What I really like about this list is that is clearly illustrates that British film critics/writers aren't against honoring mainstream American comedies, unlike their critical counterparts in the States.
Look at the non-Oscar-nominated comedies on the list and you'll see what I mean. There are a couple that aren't too surprising; cuz it's by Linklater, I think we'll see School of Rock on a few US lists, same with Zwigoff and Bad Santa (which is also just genius anyway). But less prestigious stuff like Wedding Crashers and Anchorman aren't gonna get this kind of credit from American end-of-decade lists.
[When are the British gonna discover the films of David Wain? I would think that his surreal and subversive tone would really be more appreciated by non-US audiences. Well, their college students will find out about him eventually, and then they'll either love Wet Hot American Summer or hate it, I suppose. Like most people.]
Not a bad list. I think the choice of the 2nd and 3rd Bourne movies for #2 probably has a lot to do with Greengrass being such a hometown hero, but I think it's a logical choice otherwise. The Bourne trilogy are probably three of the most influential films of the decade.
[If Slumdog and Crash on a ton of these lists, I'm gonna get disheartened.]
House is on my shows to watch list. Too many people I respect have recommended it to me.
The only thing that's kept me away is my television-procedural-fatigue. In case you didn't notice, there are almost no shows about hospitals, law firms, or cops (minus The Wire, but that don't count) on my list. But I have heard that House is different, so I'll give it a shot.
I'm conflicted on District 9. I want to love it, but I can't get past the inherent contradiction between its message and its portrayal of Nigerians as cannibalistic, alien-humping criminals.
Fifth Element is a must-see, in my book. It's not a truly great film, but the design is the most groundbreaking sci-fi work since Bladerunner, and it's impossibly entertaining.
The story/mythology itself is mostly a decent-to-good pastiche of sci-fi cliches, but that matters very little when you can't stop gawking at every little thing that comes on screen.
I think we're gonna see a lot of lists that look like this. The critical groupthink on the internet is baffling.
I must admit that I'm never going to understand the hyperbolic love so many people have for Almost Famous. I guess baby boomer nostalgia is still a major force in film criticism.
I also am thrown off by the presence of so many other okay to mediocre feel-good films. Do many people consider Whale Rider or Girlfight to be anywhere near the best of the decade? [not that I have anything against female-centered "overcoming the odds" stories.]
I'm sure Wells made an effort to be diverse in his choices, but still, his love of certain directors really detracts from the list. Sam Mendes is talented, but do both Revolutionary Road and Road to Perdition need to be on here? If you ask me, Road to Perdition is gorgeous, but empty. And while I really like Amores Perros, it seems like Inarritu has been treading water ever since, especially in Babel.
On the positive side, I'm glad to see that the lower-profile films of the first half of the decade have not be forgotten. The presence of Ghost World and Sexy Beast alone pleases me immensely.
I have to wonder how he can mention difficult critics favorites (i.e. There Will Be Blood, Dancer in the Dark) but not Mulholland Drive, Lost in Translation or In the Mood for Love. Not so much a complaint as a statement of confusion.
Now that I think about it, there isn't a single entry on this list from Asia or France. That makes no sense whatsoever. He includes City of God, The Lives of Others, Amores Perros, and Talk to Her, among others, so it's not like he doesn't watch non-English language films. Super weird.
9 was somewhat underwhelming. Overall, some great visuals with a plodding, predictable plot.
Inglorious Basterds is a work of mad genius. I loved it with a passion reserved for few movies these days. I'll compose my thoughts and write something more substantive at some point. But consider this a huge recommendation.
The top fifty is somewhat predictable, but there aren't any real WTF choices.
"My Girls" in the top ten? I could think of four or five more deserving animal collective tracks.
I'm really stunned that there was no room for My Morning Jacket's "One Big Holiday" even with 500 tracks. Oh well, at least "Peach Plum Pear" ended up in the top 200.
I'm not sure how I hadn't noticed this yet, but I'm surprised to see 2046 place so far ahead of In the Mood for Love. I would love to hear what you thought of both films, and what leads you to prefer 2046.
You're criticism makes a lot of sense, especially when I consider that Bromst, and perhaps Deacon's music in general, truly takes on new dimensions in a live setting. I've seen him perform this material and actually get what you say he's reaching for, so maybe that colors my view.
I haven't heard to many 2009 albums, but I'm a big fan of the new Gui Boratto, as well as the new Junior Boys, Iran's Dissolver, and Don't Stop, the Annie album that leaked last year - I assume it's getting a 2009 release.
But the new Akron/Family is just really head and shoulders above anything else I've heard.
I'm a little sad to see the way-better-than-I-anticipated Bromst among your dismissables, but more than a little pleased to see Bird's album. I'm not sure I understand at all the love that man receives.
Have you heard the new Akron/Family yet? It's been the only album to really grab me so far this year.
also, if anyone would rather see that copy (there is a watermark "ripple" running through the bottom, but it really takes nothing away from the film) I could probably help a brother or sister out.
What I really like about this list is that is clearly illustrates that British film critics/writers aren't against honoring mainstream American comedies, unlike their critical counterparts in the States.
Look at the non-Oscar-nominated comedies on the list and you'll see what I mean. There are a couple that aren't too surprising; cuz it's by Linklater, I think we'll see School of Rock on a few US lists, same with Zwigoff and Bad Santa (which is also just genius anyway). But less prestigious stuff like Wedding Crashers and Anchorman aren't gonna get this kind of credit from American end-of-decade lists.
[When are the British gonna discover the films of David Wain? I would think that his surreal and subversive tone would really be more appreciated by non-US audiences. Well, their college students will find out about him eventually, and then they'll either love Wet Hot American Summer or hate it, I suppose. Like most people.]
Not a bad list. I think the choice of the 2nd and 3rd Bourne movies for #2 probably has a lot to do with Greengrass being such a hometown hero, but I think it's a logical choice otherwise. The Bourne trilogy are probably three of the most influential films of the decade.
[If Slumdog and Crash on a ton of these lists, I'm gonna get disheartened.]
House is on my shows to watch list. Too many people I respect have recommended it to me.
The only thing that's kept me away is my television-procedural-fatigue. In case you didn't notice, there are almost no shows about hospitals, law firms, or cops (minus The Wire, but that don't count) on my list. But I have heard that House is different, so I'll give it a shot.
I'm conflicted on District 9. I want to love it, but I can't get past the inherent contradiction between its message and its portrayal of Nigerians as cannibalistic, alien-humping criminals.
Fifth Element is a must-see, in my book. It's not a truly great film, but the design is the most groundbreaking sci-fi work since Bladerunner, and it's impossibly entertaining.
The story/mythology itself is mostly a decent-to-good pastiche of sci-fi cliches, but that matters very little when you can't stop gawking at every little thing that comes on screen.
I think we're gonna see a lot of lists that look like this. The critical groupthink on the internet is baffling.
I must admit that I'm never going to understand the hyperbolic love so many people have for Almost Famous. I guess baby boomer nostalgia is still a major force in film criticism.
I also am thrown off by the presence of so many other okay to mediocre feel-good films. Do many people consider Whale Rider or Girlfight to be anywhere near the best of the decade? [not that I have anything against female-centered "overcoming the odds" stories.]
I'm sure Wells made an effort to be diverse in his choices, but still, his love of certain directors really detracts from the list. Sam Mendes is talented, but do both Revolutionary Road and Road to Perdition need to be on here? If you ask me, Road to Perdition is gorgeous, but empty. And while I really like Amores Perros, it seems like Inarritu has been treading water ever since, especially in Babel.
On the positive side, I'm glad to see that the lower-profile films of the first half of the decade have not be forgotten. The presence of Ghost World and Sexy Beast alone pleases me immensely.
I have to wonder how he can mention difficult critics favorites (i.e. There Will Be Blood, Dancer in the Dark) but not Mulholland Drive, Lost in Translation or In the Mood for Love. Not so much a complaint as a statement of confusion.
Now that I think about it, there isn't a single entry on this list from Asia or France. That makes no sense whatsoever. He includes City of God, The Lives of Others, Amores Perros, and Talk to Her, among others, so it's not like he doesn't watch non-English language films. Super weird.
Hey AJ! Good to hear from ya!
9 was somewhat underwhelming. Overall, some great visuals with a plodding, predictable plot.
Inglorious Basterds is a work of mad genius. I loved it with a passion reserved for few movies these days. I'll compose my thoughts and write something more substantive at some point. But consider this a huge recommendation.
The top fifty is somewhat predictable, but there aren't any real WTF choices.
"My Girls" in the top ten? I could think of four or five more deserving animal collective tracks.
I'm really stunned that there was no room for My Morning Jacket's "One Big Holiday" even with 500 tracks. Oh well, at least "Peach Plum Pear" ended up in the top 200.
Coraline was pretty fantastic, no?
I meant to say "what you thought of both films in relation to each other."
I'm not sure how I hadn't noticed this yet, but I'm surprised to see 2046 place so far ahead of In the Mood for Love. I would love to hear what you thought of both films, and what leads you to prefer 2046.
You're criticism makes a lot of sense, especially when I consider that Bromst, and perhaps Deacon's music in general, truly takes on new dimensions in a live setting. I've seen him perform this material and actually get what you say he's reaching for, so maybe that colors my view.
I haven't heard to many 2009 albums, but I'm a big fan of the new Gui Boratto, as well as the new Junior Boys, Iran's Dissolver, and Don't Stop, the Annie album that leaked last year - I assume it's getting a 2009 release.
But the new Akron/Family is just really head and shoulders above anything else I've heard.
I'm a little sad to see the way-better-than-I-anticipated Bromst among your dismissables, but more than a little pleased to see Bird's album. I'm not sure I understand at all the love that man receives.
Have you heard the new Akron/Family yet? It's been the only album to really grab me so far this year.
I goofed up and accidentally switched this to my 2007 list, so now this comment seems strange. I'm sorry about that.
Elegy is a winner, I think you'll like it
also, if anyone would rather see that copy (there is a watermark "ripple" running through the bottom, but it really takes nothing away from the film) I could probably help a brother or sister out.
While my methods may have been illegal, I'm now very happy to have "obtained" a screener copy w/ the theatrical subtitles intact.
Great movie, by the way.