Florian Henckel von Donnersmarck’s stirring tale of a East Berlin Communist functionary whose party loyalty disintegrates while surveying a rebellious playwright and his actress girlfriend should be required viewing by all high school seniors.

The Lives of Others captures the dehumanizing cost of living under communism. Over and again history teaches us that communists begin by promises of..well, hope and change (uncomfortable, but true). The dreams of government coddling the people soon gives way to the harsh reality that it is all a facade to cater to the gluttony of the elites. When people allow themselves to be subserviant to the state, the state always responds by enslaving them. No other film showcases, in intricate detail, life in such a man-made hell.

The entire cast does a brilliant job, but it is Ulrich Mühe's performance as Stasti interrogator Hauptmann Gerd Wiesler that stands out. Wiesler begins the story as a loyal party dupe. He has amassed some power and uses his authority to torment the poor souls who live lower on the food chain. As Wiesler conducts survielence over Georg (Sebastian Koch) on the instruction of a party official who fancies Georg's girlfriend Christa-Maria Sieland (Martina Gedeck). As Wiesler listens in on the couple, he is confronted by his own loss of connection with others.

This is one of Ulrich Mühe’s final performances. He died of stomach cancer in 2007. His performance is quiet but moving. His controlled delivery is remarkably tense as he shows a man who comes to realize the works and beliefs he’s spent his life protecting, were all to support a corrupt and despicable cause.

For those of us in America, with the rise of open communism being proposed and remarkably accepted in many corners of society, a film such as this can offer a word of warning.

Cautions: Nudity, sexual situations, language, violence




It is not surprising that a film dedicated the sacrifice of Jesus Christ has been controversial since its inception. Before the first day of principal photography, Mel Gibson ran into naysayers and attacks over his decision to make this film. The film's release was met with complaints and protests and claims of antisemitism. Even after Gibson modified the film to satisfy the demands of those offended by the Gospel account, he was still roundly bashed. Years later, the film was tainted by Gibson's drunken tirade when, along with a ton of other harsh comments, he spouted off at a Jewish cop who was arresting him. Despite Gibson's self-destruction, his film about our Lord still stands as a masterpiece.

I've read many reviews of this film and there are two obvious audiences, Christians and everyone else. For those who are not Christian, this film comes across as an obtuse snuff film where we watch a man be brutalized for ninety minutes. Jesus' flinches, His blood and cries of pain are missing the required context.

It won't come as a surprise when I say that I am a Christian. I understand what the production was doing, the messages it was conveying. To see Jesus actually looking Jewish on screen, to hear His words in the ancient tongue, these are wondrous thing even after multiple viewings. For Christ Followers seeing Jesus' final hours is indescribably painful and moving. There is no other film that has managed to show Christ's sacrifice with such power. We get Gibson's point, we understand why he chose to film his own hand putting the nail into Christ.

This is a master work. As a work of cinema, as a work of religious dedication, it stands as one of the most potent pieces ever made. Regardless of one's theological beliefs, this film forces the audience to confront the claims Jesus made and the legacy of his sacrifice.

Cautions: Extreme and gory violence




Even with its stuttering resolution, this is a remarkable piece of cinema. It is clearly deserving of all of the awards and praised it has received. Every aspect of the film is well managed and shows a dedication to film making that is a pleasure to witness.

The story revolves around three men. Llewelyn Moss (Josh Brolin), a gruff welder, who stumbles across the results of a drug deal gone bad in the desert. He discovers and steals a case containing two million dollars from the scene. He takes the case home to his simple wife Carla (Kelly MacDonald). Of course, it isn't too long before the men who lost the money decide to track it down. They unleash the menacing killer Anton Chigurh (Javier Bardem, in an Oscar winning performance) on Moss' trail.

Following the trail of this chase, crusty old sheriff Ed Tom Bell (Tommy Lee Jones) struggles to make sense out of the nonsensical deaths caused by Chigurh’s efforts. This may not seem like a foundation for a great film. In many cases, the story itself is seems rather mundane. Beneath the seemingly random acts, strange interactions and brutal violence there is a method to the Coen's madness. I like the explanation found here.

This is a nihilist film. I generally have little regard for films that promote the philosophy found in this production. This film overwhelms my bias on multiple levels. From the technical choices to the script to the acting, this is one of the great American films. I would go as far to say that this film is the defining film of this decade.

Cautions: Language, violence




This film gives us a glimpse of what it was like inside Hitler’s bunker in the final days of World War II through the eyes of his stenographer Tradul Junge. This film is based on Junge’s book of the same name.

Like Das Leben Der Aderen "The Lives of Others", #5 on this list, this film's impact comes from revealing the very human core of historical evil. Hitler's crumbling Nazi regime is seen in its death throes. The promises of a glorious Nazi paradise have come crashing down and those who were captivated by those promises are forced to watch it all fall apart. As Hitler slowly resigns to the inevitable, those around him begin to see that he was not the savior of Germany but a false godhead. As those in charge abandon their stations or kill themselves, the growing sense of dread fills the faces of those left behind. Not to mention, the Russians are closing in on Berlin.

Oliver Hirschbiegel is German, which is suitable. This is a film that needed to be made by a Germans. This coming from Germany gives the film an additional weight of a people openly discussing the horrors of committed by their parents and grandparents. There is a personal tone to the film that would have been missing if this had come from Hollywood or some other source.

Bruno Ganz is breathtaking in the role of Adolf Hitler. To portray someone so well known is a challenge. We all know Hitler's voice, his speaking style, not to mention his history. Ganz brings the historical figure to life. He dares to humanize the monster. This is not done to develop any sympathy but as a means to show him as he was at the time. It is important for us to recognize that Hitler was not some grand mythological figure, but a mere human given enormous power. Yes, he was one of the most important world leaders in world history, but he was a flatulent, controlling, physically and mentally disintegrating man who ultimately proved his cowardice.

Rent this film as soon as you can. Be warned however, this is a long film and hard to watch in places. You’re viewing the axe dropping on Nazi Germany and blood runs through every frame. Even if you’re hesitant to view violent images, this is still worth your consideration. If you can sit through The Passion of The Christ or Saving Private Ryan, the content of this film should be a cakewalk.

Cautions: Persistent violence, suicide, language




Yes, I'm combining them into one big fat ball of a film.

Based on J.R.R. Tolkien’s classics, this is the greatest trilogy since the release of the original Star Wars films. In some respects, this series of films surpasses Star Wars let alone other sci-fi/fantasy films. If for no other reason, these films are well written and have intelligent dialog. Then there is the fact that unlike Star Wars, the bad hair in this films is always intentional.

Guided by Peter Jackson and adapted for the screen by Fran Walsh, Philippa Boyens and Jackson himself, these three films are awesome in their scope and mastery. These films hearken back to the great epics of earlier generations, and fill the screen with their full stories and their massiveness.

Like Star Wars, this trilogy offers a completely believable universe far different than our own. The ingenious design work, to the memorable score, to the signature cinematography all work in unison to present a complete world for us to enjoy.

The stories follow a tiny hobbit by the name of Frodo (Elijah Wood) as he travels through the underbelly of Middle Earth to cast the ancient One Ring into the boiling innards of the Cracks of Doom. Frodo and the other members of the fellowship are forced into action against one of fiction’s darkest evil characters, the bodiless Sauron.

Sauron is not alone, he has recruited the wizard Saurman (Christopher Lee) who in turn creates a massive army of orcs. Saurmon invades the world of men with his orc army. Mankind is certain to fall to Sauron. However, Aragorn (Viggo Mortensen) the long lost heir to the throne governing mankind has returned and confronts the evil at the door.

Adapting these books is problematic. The screenwriters were forced to carve up the original books by J.R.R. Tolkien in order to shoehorn them into a bearable running time. Just getting in the needed historical elements took some clever footwork. While the flavor of the narration of the books is lost in places during these films, Jackson makes up for this handicap by concentrating on the more dramatic elements.

Each film certainly pumps up the more violent elements and downplays the internal struggles. This is a visual medium after all. Don’t let this fool you, the characters are each wonderfully sketched and realized by the actors who portray them.

On the subject of the actors, check out this cast list:

Ian McKellen, Viggo Mortensen, Cate Blanchett, Ian Holm, Hugo Weaving, Orlando Bloom, Sean Astin, Sean Bean, Elijah Wood, Alan Howard, Christopher Lee, Karl Urban, John Rhys-Davies and Liv Tyler

That is how you cast a movie. Many of these actors are now familiar names because of these films. While Ian McKellen stands out from the group as Gandalf, the remaining cast is still stronger than most other films in recent memory. Each actor brings the appropriate level to his or her part. No one overacts, no one vanishes into the scenery. Jackson deserves credit not only for managing the effects heavy production, but also balancing his actor’s performances so masterfully.

I will say that when they are taken as separate films, it is really Lord of the Rings: The Return of the King that puts the trilogy over the top. It is a great film that delivers on the promises of the first two installments. The only serious flaw of the piece is a fumbled ending that seems to go on for ten minutes too long. The audience is left breathless after the incredible assault on Minas Tirith and instead of wrapping everything up, Jackson rambles for just a few moments too long. The Return of the King is one of the best films ever made. It is one for the textbooks.

I believe this trilogy will be one of the few pieces of modern culture that will outlive us.

Cautions: Violence, hobbits



Honorable Mentions:

• Mou gaan dou "Infernal Affairs" (2002)
• About a Boy (2002)
• The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003)
• Kontroll (2003)
• Finding Nemo (2003)
• Thank You for Smoking (2005)
• Antikorper "Antibodies" (2005)
• Cinderella Man (2005)
• The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
• Michael Clayton (2007)

Labels: list, miscellaneous, The Top 50 Movies of the 2000's

Rocket (Alexandre Rodrigues) lives in the "City of God" a violent, crowded slum found fifteen miles outside of Rio de Janeiro. Rocket's has lived his life dreaming of becoming a photographer,and he has the talent to realize his dream. His dream is hampered by the daily nightmare of living in City of God. The violence and gangs grow in intensity over the course of Rocket's life and hangs as a constant threat.

The film isn't just about Rocket, he is simply the narrator. He is our guide through a decades long tour of the dangerous hellhole. The film spans across the years, catching up with characters and then losing track of them. Rivals fight, spouses argue, crimes are committed and too many people die in too many ways.

The content of this film is hard to watch. I strongly warn you about this. Children are shot and killed. Women are raped. Men are gunned down. This is not for the faint of heart. It is a film for those who need a dose of realism. If nothing else, this film will make you feel gratitude for your station in life.

Cautions: Persistent violence, harsh language, nudity




This is the first Afghan film shot after the fall of the Taliban in 2002.

The film tells the story of a young girl who lives under the brutal regime. Both her and her mother are thrown out of work by the Taliban and ordered to remain indoors unless accompanied by a male. Since the girl’s father and brother are dead, this condemns the women to a life of endless poverty.

Under the rules of the Taliban, the women sneaking out alone for food to live would be a capital offense. The only choice is to send the girl out, dressed as a boy to find work and food. The girl takes on the name Osama and ventures out into the Taliban control world of Afghanistan. It is only a matter of time before she is found out.

This is a great film that expresses quite strongly the difficult path of women under Muslim rule. If you have any interest in what our men and women have saved people from “over there”, this film may give you a glimpse. It is easy for Americans to ignore and dismiss the suffering of people in lesser cultures. Films such as this plead for us to pay attention to what is happening in this world. The barbaric notions of our ancient past are actually still breathing just around the corner.

Cautions: Violence, sexual situations





Darren Aronofsky directed this tragic story about a washed-up wrestler named Randy 'The Ram' Robinson (Mickey Rourke). Robinson is a slow-witted lummox who is at the end of his career. Once a national All-Star Wrestling star back in the 80's, Robinson has descended into wrestling small venues of a couple hundred people while sleeping in his van because he can't make rent. Robinson attempts to cobble together a normal life out of the spent remains of the past few decades but finds living outside of the lights and rink troublesome at best.

Aronofsky covers the action with a very natural light and very little intrusion. The key to the film is that the slow disintegration of Robinson seems like we are witnessing reality unfold. The combination of Rourke's brilliant performance and the organic development of the scenes makes this is a riveting film.

Much has been said about Mickey Rourke's performance. The praise is justified. The biggest surprise from the film is Marisa Tomei in the role of aging stripper Cassidy. Cassidy, like Robinson, makes a living by her body but that body is becoming too old. Robinson's body is breaking down, her's has to compete with girls fifteen, perhaps twenty years, younger. The parallels between the two aren't lost on Aronofsky and he plays the two off one another with fantastic results.

Cautions: Language, violence




Tsotsi (which means “thug”) is a young punk gang leader in a shanty town in Johannesburg, South Africa. The film opens with Tsotsi thoughtlessly committing a series of vicious and wholly unnecessary crimes that are so reprehensible that even his own gang shuns him. This series of crimes ends with a car jacking.

In the film’s only moment that comes close to being predicable, Tsotsi finds a cute infant strapped to a car seat in the back. Strangely stirred by the baby, Tsotsi cannot leave it behind and smuggles the child back to his filthy home in his crime ridden part of town. There he must, for the first time, think of someone other than himself.

Newcomer Presley Chweneyagae shines in the titular role. Chweneyagae gives one of the best debut performances I have ever seen. His character is enthralling and his screen presence is undeniable. And this isn’t some cheap role, this is a fully realized character that goes from being a sociopath to a shamed young man trying to redeem a life of crime. Chweneyagae manages the extreme peaks of this character with a talent that deserves wide praise.




Ang Lee's adaptation of Du Lu Wang's book is a visual treat and one of the great films in world cinema. What amounts to a mixture of quest tale and love story, the film follows two narrative paths. Master Li Mu Bai (Yun-Fat Chow) a legendary warrior retires from fighting to settle down. He gives his treasured sword "The Green Destiny" to an old friend.

Before long, the priceless sword is stolen and Li Mu Bai must track it down. He is accompanied by Shu Lien (Michelle Yeoh) who is also a gifted fighter. The couple have a long history and have shared an unspoken love for years.

Li Mu Bai is also hunting down the villainous Jade Fox, a dark and dangerous foe who killed his master.

In addition to this quest, Jiao Long (Ziyi Zhang) a beautiful young girl gets involved with Li Mu Bai, Shu Lien and the Jade Fox. Jiao Long connects all of the loose ends of the story and proves to have surprising secrets for all involved.

This is easily Ang Lee's best film. It is the best work from everyone involved. Everything about this film, its look, its cast, its inventiveness, its emotional punch, everything is top notch. When film makers dream of making movies, this is the kind of film they fantasize about creating.

Labels: list, miscellaneous, The Top 50 Movies of the 2000's

Labels: list, miscellaneous, The Top 50 Movies of the 2000's

Clint Eastwood's Flags of Our Fathers was a terrible disappointment. He felt the need to honor the men who fought and died at Iwo Jima by portraying them as hapless tools of an uncaring government. Eastwood avoided delving into the details of the horrific fighting and decided to unravel a long, relatively pointless story of how the iconic image of the men lifting the flag at Iwo Jima came into being.

Eastwood luckily made two films about the battle. Flags of Our Fathers was meant to show the American side of the war. This film was intended to show the Japanese side of the conflict. As American forces close in on the island of Iwo Jima, the Japanese forces face near certain annihilation. They are the last thing that stands between the Americans and the Japanese homeland. In the minds of the soldiers, if they lose their positions it is their families that will pay the price.

This grim situation is shown through the eyes of two men General Kuribayashi (Ken Watanabe) and lowly foot soldier Saigo (Kazunari Ninomiya). The battle sequences are hard to watch at times but, like Saving Private Ryan, are worth the effort. Eastwood captures the horror and confusion of war as best as he can.

This is the kind of thoughtful, detailed film the Americans deserved to receive.

Caution: Excessive violence




Director Rian Johnson's debut is one of the strongest introductions since Bryan Singer released The Usual Suspects. His gritty, intelligent film takes a huge risk. Johnson shoehorns the elements film noir into a high school setting. His strenuous combination succeeds in part because Johnson is aware enough to wink at the audience the whole time.

The plot is about about a teenage boy who is tries to unravel the mystery of his ex-girlfriend’s murder. The teenage boy Brendan (Joseph Gordon-Levitt) is a classic film noir anti-anti-hero and is adorned with all of the cliche trappings of the form. His dialog is surreal and snappy. His demeanor is aloof and he does well when cornered. Gordon-Levitt provides a well-tempered performance in a film that could have made him look like a fool.

The risk Johnson takes could have fallen on it's face but he pulls it off and the result is a very enjoyable, quick witted feast for film lovers.

Cautions: Violence, language




Clint Eastwood employs his craggy face and low grumbling voice to give life to Walt Kowalski, a bitter, racist Korean War vet who has seen his once flourishing neighborhood fade into a trashy ghetto. Walt slowly warms up to the Hmong family living next door and protects them from a Hmong gang that terrorizes the community.

The script by Nick Schenk is the real star of the production. He has written a marvelous character piece that patiently plays itself out. Schenk doesn't simply put all of his best work into developing Walt but also works to humanize the supporting cast. Schenk's sense of humor, and disregard for political correctness in favor of telling the truth is refreshing.

One element of the script that is often ignored is Walt's racism. In the beginning of the film he spits racist barbs at his neighbors to keep them at bay. As he befriends his Hmong neighbors he continues to drop racist remarks but now they are tossed out as signs of affection. The transformation in Walt isn't necessarily in how he acts, but the intention in his actions - very powerful.

Cautions: Language, violence




This film about a man with no short term memory who is hunting down the killer of his wife is truly unique and brilliantly laid out. On top of the complicated concept of keeping up with a guy who forgets everything about his life every five minutes, Christopher Nolan (The Dark Knight) raises the directorial stakes by telling the story in reverse.

The use of the forward moving hotel phone conversation (in black & white) as a buffer between the backward moving scenes of the rest of the film completely makes me geek out. Even though the film delivers a horrid existential message, the brilliance of the plotting and the intelligence of the script make this well worth suffering through the low philosophy.

Caution: Language, strong violence




Oskar (Kåre Hedebrant), a despondent Swedish boy, befriends a new girl in his apartment complex. The girl, Eli (Lina Leandersson,) is a strange sort. Given to appearing out of nowhere and being short on the small talk, Eli is not like the other girls Oskar's age. This is probably because she's not his age. She's over 200 years old. Oh, and a vampire as well.

The two form an odd relationship. He finds a anchor in his drifting life, she lands herself a dutiful servant. Director Tomas Alfredson's haunting film is more than a simple vampire flick. Alfredson creates a mesmerizing character piece about relationships, coming of age and past sins.

Alfredson's delivery is as perfect as it could possibly be with one exception. In an unfortunate choice, the Swedish director chose to reveal Eli without her pants, facing the camera. Now, this is done for a reason and technically what we see is a dummy, not the underage actress. This said, I have a firm rule about child nudity in films such as we see here - it is pornographic by default. My stance has caused a number of mouth-breathing dimwits from Facebook to gnash their teeth and tug out their hair (see the comments section from the full review for the troll-fest).

Why would I put this on the list with this outstanding issue? Because despite this issue, this is one of the best films of the decade and one of the best horror films ever made. I strongly recommend you watch the movie but I also strongly recommend you skip over the scene where Oskar slowly opens the door to find Eli undressing. Its a few seconds of detestable decision making in an otherwise pitch perfect film.

Caution: Excessive violence, nudity

Labels: list, miscellaneous, The Top 50 Movies of the 2000's

"Its so hot, milk was a bad choice."

Comedy is dead in American cinema. The comedies released over the past decade show this to be true. Ben Stiller, Jack Black, Seth Rogen, Will Ferrell and company have killed it ruthlessly. Night at the Museum, Step Brothers, Knocked Up and Year One? Stick a fork in it, its done.

Anchorman: The Legend of Ron Burgundy is cast with a who's who of comedy killers: Ferrell, Stiller, Black, Rogen, Apatow, Vaughn and McKay. All that is missing is another Wilson brother and Danny McBride and we'd have the whole gang. Unlike the gallery of crap this gaggle has produced over the last decade, this effort is actually worth seeing.

It is childish. It is foul. It is lacking in any social value. All of this is true. However, it is also very funny.

Will Ferrell and Andy McKay found their voice with this script. The story is simple, Ron Burgundy (Ferrell), a boisterous San Diegan news anchorman in the 1970's, has his world overturned when he is forced to share the news desk with the first female anchor Veronica Corningstone (Christina Applegate). Burgundy and Corningstone fall in love, fall out of love and there's something about Burgundy's dog being kicked off a bridge.

The comedy is clever even when it is crude. Ferrell is a one-trick pony but that trick works with this material. Too bad almost everything else he has done has been painful embarrassments (have you actually seen Semi-Pro?). If you don't mind the crass gags, this is perhaps the best comedy of the decade. Some people may argue for Dodgeball and Old School. Then again, some people are just plain wrong.

Caution: Strong language, violence, strong sexual content




This documentary exposes the tragic lives of the lost children found in the back street brothels in Calcutta. These children live in squalor, disease and pestilence, and with the soul numbing knowledge that their lives are already committed to prostitution. The kids live amongst the lines upon lines of whores and their johns in the dingy urban streets. The girls who grow up in this area know they are next ones in the line to sell their bodies once they reach age.

Since a Westerner running around with a camera is not welcome in the ghetto, filmmakers Zana Briski and Ross Kauffman are unable to shoot much of the footage themselves. In order to get the stories of this earthbound hellhole out to the rest of the world, they devise a great idea: they give the children of the neighborhood cameras and train them how to shoot. The children know the residents and can get access to this world as it truly exists. Much of this film is constructed from the children’s pictures of the sex slaves, drugs addicts and trash that populate this awful place.




The film follows WALL-E, a trash compacting robot who has been left on Earth to clean up the trash humans have left behind. He comes across Eve, a sleek robot sent to scout out the planet for plant life. The two robots fall in love. Finding a piece of greenery leave the planet and to deliver the plant to the humans drifting aimlessly out in space. Humans, after being sedentary for generations slurping down Big Gulps and watching TV have become physically gelatinous. A cat and mouse plot erupts as the robots enter the ship. The robots are soon confronted by the befuddled ship's captain and the ship's plotting robotic wheel - it makes sense when you see it.

This is a film I have on the list although I don't personally like it much. Its Pixar, its a well done film and worth seeing - don't get me wrong. I think its a good film, above average for Pixar, but not their best. I've been roundly condemned for my lack of delight over what I see as a corny concept movie that's just a little too precious for its own good.

But, what do I know?




This is one of the best Hollywood films of the past ten years. In what is almost a throwback (with modern day violence tossed in for good measure) to an earlier time of epic film making, Ridley Scott’s magnum opus is a sheer pleasure.

This is not a film for everyone. It is quite violent and then it’s violent again. This should be expected since the subject is Roman gladiators. They didn’t have food fights in the Colosseum. What should be made clear about this film is that none of the violence is unnecessary. The gore is there to cement the reality of the situation and to raise the stakes for the hero when he is involved in a battle.

Russell Crowe became a household name following this film and for good reason. His performance as Maximus, the gladiator at the heart of the story, was deserving of the Oscar for Best Actor. Opposite Crowe, Joaquin Phoenix, Connie Nielsen and Oliver Reed provide an amazing supporting cast.

I do not recommend this film to everyone. It is a harsh film to watch in places. Once again, it is very violent. That stated, it is a brilliant piece of film making and deserves every syllable of praise it has received.

Caution: Excessive violence, mild sexual content




The second film listed that I didn't think was worthy of the praise it received. Is this a good film? Heck, yeah. It is well-written, competently acted and director Danny Boyle (28 Days Later, Millions, Sunshine) finally managed to come through with a closing act that does its job.

The subject matter is interesting enough, a Mumbai teen from the wrong side of the tracks (which is apparently almost all sides) gets a chance to break out of his misery by winning at an Indian version of Who Wants To Be A Millionaire. The teen, Jamal (Dev Patel) is accused of cheating on the game show. During his interrogation that follows, he explains how he knows the answers to all of the questions. Each question can be traced back to his hard life surviving on the streets.

My problem with the film? Well, its concept is a lot to swallow. That, and its simply not a great piece of cinema. It is very good, but it is far from a masterpiece like many make it out to be. It belongs on the list but not any closer to the top than this.

Cautions: Language, violence, sexual content

Labels: list, miscellaneous, The Top 50 Movies of the 2000's

You know I had to shove this in somewhere.

This is the Citizen Kane of Idahoan teenager movies. The success is not a result of great film making. It is due to a great performance. For better or for worse, Jon Heder created an iconic figure out of the unpleasant nerd.

More of a cultural bauble than a film of note, it is still a fun watch. If you enjoy goofiness, or just plain ol' awkward interactions, this is the film for you.







This film follows Jean-Dominique Bauby (Mathieu Amalric) who paralyized following a stroke. Bauby is completely paralyzed with the exception of his eyes. He copes with his debilitation and finds a way to still experience life. With the help of his physical therapist, Bauby writes a book, the one from which the film is based.

A majority of the film is shown from his point-of-view, meaning from a bed, us seeing through his blinking solitary eye. This may seem gimmicky, but it turns out to be a striking dramatic tool. Director Julian Schnabel (Before Night Falls) makes a brilliant choice by putting the audience in the hospital bed, with blurry vision, people swooping in from all directions. This choice has a solid dramatic punch. When Bauby loses one of his eyes to infection, literally cutting his functioning body by 50%, it is sewn up by a dismissive doctor. Schnabel puts the audience behind Bauby's eyelid as the final seconds of sight from that eye is taken from him as he pleads for mercy. In addition, we are kept from seeing Bauby until he himself has a chance to view his own face in a distorted reflection. This slow reveal heightens Bauby’s terror and fully shows the man’s circumstance. High credit goes to Schnabel for working Bauby's peril to full dramatic effect.

While not perfect, this film does have its points. Amalric's performance is strong and Schnabel's direction is worthy of respect. If you are into dramatic works and don't require huge explosions and fire, this may be a good pick.




If for no other reason, this film is a must-see based purely on Larry Miller's performance as police negotiator Max Berman. He is the embodiment of the old adage "There are no small roles".

Christopher Guest brought together an ensemble of comedians to create the improvisation classic Waiting for Guffman. This film, the follow-up, had very big shoes to fill. Instead of the petty issues surrounding a small town, community theater production, this film presents the odd world of dog competitions.

Guest's quirky humor is on full display and the world of dog competitions turns out to have rich material for the actors. Unlike Waiting for Guffman, this film is a little more self-aware and doesn't have the sense of verisimilitude. This distance is fine, given that the film is loaded with great jokes and character arcs. Look for lively performances by John Michael Higgins, Eugene Levy, Jane Lynch and Fred Willard (who is always great).

Cautions: Strong language, sexual situations




The Blind Side tells the true story of Michael Oher (Quinton Aaron), a homeless black teen who Applies to a private school. He is accepted thanks to the school’s football coach campaigning on his behalf. Michael attends the school but remains homeless, friendless and still suffering from his miserable childhood in the projects.

One evening, Leigh Anne Tuohy (Sandra Bullock) and Sean Tuohy (Tim McGraw) see the teen walking in the rain. Leigh Anne, a very commanding woman, makes the choice to not only invite the stranger into their car, but also into their home.

Michael finds safety and love in the Tuohy’s home. Through their efforts and sacrifice, Michael discovers his athletic gifts and develops his scholarly abilities as well. Michael graduates from school and is swarmed by colleges hoping to get him on their teams.

This is a simple movie but that is its draw. This doesn't intend to be art and its not shooting for any haughty position. It is a movie for the common folk. It uses some cinematic license at times and the production isn't exceptional in its look. It is the film's powerful story and the challenge it puts in front of the audience which makes this a great movie. It challenges the audience to not only improve their lives but to improve the lives of those around them. The production promotes all that is good in us. In an age of torture-porn and filth-laden Hollywood blockbusters this film is an absolute must see.

Labels: list, miscellaneous, The Top 50 Movies of the 2000's