion? This documentary is about how silly and damaging religion has become. Bill Maher does poke fun at his subjects, but he also tries to engage them in an honest debate about their beliefs. It showcases how religion makes people crazy, and how that crazy is going to ruin us all.

46) TROPIC THUNDER (2008) -- (D. Ben Stiller, W. Ben Stiller, Etan Cohen, Justin Theroux)

A truly great satire is a lost art. These days a good comedy, a truly good comedy, is hard to come by. Sure a lot of films might have funny moments, but few are funny from beginning to end and warrant repeat viewings. I'm looking at you Judd Apatow and your overrated comedies. We live in a time when comedy greats like Steve Martin and Eddie Murphy have been reduced to films like The Pink Panther and Meet Dave. Damn it! No artistic integrity anymore! I also have not liked a Ben Stiller comedy in...well, ever. Which is why I was so shocked to find myself loving Tropic Thunder. Everything about this movie worked for me and made me laugh out loud. I can't say enough about the brilliant supporting cast members. Tom Cruise is all-time in this one, as is Downey Jr. Stiller even managed to not be an annoying dumb-ass which is remarkable to me. Hollywood gets lampooned for all it's excess and pomposity as it much deserves, and I get belly laughs, which I, as a routine film goer, much deserve.

MIKE'S 100 BEST FILMS OF THE DECADE -- PART 2

Number 82-65...

82) ADAPTATION (2002) -- (D. Spike Jonze, W. Charlie Kaufman, Donald Kaufman)

Charlie Kaufman has to be the most original screenwriter of all time. To actually write himself into his own screenplay is genius, especially if he is being played in the most unflattering way by Nicolas Cage. The film's reality, mixed with the fantasy of a screenwriter's imagination, makes for a brilliant assembly of interweaving story elements. By the end it literally weaves through every kind of film genre, from comedy, romance, action, horror, and tragic drama, without ever feeling like it's lost it's direction. It's the best movie I've seen about writing and storytelling, and the search to find one's inner voice. On a side note, Brian Cox does a hilarious portrayal of Robert McKee, a real-life screenwriting guru who is a total dick.


81) SHOPGIRL (2005) -- (D. Anand Tucker, W. Steve Martin)

The first time I saw this movie I was a little disappointed, or maybe I didn't quite get it. But on a second and third viewing I found a beautiful little movie about how the really good relationships, the ones that are the most passionate, never last, and give way to compromise. How can they last? How can a relationship remain AMAZING forever? It can't. Nothing can be that great for that long without eventually burning out. And when it does and the eventual compromise sets in, find a nice person who you can tolerate because you'll never find another love as powerful.
This is clearly not what the filmmakers intended, but this is what I took from the movie, and I did so through an epic failure in casting. Claire Danes and Steve Martin are brilliant together, with chemistry and charm to spare. You really feel like they love one another. Then comes Jason Shwartzman, the other guy that is pursuing Claire Danes and the one that ends up with her in the end, which can only be seen as a huge compromise on the part of her character considering that they have zero chemistry together. Jason Shwartzman is a miserable douchebag and does not belong in this movie, plain and simple. Yet he is there, and this is the result. However, it doesn't ruin the film, it simply changes it's intentions, and that's okay. It still works. The film is also creatively shot and well written (courtesy of Steve Martin's genius).


80) DISTRICT 9 (2009) -- (D. Neill Blomkamp, W. Neill Blomkamp, Teri Tatchell)

Aliens as refugees. Not too subtle an allegory for racism and xenophobia, and it doesn't need to be. This movie really spotlights what selfish assholes human beings are. The main character is hardly a hero in this film, but a representation of the worst elements of mankind. We are scared, selfish, disloyal creatures.
Aside from having a compelling story, the film's technical achievements are equally impressive. For a budget of about 25 million, the filmmakers managed to create seamless special effects, something a less savvy production would have squandered 100 million on. Michael bay should take note: This is how you use special effects to tell a story, not the other way around.


79) THE ICE HARVEST (2005) -- (D. Harold Ramis, W. Richard Russo, Robert Benton)

"There's no goddamn life left for men anymore..." mumbles Oliver Platt's character as he drunkenly reflects on what's happened to his life. He married his friends wife after having an affair with her, he's a drunk, he stands for nothing. And he is just one of a slew of cowardly, self-centered, scumbags who litter this dark comedy about a couple guys who steal from a mob boss in Wichita, and attempt to get out of town. Mayhem ensues. John Cusack, Billy Bob Thornton, Oliver Platt, and the under-valued Randy Quaid, turn in memorable performances as men living in a world where men no longer exist.


78) IN BRUGES (2008) -- (D./W. Martin McDonagh)

I loved the hell out of this movie, and after seeing it I really want to go to Bruges, Belgium and drink beer and look at churches. One of the best comedies in recent years due mostly to three brilliant performances by Colin Farrell, Brendan Gleeson, and Ralph Finnes, who plays his best villian role since the Nazi in Schindler's List. It's a morality tale about hitmen and the ethical dilemmas they face. It's darkly comic, bittersweet, and beautifully shot.


77) CAST AWAY (2000) -- (D. Robert Zemeckis, W. William Broyles Jr.)

Crying over a volleyball seems silly, but when it represents a man's last link to his humanity and his sanity, it makes for powerful drama. This film is a testament to Tom Hanks ability as an actor. He can be alone on screen for the bulk of a movie and make it interesting and compelling. He conveys loss and loneliness without saying a word. You see it and feel it every time he talks to Wilson the volleyball, or looks at the dirty, faded picture of his fiancee back home. There's something painfully sad about when he finally makes the journey home only to find himself stranded all over again. It ends on a somewhat hopeful note, but the message to me is clear: You don't need to be on a desert island to be stranded and alone, so cherish the relationships you have.


76) OLD BOY (2003) -- (D. Chan Wook Park, W. Jo-Yun Hwang, Chun-Hyeong Lim, Joon-hyung Lim, Chan Wook Park)

This is one sick, twisted, beautifully shot revenge movie. One of Korean cinema's greatest exports. It centers on a man who has been held captive in a hotel froom for over a decade, without any knowledge as to who is keeping him there. Once he escapes he sets out to find who kept him captive and make him pay. However, the process reveals things about himself, and makes way for one of the nastiest twists I've seen in a movie. This story goes places most are afraid to tread and the result is a fascinating piece of cinema.


75) BAD SANTA (2003) -- (D. Terry Zwigoff, W. Glenn Ficarra, John Requa)

In an age where filmmakers are overly concerned with what's "PC", you have to cherish the ones who bravely extend their middle finger in protest. There are some great holiday comedies with darkness to them ("Scrooged" comes to mind), but this is the first one that didn't shy away from going to truly unpleasant places, such as alcoholism, robbing old people, beating up punk-ass kids, and suicide. Part of what is enjoyable is how unapologetic the main character is, and yet the film still manages to have a sweetness to it without getting overly-sentimental. Even when Santa is wetting his pants at the mall.


74) RAMBO (2008) -- (D./W. Sylvester Stallone)

I haven't taken a Rambo movie seriously since the original film First Blood. Part of what I loved about that movie aside from it's over the top action, was it's social commentary. It's about the U.S. turning it's back on it's veterans after they've suffered so much for the country's cause. The film doesn't even end with a big huge slam-bang action sequence, it ends with Stallone crying in a bullet-riddled police station in a stand-off with the National Guard. It ends with him giving up. The subsequent Rambo sequels were just absurd action movies that turned the character into a cartoon.
Then came this new Rambo movie. It had a subtext about the plight of the Burmese people, and so on, but that's not what was good about it. They made Rambo human again. They made him interesting, and introspective, and sad, and lonely. I almost want to draw parallels to Mickey Rourke in The Wrestler, because both Rourke and Stallone are way past their career primes and seem to be making "what does it all mean" kind of movies. There is no simple resolution for either character, and Rambo especially has a lot of baggage he must get over. No amount of slaughtering Burmese rebels will quell the beast within.
This movie, like all the Rambo films, suggests that sometimes violence is a neccessity to resolve conflict. It doesn't celebrate it as much as stating a simple fact about human nature. The film shows missionaries trying to help the Burmese in non-violent ways, and although their idealism and intentions are right, they achieve no results. It's Rambo, the hard core mercenary, snake wrangling, bow and arrow wielding, bad-ass, that gets things done. It is the person the missionaries despise and disapprove of who they end up relying on to survive. And that's the point of the whole movie. Nobody wants to be a Rambo, nobody likes a Rambo (he's a total dick), but we need a Rambo on our side. The cause of good needs a Rambo. And if you are Rambo? Well that sucks big time. Just watch the movie, you'll see.


73) HARD CANDY (2005) -- (D. David Slade, W. Brian Nelson)

It is really difficult to stage a thriller with only two people in one location, and make it watchable for 90 minutes...with an antagonist who is 15 years old. It is a startlingly grown up performance by a very young Ellen Page, who plays a 15 year old girl holding a pedophile hostage in his own home. Patrick Wilson plays the pedophile, and he does a brilliant job of being both creepy and sympathetic, you even find yourself rooting for him! It's a great role reversal: Little Red Riding Hood becomes the predator and the Wolf becomes the prey.


72) MYSTIC RIVER (2003) -- (D. Clint Eastwood, W. Brian Helgeland)

This a movie about innocence being stolen and how the harsh realities of life shape three friends in very different ways. The childhood friends are played by Kevin Bacon, Tim Robbins, and Sean Penn (Penn and Robbins both won Oscars for their roles). As adults their relationships have faded, and the murder of Penn's daughter brings them back together in conflicted ways, as Cop, Victim, and Accused Killer. The scars of their past surface, and give way to revenge and darkness in a search for answers they can never find.
Clint Eastwood is a far better director than he is an actor, and this is him firing on all cylinders. He also tends to score his own movies, and the music he has written for this film resonate with emotion and sadness. A superb piece of work.


71) MEMENTO (2000) -- (D./W. Christopher Nolan)

Memory loss is a gimmick in most movies, but it's a narrative tool in "Memento". The reveal of information comes to the audience through the protagonist's fractured view points, and flashbacks. It's contemporary film noir about the need to believe in something in order to make sense out of one's life. When it's revealed that Leonard has already found and killed his wife's murderer, and subsequently found and killed other people who he believed to be his wife's murderer, instead of tattooing the fact over his heart so he can remind himself he has closure, he simply allows himself to forget, so he can continue to hunt a killer who no longer exists. He realizes it gives him purpose. He needs to believe in something, because it's all he has left.


70) THE MATADOR (2005) -- (D./W. Richard Shepard)

For 95% of this movie I had no idea where it was going. It is unpredictable, which is rare. Most movies, even the great ones, you can start to figure out the direction it's taking pretty quick, but this one had me off guard the whole time. It showcases Pierce Brosnan in a very un-Pierce Brosnan role, which means he's not playing a savvy spy or a suave art thief. He plays an insecure hitman who is experiencing an existential crisis after befriending a business man played by Greg Kinnear. Through the bonds of being bros with another guy, he learns the value of human life.


69) GONE BABY GONE (2008) -- (D. Ben Affleck, W. Ben Affleck, Aaron Stockard)

Most movies clearly define right and wrong. This one presents right and wrong as one big gray area. Which, in reality, it is. The main characters fluxuate between good, bad, and somewhere in between. The main character is a detective, a "good guy", however his best friend is a drug dealer and psychopath. The best character in the movie, fantastically portrayed by Ed Harris, is a cop who openly admits to planting evidence on a guy he knew was bad to get him off the streets. He broke the law, but he did a good thing, right? The movie doesn't celebrate or demonize it's characters but simply presents them as flawed people struggling to make the "right" decisions.


68) COLLATERAL (2002) -- (D. Michael Mann, W. Stuart Beattie)

I love Michael Mann movies ("Heat" and "The Insider" are all-time), but the last decade he has gone unchecked, making self-indulgent films like "Ali" and "Miami Vice". However, somewhere in there he made "Collateral", a tight, fast paced thriller. I like Tom Cruise in the main role as a mysterious contract killer with gray, wolf-like hair. He becomes a bit like the Terminator at the end, but it's okay, by that point I'm hooked. This movie, at it's core, is about loneliness and human connections. Even though Vincent (Tom Cruise) is a contract killer and could easily dispatch his targets on his own, he employs a cab driver (Jamie Foxx) to drive him everywhere. Not because he needs to, but because he wants company. Vincent talks about L.A. being so disconnected and nobody knowing each other, despite the 5 million residents. He even gives a prophetic speech in the beginning about a man dying on the MTA and riding the rails for hours before anyone realized he was dead. If that's not a disconnect I don't know what is.
Much like "Heat", Mann shoots L.A. in a cool, stylized way, making a night's ride in a cab with a killer a hip, fun experience.


67) DRAG ME TO HELL (2009) -- (D. Sam Raimi, W. Sam Raimi, Ivan Raimi)

A return to form for Sam Raimi who has spent the better part of the decade making crap like "Spider-Man". A lot of movies try to do B-Horror, but none of them get it right. There's a fine balance of humor and scares, while still maintaining some level of originality. "Drag Me To Hell" hits all the right notes and is one of the most enjoyable movies from 2009. Sadly it didn't do well in the theaters, so it will probably be a long time before we get a real Sam Raimi movie again. Oh well, there's always "Spider-man 4".


66) NARC (2002) -- (D./W. Joe Carnahan)

They don't make cop movies any gritter than this. I also think this is Ray Liotta's finest role to date. He got super-fat for this part, and whenever actors get all fat for a movie role it's a sign of a great performance (see De Niro in "Raging Bull", and Stallone in "Cop Land" for further examples). There are a lot of ethical dilemmas in police work, and the lines tend to blur between right and wrong, allowing good people to make bad choices. This is like a really cool William Friedkin movie, like "The French Connection" or "To Live and Die in L.A.", with powerhouse performances by Jason Patric and a fat Ray Liotta.


65) STAR TREK (2009) -- (D. J.J. Abrams, W. Roberto Orci, Alex Hurtman)

A great re-boot/origin story of the original Trek characters. One of the few event pictures made in the last decade that isn't just a bunch of noise. It has a lot of humanity to go with the explosions and aliens, which makes it a far more satisfying fantasy than...say... the tremendous piles of shit "Transformers 2", "Terminator: Salvation", and "2012", which came out the same year. This is an example of how big movies should be made -- with equal parts awe inspiring wonder and human drama (even if they are aliens).

MIKE'S 100 BEST FILMS OF THE DECADE -- PART 1

The first decade of the 2000's has been an interesting one as far as movies go. There have been a lot of good ones and even more bad ones. As I researched the last 10 years in movies I found myself hard pressed to even find 100 films that were worthy of my list. However, after much searching, I found all 100 of them.

Keep in mind this is in no particular order. I will post 18 movies at a time, and the last 10 will be my top 10 favorites of the last 10 years. Other then that they are in no sequential order. They are just simply great films!

Let's begin.

100) NO COUNTRY FOR OLD MEN (2007) -- (D./W. Joel and Ethan Cohen)

I can't say I totally understand this movie, but I am totally consumed by it every time I watch it. From what I gather this movie is about random violence and a lack of understanding of that violence. The movie opens with a monologue by Tommy Lee Jones, where he discusses his lack of understanding of people and their violent natures. Anton Chigur is one of the weirdest, creepiest, villains I've seen in a movie. He is inhuman. He is just a walking death machine. Like the Terminator with bad hair. He embodies the very thing Tommy Lee Jones's opening monologue is about. He is chaos. He lacks reason. He often leaves the fate of a victim up to a coin toss. He's kind of like the Joker without the make-up. He is inescapable and unstoppable throughout the movie. The film operates under the assumption that there was a time of honor among men. Real men didn't steal things, they didn't kill indiscriminantly, they didn't leave someone's life up to a coin toss. Men had a code. And those days are gone.

99) THE DESCENT (2005) -- (D./W. Neil Marshall)

This is just a damn scary movie. It has three things I find totally frightening. Claustrophobia, the dark, and humanoid-cave-monsters. This movie works on a couple levels. As a psychological thriller, a gotcha-jump-out-of-your-seat gore fest, and a survival flick. It also has an all-female cast, which makes it much easier on the eyes than if it were a bunch of guys being chased by humanoid-cave-monsters. The movie is jarring from the first scene, taking the audience off-guard, which is a stroke of genius. The filmmaker never regains your trust, which is exactly what he wants. He wants you to expect he's going to subject you to something horrible at any moment. And he does. A lot.


98) ZODIAC (2007) -- (D. David Fincher, W. James Vanderbilt)

This movie is more than just a procedural cop drama about the Zodiac murders that haunted San Francisco through the 1970's. It's a film about obsession, and the futility of succumbing to those obsessions. The four major characters (Jake Gyllenhaal, Robert Downey Jr., Anthony Edwards, and Mark Ruffalo) are all determined to catch the Zodiac. It ends up effecting all of them in different ways. Downey, who plays a journalist already dealing with addictions, allows the Zodiac to influence his work and force him out of his job. Ruffalo and Edwards play the cops investigating the Zodiac, and essentially find the guy but can't convict him due to circumstantial evidence. Edwards requests a transfer after the fact, and Ruffalo is later accused of writing a Zodiac later and put on suspension. Then Gyllenhaal, the cartoonist for the Examiner, becomes obsessed with solving the Zodiac puzzle. He nearly does, and loses his wife, his kids, in the process. He also starts receiving mysterious phone calls, indicating he's on the Zodiac's radar. And for what? When Ruffalo asks him why he's doing all this, he says "I just want to look him in the eye and know it's him." Eventually he does, but it begs the question: Was it worth it? What did it prove? That's the nature of obsession.
David Fincher does a beautiful job of creating an eerie tone throughout the film that gets under your skin and makes you want to close your drapes. It's a creepy, disturbing film.


97) ROCKY BALBOA (2006) -- (D./W. Sylvester Stallone)

Of all the great sports movies, the Rocky series is the only one that focuses on different chapters of an athlete's life. The challenges always change when you become successful, and each Rocky movie seems to highlight different changes in his evolution as a success. Rocky is about going the distance to prove to himself he's somebody. Rocky II is about the re-match and actually GOING the distance now that he's proven himself. Rocky III is about the excesses of fame and losing sight of what's important, and then overcoming those things to succeed. Rocky IV is just a messy waste of time about trying to heal cold war hatreds...or something. And Rocky V is about trying to gracefully make the transition from athlete to trainer. It's never about "the fight", it's always about the character.
Then there's Rocky Balboa. It's about what happens after the success. After you've proven yourself time and again. It takes place in a lot of the same locations from the very first film, and revisiting them so many years later after many of the old faces have gone, evokes a really lonely feeling. Every where he goes in the movie you feel the sadness around him. Stallone himself gives a great performance, and in making this movie seems to parallel the character's desire to remain relevant. It has some tender moments that really work, and the character is just as much the underdog you loved from the first movie, if not more so.
This final chapter is a sad one to me, but a necessary one. It marks the end of a life's work in a way, and completes the arc of an athlete's life in an honestly and effectively.


96) UNBREAKABLE (2000) -- (D./W. M. Night Shyamalan)

What if Superman were real and lived among us, but he didn't know he was Superman? That is an AWESOME concept! Unbreakable is an utterly unique take on superhero mythology. It has all the staples of a superhero story: A guy with super powers, a villain out to discover him, and a kryptonite-like weakness (water). The movie is not about the superhero elements, but the human story. It's about self-discovery and accepting the truth about who we are, good or bad.


95) HANNIBAL (2001) -- (D. Ridley Scott, W. David Mamet, Steven Zaillian)

At it's core, this film is a love story. A dark, twisted, sadistic love story, but a love story all the same. It's about a kind of passionate obsession. Acting upon a cosmic magnetism felt with another person. An obsession for Hannibal to see Clarice Starling that is so strong he cannot resist coming out of hiding to be near her again. It's about a man whose singular compulsion is not just to act on his serial-killer tendencies, but to explore the dark mystery of the human spirit. Hannibal allows himself to be caught, hung on a cross, and nearly fed to giant hogs, just to test fate and see if Clarice will be there to save him. Of course she does, fate draws them to one another. And of course when Clarice and Hannibal are hand-cuffed together at the end, he asks "Would you ever stop chasing me, Clarice?" And she responds "Never." To which he smiles and replies, "That's my girl." Then cuts off his hand to escape, sparing her own. Ain't love grand?


94) BATMAN BEGINS (2005) -- (D. Christopher Noaln, W. Christopher Nolan, David S. Goyer)

Christopher Nolan's re-imagining of Batman is just amazing. It moves away from the very comic-centric, atmospheric Tim Burton films (and the disgraceful Joel Schumacher films) and grounds the series in reality. As an origin story it shows us exactly HOW Bruce Wayne becomes a superhero, where he learns his fighting skills, and even where he gets the idea to dress up in a bat costume. Even his gadgets and vehicles are explained, and each one has a practical use as something else which he modifies for his own needs. I mean, who just builds a bat-mobile? It was a spec military vehicle for building bridges, of course!
The villains are great, the performances are great, the action is great. It's just an all around great movie.


93) THE UPSIDE OF ANGER (2005) -- (D./W. Mike Binder)

Anger is like a poison. It can slowly eat away at us and make us a person we never thought we'd be, or ever want to be. If left unchecked, anger can ruin all the relationships in our lives. The Upside Of Anger is about being really pissed off and the damages it can cause, and rewards it yields when letting it go.
Joan Allen is terrific as an angry housewife who is trying to keep it all together when her husband randomly disappears. And Kevin Costner has one of his finest performances as an aging baseball pitcher who drinks all day and does a local radio show, and of course takes a liking to Joan Allen. It's funny and sentimental, but never sappy.


92) THE MIST (2007) -- (D./W. Frank Darabont)

The Mist is about a group of people trapped in a grocery store as a thick mist covers the town outside and brings all manner of frightening monsters with it. However, beneath it's monster movie exterior it's really a film about how people react in the presence of ultimate fear. Who turns to religion? Who becomes reckless and selfish? Who listens to reason? How far will people go to protect themselves or their loved ones? Ultimately the people in the supermarket become more dangerous and frightening than the creatures in the mist.


91) ANCHORMAN: THE LEGEND OF RON BURGUNDY (2004) -- (D. Adam McKay, W. Adam McKay, Will Farrell)

More than any other genre in film, comedy has declined the most over the last ten years. What is popular today generally revolves around dick-jokes, projectile vomiting, and old people using the "F-Word" because, you know, it's really shocking. But, in this dark time of comedy, we do get the occasional flash of brilliance. And one of those flashes is Anchorman: The Legend of Ron Burgundy!
Will Ferrell has made a career of playing self-important characters who don't get it. It's become the same act in almost every one of his roles that I'm sick of the guy now, but he never played the part more brilliantly or pitch-perfect than he did as Ron Burgundy. He is also surrounded by a supporting cast of so many brilliant comics that there was no possible way this movie couldn't be funny. Even the dick jokes are funny ("It's the pleats..."). I can't remember a movie that has made me laugh out loud so many times. It belongs on a list of the all-time greatest comedies.


90) EL LABERINTO DEL FAUNO (PAN'S LABYRINTH) (2006) -- (D./W. Geuillermo Del Toro)

As I watch this film I am reminded of the very nature of fairy tales--their origins and their purpose. Early fairy tales took place in dark times and featured a kind of violence that has since been lost in the re-telling (does anyone remember the original version of Cinderella where the evil step sisters were sawing off their toes to try and fit into the magic slipper?). This film is no exception, taking place in Spain during World War II, full of acts of violence that are chilling and disturbing. It centers around a young girl who is living in a military camp. She is soon visited by a large Fawn who leads her into a magical world where she is said to become a Queen. As the "real world" becomes more traumatic, the "fantasy world" needs her more, providing an escape and a source of hope. It's what fantasy and fairy tales are all about: escape.


89) THE HUNTED (2003) -- (D. William Friedkin, W. David Griffiths, Peter Griffiths, Art Monterastelli)

"...and Abraham said "Kill me a son."
Okay, so Tommy Lee Jones has played a tracker in, like, thirty movies, but this is his best tracker role. It's like Rambo, if Col. Traughtman didn't try and save Rambo, but instead hunted him down. The story is really simple. L.T. Bonham (Jones) trained special ops soldier Aaron Hallam (Benicio Del Toro), who returns from combat with post-traumatic stress disorder and starts murdering hunters in Oregon. So L.T. is brought in to stop him. That's it. The rest of the movie is one man hunting the other. It's basically the father trying to atone for his sins by killing the son he created.
In a way the two characters could be seen as two sides of the same person. One is rational, humane, and civilized, while the other is primal and barbaric. It's an allegory for man's struggles with his primal nature. At the end of the film, after L.T. has finally murdered Hallam in a knife fight, he sits alone in his cabin reading a pile of letters that Hallam had written him over the years, attempting to reach out to L.T. for help as he struggled to cope with the stresses of war. L.T. throws the letters in the fire. He knows that part of him is gone now, because he killed it.


88) W. (2008) -- (D. Oliver Stone, W. Stanley Weiser)

This movie polarized critics and audiences. People either loved it or hated it. I found it fascinating. Let me start by saying I am very hot and cold on Oliver Stone as a director. Some of his work is brilliant (Platoon, Wall Street) some is entertaining at best (Any Given Sunday, JFK, Natural Born Killers), and some of it is downright awful (Alexander, U Turn). I agree that a bipoic about Bush is a bit premature, but maybe dramatizing events while they were (and still are) still playing out wasn't such a bad thing. It's like being a puppy and having your nose rubbed in shit while it's still fresh.
A lot of this film reminded me of a sort of retarded Citizen Kane. Both films are about the dark side of the American Dream. The difference between Kane and W. is that Kane recognizes he is a failure, having lost sight of what's important in life through wealth and power, where as W. does not. In a sense W. is the most painfully American story ever. A child of privilege squanders one opportunity after the next, eventually failing upwards into the highest office in the land, and becomes the most powerful man in the world. Even the most unqualified douchebag in the world can become president. It's the most American story I can think of!
This film is also a showcase of great performances. Josh Brolin does a terrific job as W., not just a caricature but a fleshed out character with depth and humanity. Richard Dreyfuss is a great Dick Cheney, Jefferey Wright as Colin Powell was great, and Toby Jones as Karl Rove is spot on, but I give top supporting cast honors to James Cromwell as George H. W. Bush. He was terrific.
I'm not sure how to classify this movie. It's very funny but it shouldn't be. This is a horror movie! In a sense this is one of the scariest movies I've ever seen, scarier even than The Exorcist! When the film concludes and you survey the damage that one misguided man did to this country, it gives you pause. Like every good horror movie should.


87) DREAMCATCHER (2003) -- (D. Lawrence Kasdan, W. Lawrence Kasdan, William Goldman)

Anyone who is reading this and has actually seen Dreamcatcher is likely asking themselves "Why the hell did Mike put this movie on here?" It's true, this movie is hated by almost everyone who sees it. It revolves around an alien invasion...where the aliens gestate inside people until they make their final exit through the host's...um...nether regions. In the form of a giant worm with teeth. Yeah. Gross. Oh, and then the four "heroes" of the film are friends who all have psychic powers, which they seemed to have gotten from their other friend...a retarded guy named Duddits. Yeah. Weird. And then, in addition to the aliens and the psychic friends, we have a whole military storyline where a General and a Major are fighting each other over how to resolve the alien issue. One wants to kill all the infected while the other insists it's inhumane. As though we've never seen this kind of storyline play out before. I know, I know...
So why do I like this flaming turd of a movie? I DON'T KNOW! I really don't. I just did. I liked the weird atmosphere of it. I liked the disjointed storylines. I liked Morgan Freeman's over-the-top General who wields a pistol he got from John Wayne. I even liked the retard Duddits and his ridiculous final act moment that made me laugh, cry, and cheer all at the same time. I can't explain why this thing worked for me, but it did. God help me, I loved it!


86) CASINO ROYALE (2006) -- (D. Martin Campbell, W. Neal Purvis, Robert Wade, Paul Haggis)

The best Bond movie yet. Why? Because it actually presents Bond as a character with flaws. He fails. He doesn't get the girl. He quits being a Double O! What!? That's not to say he doesn't have his cartoonish Bond moments, like diving from the tops of cranes, or re-starting his heart and returning to a poker game moments later and saying "That last hand almost killed me" in the coolest way possible.
Daniel Craig plays Bond a lot more serious and intense than the actors before him. This edginess benefits the character and makes him feel new while still feeling like the Bond we know and love. The action in it is spectacular and gritty. It's the kind of adrenaline shot the series desperately needed to prevent it from becoming just another re-tread of previous Bond films. It's truly bad-ass!

85) LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001) -- (D. Peter Jackson, W. Peter Jackson, Fran Walsh, Philippa Boyens)

I never read the books so I can't comment on what was changed for the movies, so in other words I'm not an LOTR purist. I loved the whole series. Fellowship is the beginning of a journey, and it has a sense of innocence slowly being stripped away. We meet our heroes in the Shire, a lush, green, joyful place, where everyone lives a peaceful life and gets wasted. But that all soon changes as Gandalf arrives to see Bilbo about the infamous Ring of Sauron. Of course things get worse from there, and the once jolly hobbits are soon being chased by Ringwraiths, and Frodo gets stabbed, and the ring is messing with his head, and Gandalf dies...And by the end of the film when Sam and Frodo head into Mordor, you feel like the Shire was a million years ago (and not just because it's a 3 1/2 hr movie).


84) LORD OF THE RINGS: THE TWO TOWERS (2002) -- (D. Peter Jackson, W. Peter Jackson, Fran Walsh, Philippa Boyens)

The second act! This film explores different themes from the first film. A central theme is testing one's loyalty. It's all over the film. You have Aragorn finding himself tempted by a new love interest and debating his commitment to the woman he loves. You have Faramir torn between the loyalty to his brother and his father. You have Sam and Frodo, committed to one another yet being torn apart by the ring, and by Gollum. Then we get a lot of Gollum (a special effects triumph) and the most compelling character in the series. He could be the subject of a movie all by himself. He is, of course, the cautionary tale. The one who has loyalty to no one, and has become so deranged he can't even trust himself.

83) THE LORD OF THE RINGS: THE RETURN OF THE KING -- (D. Peter Jackson, W. Peter Jackson, Fran Walsh, Philippa Boyens)

The grand finale! All the resolution comes in huge, raucous battle scenes, and the ring finally going into the volcano. That was all assumed. It's the last thirty minutes I liked most. It's the quiet after the storm. It's the four hobbits sitting around a pub back in the Shire, home from a long, heroic journey, yet nothing is quite right. It's not as it should be. The horrors of their journey have changed them, and they aren't the same any more. They can't be who they once were. So Frodo leaves. Some say his sailing away means he dies or something, I don't know. I think it's irrelevant. He simply leaves. He knows he will never be who he once was, and the Shire will never be the same to him. So he has to leave it behind. And there, on the shores of the ocean, ends the fellowship.

IN DEFENSE OF EWOKS

Ever since the release of Episode I in 1999 there has been a great deal of Star Wars backlash that has spread like wildfire through the pop culture landscape. With the prequels failing to recapture the original Star Wars magic, and cartoon movies like Clone Wars and it's various incarnations on Cartoon Network doing little to generate new generations of fans, the once great Star Wars legacy has been tarnished. I can't say that the backlash isn't justified because much of it is, and the disappointment felt by many fans is understandable, but when people's grievences with new era Star Wars cause them to lash out at percieved weaknesses in the original trilogy a line must be drawn. In other words leave the Ewoks out of this!

I am well aware that there was a lot of dislike for the Ewoks when Return of the Jedi first came out, but I have been hearing an unsettling amount of anti-Ewok chatter as of late.
The only Pro-Ewok sentiment I have heard since this trend of Star Wars bashing had begun was from an episode of "How I Met Your Mother". As much as I commend the show for taking such an unpopular stance in defense of Ewoks, it has done little to sway people's opinions. The simple fact is that Ewoks are kind of badass.

Here are my reasons why:

1) SAVAGE WARRIORS - The Ewoks annoy people because they look like little teddy bears, and they have shrill, high-pitched voices. I could understand all that if that was the limits of their being, but it's not! Underneath their teddy bear appearance they are savage warriors. During the battle of Endor they crushed storm troopers heads with rocks, and wailed on AT-ST's with logs and boulders, and fearlessly stole speeder-bikes. These are not Care Bears my friends, these are tiny woodland beast with cunning fury!

2) CARNIVORES - For cute tiny bears they do not fuck around when it's time to eat! Lest we forget the Ewoks captured Luke Skywalker and Han Solo and were going to EAT THEM. That's not cute, that is scary.

3) GREAT MUSICIANS - Before the Return of the Jedi Special Edition came about, the original film's closing moments treated us to an Ewok party-jam that showcased their ability to transform Storm Trooper helmets into percussion instruments. It cast a new light on these tiny creatures. They are battle-hardened, cunning warriors, for certain, but they also know how to party. Their dance moves aren't bad either considering their limited ability to bend at the knees.

4) MAJOR-LEAGUE PIMPIN' - When it comes to loving, the Ewoks are not intimidated by size. Size matters not! Case and point, every single Ewok tried to get with Chewbacca. He may be 4 times their size but that didn't stop any of them from trying to get a piece. It's a bit perverse but you can't deny the Ewoks have swagger. Confidence is key.

So in closing, say what you will about Jar-Jar Binks, or the Clone Wars cartoons, or whatever, but lay off the tiny Endor bipeds. Much like real bears, they are cute on the outside but they'll rip your face off and play party jams with your empy skull.

I still love you America. Happy Birthday!

The 4th of July is my third favorite holiday (behind #1 Thanksgiving and #2 Halloween). Every 4th of July I dig my flag out of the closet and celebrate America's birthday by enjoying the hell out of my freedom. I feel kind of obligated to, I mean all these people died back in the 1700's to break free of British oppression so we could all have a lasting freedom. Think of how America has spear-headed progress in so many ways since then. It would be an insult to all those folks who died in the early days if we didn't go out and water ski and BBQ with our friends and families, and celebrate everything this country has given us.

I always had fond memories of 4th of July as a kid. It always consisted of parades or houseboats, definitely fireworks, and usually a BBQ somewhere. I loved it, even up through my 3 years in the U.S. Army. But as I got older and my naive view of the country changed, the 4th of July changed. Friends of mine said they were embarrassed to be Americans and hated the symbol of the American flag. As a matter of fact the American flag I have today was given to me by a friend who had earned the flag as part of his reward for becoming an Eagle Scout. Due to the post 9-11 political landscape many people I knew had developed a hatred for this country and lost any patriotism they ever had. I would read news stories about celebrities like Gwyneth Paltrow telling a Canadian magazine she was embarrassed to be an American, or Alec Baldwin saying he would move to another country because of his disgust with this place. It had suddenly become so unpopular to be American and to be a patriot.

Now let me clarify that I am not a supporter of George Bush or the war in Iraq, far from it, so when it was implied that people who went out and waved their flags on the 4th were somehow supporters of those things I was shocked. I went and took the American flag from my Eagle Scout friend and proudly displayed it off of my balcony. I'll be damned if I'm going to let George Bush or anyone else dictate what the American flag represents to me. Fuck that! You want to know what I see when I look at the American flag? I see the place where I grew up. I see my family. I see my friends. I see everyone I ever loved. I see the 49ers, the A's, the Warriors. I see every great experience I ever had. I see a place full of opportunity and a place that continues to spearhead progress. A place where there's still time to do the right things. THAT'S my America. That's what my flag represents to me. To me being a patriot doesn't mean I blindly support every decision this country has made, it means I support, defend, or fight for the things this country has given to me and continues to give to me. When the government disappoints me and takes this place in the wrong directions I'm not going to be a pussy like Alec Baldwin and just move away, I'm going to take it back!

This 4th of July when we're all busy enjoying the hell out of our freedom and someone is waving a flag, stop and think about what it represents to you. It's okay. It's okay to be a patriot again. Go on, don't be afraid, love it a little.