122-127

Film#122 - Toy Story 2, 1999, dir. Jon Lasseter

This movie really jumps right into the main storyline. It wastes no time setting up the setting, characters, anything. It assumes you know who Buzz and Woody are, at least remember the general plot of the first film and just goes right to the meat of the movie. Within 5 minutes the entire plot is set up. Another noteworthy feature of the film is how heavily it plays on your emotions. It'll tug at emotional strings you didn't even know you had. It has such a range of feeling it's incredible, things that only this film can really do. The animation is better than the first, obviously, but in a way to not be noticeably different. If you've seen the first, you need to see the second.

9/10

Film#123 - Cocoon, 1985, dir. Ron Howard

I really had no idea what this was, apart from the small introduction John Cusack does for this film when showing it to a group of senior citizens in a retirement home in Say Anything. And it makes so much more sense after seeing Cocoon. The basic idea is, well, it's not very basic but, a group of mysterious strangers move into an old mansion beside a retirement home, and everyday they go out and scuba dive for these large egg-shaped rock-looking things, 'cocoons' if you will. A group of men from the retirement home spend their days swimming in the abandoned mansion's pool, and even after the strangers arrive they keep doing it. The strangers leave the cocoons in the pool, and what happens is after a swim, the old men are rejuvenated. Their youth is returned and their lives are improved. Long story short, there are aliens and space adventures. It was a unique take on the alien genre and a bit of a forgotten classic.

8/10

Film#124 - The Cove, 2009, dir. Louie Psihoyos

I had a different idea of what to expect from this film from the publicity than what was actually in it. Yes, it is about a cove where dolphins are slaughtered. But what was surprising was the way it dealt with larger issues, namely the high mercury content of dolphin meat. I also didn't know that literally the entire film is leading up to actually filming what happens in the cove. The film, which I have to be more gentle on because it's a documentary, but it doesn't have a large attention to shot composure or aesthetics. It's really just to present the information. This would be fine if it wasn't so one-sided. It's entire thing is to make you feel sorry for the dolphins rather than logically sort out what's wrong with the situation. The actual footage of the dolphin slaughter is insane, like nothing I've ever seen before. But my issue was that if you were to see any animal slaughter, you'd probably be equally as shocked. We aren't used to seeing things die, and as such the film plays on that, when I think it should have put more attention on the implications of dolphin slaughter, as well as the issue of whaling that they only briefly touched on. I felt the discussion of how Japan basically bribes impoverished countries in order to get votes on their side was incredibly interesting, but that was literally 5 minutes long. It could have been the entire film really.

7.5/10

Film#125 - Gangs Of New York, 2002, dir. Martin Scorsese

Unbelievable. Daniel Day-Lewis, of course, is insanely good. Everyone was so good. The whole look of the film, my my. The dialogue though, that's where I think the film stands out. They use a dialect so different from what we would use today, yet it's all recognizable based on the way the words are used. Great stuff.

10/10

Film#126 - Extract, 2009, dir. Mike Judge

I'm a big fan of Mike Judge's Office Space, and this has a lot of the same feel to it. At times it even seems to be the same film. It is again about alienated workers, tired of their jobs and subjected to the formulaic work they have to do for a living. This time we're positioned to relate to the boss rather than the workers though. It has a lot of obscure plot points and some strange scenes that at times seem incomplete and left too open. This is where it starts to differ from Office Space. The general plot is about exploiting the business, but again, the only real difference is we're put in the place of the opposite side this time. There are some genuinely funny moments, but I found almost all of them had to do with Ben Affleck.

5.5/10

Film#127 - The Curious Case Of Benjamin Button, 2008, dir. David Fincher

Where to begin. My biggest problem with this is the way it constantly reminds you how he's aging backwards. We got the idea before we even saw the movie. I also had an issue with the chemistry between Brad Pitt and Cate Blanchett. They didn't seem to be 'destined' for each other. As kids, although he was super old looking, they meshed. Then they get separated, meet in their mid 20's, but she's radically different. She won't let him get a word in, conceited, and in a way, shallow. Yet for some reason he still wants to be with her. Years later she passes it off as she was 'so young back then', but my problem was, so was he. He's not mentally aging backwards. He stays the same but she goes through phases. I didn't get why he liked her, it just didn't make sense. I actually thought he was so into her simply because she looked like Tilda Swinton's character. Still, it was a beautiful film, and Jared Harris as Captain Mike was a great character. Brad Pitt was good, his mother was better, but it relied too much on gimmick. I also didn't like how it was set as a story told during hurricane Katrina, which is rumoured to be because New Orleans offered a higher tax credit than Baltimore where it was originally set.

7.5/10

1/3 of the way

As this marks the 1/3 point in my conquest, I've assembled a selection of films I found to stick out. I've been criticized for being too generous with the scores I give out, but I have to disagree. Firstly, the films I've given 10/10 to, they are flawless; they're cinematic, engaging and touching. You shouldn't be afraid to like things. Secondly, not everything needs to be a 10/10 to be one of my favourites. In fact, many 10/10 didn't make the cut; they're perfect films but what I think is worthy of a high score doesn't mean it's a personal choice, but rather I try to judge films critically rather than just picking what I like the most. Keep in mind these are more or less personal favourites, as well as I've tried to give a semi-eclectic range of films. With that, I give you my list of 10 films I feel everyone should see.

1. Magnolia

Over 3 hours and I wish it was longer. This is the story of practically a dozen main characters all so well developed they could carry the film individually. This film has such passion it can't be ignored. The incredible ensemble cast weaved together through a provocative storyline, this is my favourite film.

2. As Good As It Gets

One of the deepest character-driven stories ever. This movie transcends the actors who most definitely have extensive baggage and brings it to a level where you see them as people rather than actors. Truly amazing.

3. Fargo

The Coen brothers made a masterpiece; the dialogue is sharp and the characters are some of the most unique I've seen. They're comical yet realistic, giving the film a tone unlike any other. A perfect balance of the Coens' wackiness and grit.

4. The Deer Hunter

Another intensely long film, but one I feel holds such cultural relevance even 30 years later. The film plays out like life, setting a tone and an environment that mimics real people, and in doing so makes it's message all the more effective. Do not give up on this one, it takes drastic twists and turns that will shock you.

5. Inglourious Basterds

Tarantino's finest film in my opinion. He's found a perfect formula for his extended dialogue to spill out like poetry, yet still be just so badass, and then contrasting with rapid spurts of brutal violent montage. It's beautiful and epic.

6. Let The Right One In

One of the strangest ideas if you haven't seen the elegance of this film; a romantic horror film with vampiric children, dark and ominous yet simultaneously inspiring. This is the best child acting I've ever seen, and even through it's oddness, it's stunning and touching.

7. C.R.A.Z.Y.

This is the best Canadian film I have ever seen; it makes you question why you ever thought there was a Canadian film stereotype to begin with. This shows that a modest budget and an inspired writer/director can create cinematic magic even in a global standard.

8. 500 Days Of Summer

I'm sure many people may think this isn't one of the best films, but I honestly and obviously disagree. Not only is it such a sentimental love story, the way it goes about it is so distinctive it's one of a kind. It's quirky, and edited so well I can't even describe. The attention to detail is beyond belief; just look at their clothing, apartments, offices, bar, everything. Every scene is so carefully put together.

9. Hot Fuzz

This may be another film people are skeptical of. I have to say this is an absolutely phenomenal hybrid of action and comedy; it's self-referential and aware of the genres it's playing with, and it does so in such a way I can't take my eyes off the screen. It's charming and beautifully paced.

10. There Will Be Blood

This film ends and I want to just start it from the beginning again. It has one of what has become my favourite soundtracks I've ever heard. I don't even need to mention the caliber of acting in this thing. It's a cinematic masterpiece.

Honourable Mentions:

Far From Heaven - Modern revisioning of the 1950s melodrama, combining so many social taboos and issues still present today.

Funny Games - Cruel yet refined, this film speaks to the culture of film audiences as well as society itself.

The Messenger - Drastically overlooked, this is a hard-hitting take on the aftermath of war from a perspective rarely seen.

Boogie Nights - Long but worthwhile, this film is dirty but it's grand story and wonderful cast make it a great experience.

A Serious Man - Bizarre and quirky, this film may be boring to some but I found the entire tone and look to the film to be enthralling.

117-121

Film#117 - A Single Man, 2009, dir. Tom Ford

So going into this I knew who Tom Ford was, and for anyone who doesn't he's a fashion designer and icon. This is his first film, and for that he did a very good job. The film is visually stunning, and of course it would be; everyone is dressed so refined and well groomed. The film is meticulous. The sets, the colouring, the old cars and perfect hair. I actually had no idea this was at all about homosexuality. The sad thing is, I never think a movie needs to be 'about' homosexuality in order to discuss it, it should rather just be a means to tell a story. You may argue that it was in this case, but I have to disagree. I feel the film did things that only queer cinema can, and in that process it makes the film about being gay rather than the love story you're supposed to be involved in. I could go into a handful of examples I pulled from the film but I'd rather not; simply see it yourself. It's not something for people who have short attention spans, as many of the shots are long and without much 'happening.' Still, a good first effort.

7.5/10

Film#118 - White Chicks, 2004, dir. Keenan Ivory Wayans
As much as this may be a terrible movie, it made me laugh until it hurt more than once. The premise is insane, and is executed poorly. There should have been a much better reason WHY these men had to dress as white women, and even how they got it done. But other than that, and of course a lot of cheesy dialogue, bad acting and nothing special cinematically, this movie is hilarious at times. The Wayans brothers have some great comedic timing and the contrast of black men acting like white 'chicks' is both hilarious and in some sense offering an overt depiction of racial differences, for good or bad.

6.5/10

Film#119 - Funny Games, 2007, dir. Michael Haneke
This made me anxious literally from the opening credits. It, as other things, is literally insane. As this is far more unknown than the other films this week, I'll give a little plot rundown. Naomi Watts and husband Tim Roth, along with their young son, go off to their vacation home. they are clearly wealthy, and soon after they arrive some friends of their neighbours come to ask for some eggs. Well, they don't really want eggs, but more so to torture and kill the entire family. You get the point 15 minutes in, but it's not going to let up for a long time. It really gets brutal at times, completely unrelenting. There isn't much graphic violence on screen, and it isn't even necessary. The film builds suspense and horror in, oddly, a beautiful way that on one hand tries to be reminiscent of what horror/thriller's used to be, but at the same time this film is a direct criticism of what I would say to be Western horror and violence. At several times, the lead torturer played by Michael Pitt (who if you've ever seen you should know is both intensely creepy as well as provocative and a fantastic actor) directly acknowledges the audience, breaking the fourth wall and playing with your expectations of what's to come. As with any torture film, there are ups and downs, times you think the protagonists will triumph and at others feel hopeless. This film knows the way it works and tells it to your face; Pitt asks the audience questions, suggests the results, describes the feelings you should be having. As a slight spoiler alert, at one point in the film the tables are finally turned on the tormentors as Naomi Watts manages to shoot and kill one of them; this is common in the genre, obviously. Pitt's character immediately starts looking for the television remote, and in a literal sense rewinds the scene in order to change the plot of the film. I'm sorry to be pretentious, but this film is postmodern; selfreferential and suggestive that film is formulaic. It says that everything has been done to try and push the boundaries and it's gotten to a perverse level, and acknowledges the audience as simply seeking the same story over and over. This is a bit different, and if you can handle a two hour nightmare, go for it.

8.5/10

Film#120 - Say Anything, 1989, dir. Cameron Crowe
I've got to say, I can't help but draw connections between this and Crowe's other films, namely Almost Famous and Fast Times At Ridgemont High. They're all coming of age films, dabbling in as many teenage issues as possible. While I adore Almost Famous, I can't say the same for this. I didn't feel the chemistry between the leading cast. For a love story, it felt censored and scripted, and not at all 'lovey.' John Mahoney, a.k.a. Martin Crane from Frasier, is pretty great in this. His character seems the most developed and at times I loved him, at others I hated him but overall he just made sense. The famous scene with John Cusack standing outside holding the boombox over his head, well, it completely let me down. It was so anticlimactic, nothing happened. The song wasn't even epic. I liked what the film had to say in some sense, but it just wasn't up to par.

6/10

Film#121 - Toy Story, 1995, dir. John Lasseter

Well, this is pretty self-explanatory. It's good. It's super short though (81 minutes, what a joke). The animation was of course breakthrough back then, but now it surprisingly seemed a little dated. More so than I expected. The people in the film look so goofy it's hilarious. The Soundtrack might be the best part of this for me, it's just so classic and memorable. Also, I thoroughly enjoyed this after so many years because I pick up on so many more things now, os many little nuances and easter eggs they put in for people in the know, like the Binford tool box and the Megadork poster. But the film, sorry to say, isn't mindblowing.

8/10

110-116

Film#110 - A Beautiful Mind, 2001, dir. Ron Howard

It's been so long since I've written a review I can't really remember how to do these. This film, it's great. It's pretty simple. Russell Crowe is intensely good at what he does. I've seen it many years ago but I was reminded of the plot twists early on in the film, and I have to say it took away from the experience. I was also very aware of some the stylistic choices that make the film slightly cheesy at times. Ron Howard made some aesthetic choices that if you have any inclination of what's happening, it becomes all too obvious, if you know what I mean. It's hard to describe without spoiling the film.

8/10

Film#111 - Gladiator, 2000, dir. Ridley Scott

This movie kicks ass, but far more than just the battle sequences. Russell Crowe, again, is such a good actor and gives so much intensity to his character it's unbelievable. What makes this film truly amazing is its flow and its revival of the historical epic. A genre long since forgotten except on those Easter Sundays when The Ten Commandments comes on TV.

9/10

Film#112 - There Will Be Blood, 2007, dir. Paul Thomas Anderson

If you've read any of my other reviews for Paul Thomas Anderson, you'll know I love what this man does. This film is probably one of my favourite bits of cinematic glory I've ever seen. With a running time of over two and a half hours, and yet when it finished I just wanted to play it again. I could literally watch this over and over and never get sick of it. Daniel Day-Lewis is absolutely enthralling as Daniel Plainview. This may be the very best example of how character development should work on screen. Please do not let the title fool you, this is not some gory film. It's a masterful story with such a visually appealing aesthetic that every frame could be a painting. The soundtrack, it really makes me wonder how in the list of Oscars this was nominated for it wasn't up for best original score. It's so original and overpowering, it's the perfect companion to such great writing, acting, cinematography and directing. See this, and invite me over.

10/10

Film#113 - Year One, 2009, dir. Harold Ramis

This was horrendous. Seriously just a horrid film to try and get through. There were maybe 2 good jokes in the entire thing. Jack Black should stop 'acting', he just plays himself. He's completely depthless, butchering his way through the dialogue. Do not see this. Ever.

2/10

Film#114 - Annie Hall, 1997, dir. Woody Allen

This as not at all what I expected, on many levels. I thought it would be a, well, typical love story. It's not. It also kind of let me down the way they showed Allen and Keaton's romantic relationship; I can't say I felt the connection. Woody is however, hilarious. He has so many great lines it blew me away. This may be the only comedy I've ever seen that won best picture. I also felt the film left off a bit too abrupt. However, the way it breaks the fourth wall, the incredible wit and comedic delivery and the originality of the whole thing make it a great film.

8/10

Film#115 - Capitalism: A Love Story, 2009, dir. Michael Moore

I've just about seen all of Michael Moore's work and I have to say I've liked it all. This was maybe his most difficult to follow, which isn't to say it was THAT difficult to follow. But still, it just jumped right into the meat of it all and was at times rapidly paced, leaving you to really try to keep up if you don't already know these concepts. It was incredibly informative, but of course I realize it's highly constructed and is intended to show on side of the issues. What I have to question is in this argument that documentaries should be objective and tell the 'truth', the unbiased facts, well, I have to ask if that's ever possible? Any film will ultimately have to show certain things and cut others with it's time constraints. It will have to place us at a single viewpoint from the camera. And for the sake of making things interesting, I have to argue it has to take a stance. People need to remember this isn't a journalistic film, it's a film trying to tell a story, to expose social issues in an extreme way in order to get people to pay attention. And I have to say it does so fabulously. It's also incredibly witty and at times down right hilarious. I actually went over several parts a few times just because of how funny they were (namely a certain dubbing of Jesus Christ). Check this out.

8/10

Film#116 - The 40 Year Old Virgin, 2005, dir. Judd Apatow

I've seen this a handful of times before. It's one of these films I would put under the category of comfort movies, things that are well done, really no discernible faults but it's definitely not going to win any major awards. It's funny, and you don't need to worry about sudden unexpected plot twists. It's just an enjoyable couple of hours. A comedy classic.

8/10

EAVB_PNCYYJJJHU

106-109

Film#106 - Wedding Crashers, 2005, dir. David Dobkin

Being that this is such a popular movie and all, and the title is fairly obvious, I don't need to go over any plot points really. This is a good movie. Fact. It achieves what it set out to do, no, it exceeds. Maybe people think this is a 'typical' comedy, but really, it's unique in so many ways. The concept, where else have we seen this before? The dialogue, well, it's just witty. Well spoken and delivered with such comedic timing that I think so many comedies these days forget that it's not as much what you say but how you say it. Vince Vaughn plays his character so well, with such quick little jokes, the subtlety is just great. I feel this movie never made any promises it would be more than just a romantic comedy, and it's one of the best. It brings os much comedy to the romantic side, which I must say the characters have such deep chemistry it just makes sense. If you haven't seen it I don't know what you're waiting for. A great, no, phenomenal, comfort film.

8.5/10

Film#107 - Choke, 2008, dir. Clark Gregg

So we've all seen Fight Club and/or heard of it, or know of Chuck Palahniuk. He's not that great of a writer, but his ideas are have fresh takes and different style that makes them enjoyable. Choke is another film adaptation for him, and well, it's no Fight Club. The movie is incredibly sexual; literally every character, major or minor, has some form of sexual addiction of deviancy. It's full of Palahniuk's little quirks that I thought made Fight Club what it is, but they were executed poorly. The style of the film needed a serious reworking. The dialogue, well, I can't say it was bad but some actors delivered it badly. Anjelica Huston was a major fault of the film. She, well, I thought she was horrendously bad. On the other side of things I'm falling more in love with Sam Rockwell, that man can act. But I have to think this could have been done so much better with more care to each shot and pacing of the film.

6.5/10

Film#108 - Gosford Park, 2001, dir. Robert Altman

I was a big fan of Altman's Short Cuts, and any polyphonic film (multiple character storylines interweaved) is a big plus to me. Giant ensemble cast here. The general idea is there's a weekend party for rich people, and a bunch of servants helping out. The rich people are upstairs doing their thing, and some of them have brought personal assistants and such, and the help is all in the basement working away. I enjoyed the way this film dealt with such a large cast and making sure the audience can tell who is who; it's fairly crucial for a film like this to stress the names and roles of each character early on without making it seemed force and out of place, and this got it just right. The overall story is, well, not 'full' so-to-speak. Not too much happens. At times it made me think this would be a great setting for a movie version of Clue. In a way, and a very very slight way, it is. I'm not sure exactly what the film intended to say, but my take on it is that it shows the relations between upper and lower classes, in the ways the deal with problems, the social taboos, the masks people wear, as well as the way these classes directly interact. I have to admit it might take another viewing to fully understand it all, but I feel there is quite a bit to be learned here.

7.5/10

Film#109 - Orphan, 2009, dir. Jaume Collet-Serra

Of all I've seen this year, this is my least favourite. This will not be a pleasant review. This film, is an abomination. Loving family of four adopt a 9-year old girl, who over the course of the film, proves to be a complete nightmare. This film, to me, is so clearly trying to make something that can still shock audiences, trying to be terrifying and horrific. But it has in my opinion, gone way too far. I enjoy the horror genre, although I feel it gets a bad reputation (and rightfully so) from all the bad films put out into the mainstream. To sound pretentious for a second, I have to believe an age of subtlety and technique in producing horror and fear is gone, and what has replaced it is this mentality of "what can we do to make people absolutely sick to their stomaches?" Horror should be scary; it should put you on the edge of your seat, terrified for the protagonists. It should explore your fears and give you a place to express them. Stephen King once wrote that horror is a necessary part of people's lives, and to experience it keeps us from committing acts of horror ourselves; he says that we have 'crocodiles in our minds' and that horror feeds those crocodiles so they don't ever get out. This film, it didn't do any of this. The emotions is made me feel were not fright, anxiety, even sadness where appropriate. No, it made me frustrated, angry and disappointed. These are not things people wish to experience. You don't hear people come out of the theatre saying, "Wow hunny, I really needed a good 2 hours of frustration tonight." This movie plays on so many things in such bad taste I feel manipulated. It uses children and all the connotations that go along with them to not only taint their ideals but to go so far that it's entire 'shock value' is relying on this notion of hopelessness and complete destruction of what I would hold as positive values. Nothing good comes from this film. I'm sad to see such talented actors like Vera Farmiga and Peter Sarsgaard is such a terrible movie. This horrible, horrible movie achieved absolutely nothing for me that I can find any value in. If there is one movie you never see, let it be this.

3/10