 |
|
|
 |
|
| 1/21/2004 |
| BENNETT'S THE TOP 25 OF THE YEAR and OSCAR PREVIEW |
by Wes Bennett
|
My reaction to the Golden Globes: Was anyone else worried about Al Pacino. That was emabarrassing. I think it was on par with the Joe Namath, "I wanna kiss you" sideline embarrassment. I'm not sure at what age that kind of drinking just becomes sad. Are we going to see Pacino when he is 70 acting like that. Jack Nicholson had reached the "I'm so wasted (or high) that I'm going to do everything I can to act like I'm ok when I'm on stage." I go back and forth over which is actually the more intoxicated state. I would have to give props to Jack for at least knowing that he was live in front of 26 million viewers and it wasn't the best forum to act like an idiot. Most of the time with celebrities, its surprising to see them acting like themselves. In real life, they almost always are shorter, more gay, less intelligent and on a lot more drugs....
2003 was a definitely great year for films. I'm not going to come out with a special "Oscar" preview, because that's kind of gay. But I will give you my personal favorites:
Best Actor:
Sean Penn should win for "Mystic River." No question. The scene where he cries for the first time over the death of Katie, on the porch with Tim Robbins is amazing.
I also liked Russell Crowe in "Master and Commander."
Bill Murray ("Lost In Translation"), Jack Black ("School Of Rock"), and Billy Bob Thorton ("Bad Santa") were good in more comedic roles.
Underrated: Val Kilmer ("Wonderland") and Nick Nolte ("The Good Thief")
*Although Johnny Depp was superb in "Pirates of the Caribbean" it's not a role that should be nominated. I say this because there are always great comedic roles that are overlooked. I accepted this in the past because they were comedic performances, and the academy likes to screw over comedies. So if Depp gets nominated it will open up a huge can of worms because it did not have an ounce of seriousness. I would argue that Murray's performance had elements of sadness behind it which added a lot of depth.
Best Actress: Charlize Theron "Monster." Like Penn, there is no question on this one.
Runner up: Jennifer Connelly from "House of Sand and Fog."
*I want to go on the record and say that I disagree with the nomination of Diane Keaton. If you view the film, pay close attention to the scene where she sobs for what seems like 3 minutes. That's not good acting....
SUPPORTING ACTOR: Benicio Del Toro from "21 Grams."
Runner up: Robert Duvall in "Open Range."
*I did like Alec Baldwin in "The Cooler."
BEST SUPPORTING ACTRESS: I'll be honest, no one really grabs me here. Shohreh Aghdashloo, was very effective in "House of Sand and Fog" if I had to chose someone.
*But, like Johnny Depp, Renee Zellweger is not a performance that I would nominate.
BEST DIRECTOR:
Clint Eastwood ("Mystic River") beats out Peter Weir ("Master and Commander"), Quentin Tarantino ("Kill Bill"), Sofia Coppola ("Lost in Translation") and Peter Jackson ("Lord of the Rings.")
BEST PICTURE:
There were a lot of good films this year. Look at anything in my top ten. I would pick "Mystic River."
I will be upset if "SeaBiscuit" is nominated. The film was really cheesy and Disney-like. It seemed to be a 2nd rate sports movie that I would rank far below films like "Hoosiers" and "Breaking Away."
The academy always blows it on this one. Films like "Almost Famous", "About Schmidt", "Being John Malcovitch", "The Royal Tennenbaums" don't get nominated while films like "Babe", "Four Weddings and a Funeral" and "The Full Monty" do. These people are all smoking crack.
*If you think of the best screenplay category as the best picture category then it helps ease the pain.
Here are my top 25 films of the year. I didn't spend that much time on the order, so don't freak out.
25- “Terminator III”
“This was a throwback to the films of the 1980's when they actually blew stuff up and destroyed property rather than resort to computer trickery. I was rendered speechless with awe during this sequence and found it so satisfying that when it was over -I didn't know whether to stand up and high five the guy next to me or lean back and light up a cigarette.”
24- “Matrix II”
“The Wachowski Brothers continue to extend their provocative arguments about people vs. machines, free will vs. preprogramming, by combining Eastern philosophies and addressing the potential evilness of technology.”
23- “Laurel’s Canyon”
“Bale gave one of the greatest performances of the last 20 years as Patrick Bateman in “American Psycho”. He has struggled to find material that is up to that level since then.”
22- “All the Real Girls”
“This is a beautifully realized and assured work, packed with raw emotions. Some of the insights into the characters are deep and fascinating. It’s always fun to see the emergence of a director as distinctive as Green, and one with his gift for quiet, unhurried storytelling.”
21 -“8 Mile”
“If nothing else “8 Mile” succeeds as a film by capturing the raw and unsettling emotional power of hip-hop in way that's never quite been done on film before.”
20-”28 Days Later”
“By taking the less is more approach, similar to “Signs”, and giving us a very narrow view of a small group of survivors, Boyle creates more potential mystery and discussion that is lost in big budget disaster films like “The Core” and “Armageddon.”
19- “Open Range”
“Despite the slow start and too long finish, “Range” contains an hour and half in the middle that is essentially the strongest movie of the summer.”
18- “Cabin Fever”
“Would you be willing to risk your life to help someone knowing they are very sick and might infect you? This simple premise is brilliantly played out throughout the film as Roth plays on some of our most primal fears: death, isolation and helplessness.”
“Better Luck Tomorrow”
“They’re young and ambitious but lack any kind of morals. They’re like a gang of Asian Patrick Batemans.”
17- “The Good Thief”
"The Good Thief" is really about the camaraderie of marginalized opposites, and the moral contradictions suggested by the film's title. This is another of Jordan's valentines to outsiders obsessed with dreams of beauty and transcendence from a glamorized but fatal low-life existence.”
16-“Elephant”
“Gus Van Sant's "Elephant" offers no explanation for the tragedy, no insights into the psyches of the killers, no theories about teenagers or society or guns or psychopathic behavior. The film is honest enough to admit that it does not know why the killers acted as they did. The bottom line seems to be that we simply live in a world in which crazy people will always find excuses to do senseless things. Sometimes there is not a good reason for evil and it’s better to admit that than to try to blame the behavior on video games or heavy metal.”
15- “The Bread My Sweet”
“After a somewhat slow first act, the film grabs you by the throat and does not let go, wringing and impressive amount of emotional drama from the story. This is one film that will stay with you for a long time. “The Bread, My Sweet” is not just about love of family and culture, it’s about sacrifice and doing things for other people. A film like this is hard to find.”
14- “Wonderland”
“Kilmer already has his place in movie history secured with his excellent portrayals of Ice Man in “Top Gun,” Doc Holiday from “Tombstone” and Jim Morrison from “The Doors.” In “Wonderland” as John Holmes, Kilmer gives a performance of the same caliber by capturing the essence of a weak and out of control man.
Even though he’s now a loser, Holmes still has enough burnout charm to seduce the audience. He shows us how a worthless man could convince two intelligent and goodhearted girls to keep coming back to him. Kilmer is sad, charismatic, pitiful and above all compelling.”
>
13- “Bubba Ho Tep”
“For Elvis and JFK, this is a chance at redemption, to go out with their boots on. Elvis has a great speech about how he was a fraud in his old movies. When the lights went out, it was back to the booze, the pills and the coveting of women. Now he finally has a chance to become a hero for real. It’s ridiculous, inspiring and funny all at the same time. I could scarcely stop smiling at the absurdity, sheer inventiveness and joy of the film, especially when the two old men were battling the Mummy in the climax.”
12- “Cold Mountain”
“Cold Mountain” emphasizes the hardships of the families and women who were left behind who suffered in their own way as their husbands and brothers died on the battle field. With almost all of the young men gone, women were left with their children with little to defend themselves against threatening soldiers and wandering mobs searching for deserters.
Combat scenes early in the film, often shot tightly to emphasize the chaos of murderous hand-to-hand fighting in mud, bring home the unfathomable carnage of the Civil War. We are spared the patriotic rhetoric of politicians and leaders and instead are plunged headfirst into a bloody and horrific battle. These scenes rival the opening sequence of “Saving Private Ryan” where the dominating emotions were fear and confusion.”
11- “The Last Samurai”
“The battle sequences, in particular, are effectively captured, partly because director Edward Zwick was responsible for “Glory” and cinematographer John Toll photographed “Braveheart.” “The Last Samurai” is never anything but amazing to look at. Since the dialogue is limited, images gain additional importance. Zwick, who co-wrote the screenplay uses a less-is-more restraint at least with dialogue, particularly in scenes of human interaction. He lets his actors' faces tell their stories and he is not afraid to let a moment play out to describe smaller emotions. This works to Cruise’s advantages, whose beard and older age has given him a more grizzled and mature look.”
10- “Bad Santa”
“The movie has a masterful sense of how to involve the audience. I was riveted for the entire film and was literally crying from laughing so hard at one point during the groin kicking scene. This has only happened on a handful of occasions such as the tranquilizer scene from “Old School” or the openings of the first “Austin Powers” and “Ace Ventura” films.”
9- “Return of the King”
“While every movie trilogy-ender you can think of from "The Godfather" to "Star Wars" seems to be a feeble add-on to a completed story, "Return" is here to fulfill the characters and resolve the issues put down in “Fellowship” and “Towers.” Compared to the God-awful “Austin Powers III” or “Matrix III” it’s tremendous. (Even to “Die Hard III”, “Lethal Weapon III.”) I’m not going to say anything bad about “Rocky III.” That’s where I draw the line.”
8- “Kill Bill”
“It's nonstop gory violence, presented with an adolescent flair and sick-humor callousness. And as anyone who has ever talked to Tarantino knows, he's not satirizing anything here: he unashamedly loves cartoonish gore. In “Kill Bill” we get plenty. Heads, arms and legs are cut off, and the blood gushes as from a shower. The centerpiece sequence is a ridiculously over the top fight in which The Bride uses an extraordinary samurai sword to swiftly kills and dismembers scores, maybe hundreds, of people with a female rock band playing in the background. It may be ridiculous, but it’s also beautiful.”
7- “21 Grams”
“The name of the film refers to the myth that when you die, your body loses the weight of about 5 nickels or a hummingbird. Many would say this is the weight of your soul. The film is all about the essence of life and death, exploring the elements of sorrow, guilt, loss, love, addiction, faith and revenge.”
>
6- “School Of Rock”
“It cannot be stressed enough that Jack Black is brilliant. The film perfectly embraces and nourishes his musical madman persona that we have seen before in “High Fidelity” and his band Tenacious D. Black carries nearly every scene as he shows a genuine warmth and love of rock. His utter lack of vanity and fearless capacity for foolishness are played to perfection. With a gift for physical comedy that rivals that of John Belushi or Chris Farley, Black is truly a presence filled with life and passion.”
5- “Master and Commander”
“Master and Commander” opens and closes with rousing battle scenes. The film makes you feel as though you are in the middle of these loud, violent and intense struggles. The interim 75 minutes include character building, crew interaction, and details concerning what life was like on a ship in the 19th century. Weir lets us enjoy the salty camaraderie and virile chat of Aubrey and Maturin, as well as the fortunes of the colorful and brave crew.”
4- “Lost In Translation”
“At it’s core, “Lost In Translation” is a film about being alone in a crowd and the power of unexpected friendships. If only more romantic comedies were more like this and “Punch Drunk Love” rather than the more formulaic cookie-cutter films with Julia Roberts, than I would be an instant convert to the genre. Movies like this cut through all the bullshit and allow people to be real and not manipulated by plot points. This is unexpected gem of a film that actually lives up to the critical ass kissing it is receiving.”
3- “Monster”
“I suppose one theme of the film is asking us what kind of monster Wuornos is: the vile, soulless criminal that stalks innocent victims, or the rejected and misunderstood creatures that society itself creates like “Frankenstein” or the spurned kids who end up shooting people at schools. These debates could even boil down to a liberal vs conservative view of crime, or whether you blame social pressures and motivations instead of responsibility and morals. Really, it’s easy for most people to condemn criminals as they sit isolated from all hardship with their money and comfortable lives. However reprehensible her actions seem to us, we really don’t know what we would do unless we experienced, first hand, her desperate situation.”
>
2- ”Capturing the Friedmans”
“In the end what we experience is a challenge to our sense that the truth is ultimately knowable if you just put in an organized, scientific effort. It also illustrates the flaw of human perception - people are not only capable of seeing what they want to see, but of embracing what they fear.”
1- “Mystic River”
There is not enough room to talk about the sheer intensity of the film’s final act, the haunting main theme that Eastwood composed, the beautiful use of the city of Boston or the unforgettable images of Dave, looking forlornly through the backseat window as he is driven away, and Penn’s animal wailings as the Police restrain him from seeing his daughters dead body.
A film about pain and the repercussion of tragedy, "Mystic River" moves along its course and overflows at its climax with that indefinable but unmistakable assurance of a master filmmaker who knows just what he wants to say. There is really a lot of depth to the film making it one of the year’s very best.
*Memorable Scenes:
Best Action Sequence: The Chase in "Terminator III" pitting the two Terminators against each other.
Best Good Scene in a Bad Action Film: In "A Man Apart" in the middle of a massive shoot out, Vin Diesel finds the time to beat his wife's killer to death by repeatedly ramming his head into the side of a car.
Best Dramatic Scene: Penn and Robbins on the porch in "Mystic River"
Best Speech: Robert Duvall telling the sheriff the way things are in the saloon in "Open Range."
Best Montage: When Jack Black teaches the kids how to play in "School Of Rock."
Best End to a Film: The ridiculously gory battle in "Kill Bill" although I guess that only ended the first half of the film.
Funniest Scene: The groin kicking scene in "Bad Santa" would tie with the tranquilizer scene in "Old School." |
| |
|
|
|
|
|
|
 |
| "We use words like honor, code, loyalty. We use these words as the backbone of a life spent defending something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom I provide, then question the manner in which I provide it." |
- Jack Nicholson
A Few Good Men
|
|
 |
|
 |
|
Distributed Beers
|
| 5 |
Sierra Nevada Bigfoot |
| 4 |
Guinness Draught |
| 3 |
Newcastle Brown Ale |
| 2 |
Bass Pale Ale |
| 1 |
Samuel Adams Boston Lager |
|
|
|
|
|
