12.31.2007

The Best and Worst Films of 2007

It’s been a long, loooooooong time coming, but here it is. The Top 10 films of 2007 that I, Joe James, saw in a theatre or on new release DVD (and that means within a month of its release, not the Blockbuster style of year old “new” release). 2007 was a busy year for me and movie watching. I could barely keep up with the blog (hey—a year wait ain’t so bad—at least everything is on DVD by now for you to see, if not on regular TV). I saw a total of 61 movies, with over half of those at the theatre. Some I barely reviewed, and others I ranted and/or raved about as best as I could given the time constraints.

Due to the time consuming aspect of these reviews, and the fact that barely anyone I know even reads the blog, let alone lends their own comments or detractions, this should be my last ever Top Ten list I send out (except for the 2008 list, which may or may not arrive in the next couple of weeks). It’s been a gas (literally—believe me, some of these movies stunk so bad I could smell it). I was hoping it’d be a nice forum to debate and applaud some of the films we see and love, and a way to cut through some of the ridiculousness (read: B.S.) of so-called critics’ faves and mass marketed studio garbage. Thanks for reading! Enjoy!

The Top 10 films of 2007 are...



Though not actually given an “A” grade in my initial review, this movie has a certain goofiness and spoofy quality that surprisingly came out of the Mouse House at Disney. Finally putting a few of their age-old princess stereotypes through the ringer, the movie is fun for both kids and adults. I should know, I’ve probably seen it over 20 times on account of my own princess. Alas, by the end of the film, despite turning several Disney conventions on their head, it still boldly assumes that all little girls want to be princesses and they can, if they just purchase more Disney product. Don’t resist. Resistance is futile.

9. The Simpsons Movie

How do years and years of waiting and hype, and increased expectations result in a film that actually lives up to its audience’s hopes? It’s a bloody miracle that The Simpsons Movie was every bit as funny as the series (though not as funny as the funniest episodes), every bit as cinematic as a full length feature should be (not feeling like three episodes strung together, but a fully fleshed out adventure), AND visually appealing off our small screens and onto the big one!!! By delivering on this film, while continuing to make the series for television, The Simpsons creators deserve their own award, in their honour. Here’s to the creation of The Homer, cast in gold and worth its weight! Eat another doughnut, you deserve it.

8. Superbad

I feel guilty enjoying this movie. And isn’t that the point of this silly list? To proclaim movies that I will watch over and over again (Undercover Brother, Elf) as the undeniable best of the year, rather than those pompous, good for you movies that earn accolades but collect dust in our DVD cabinets (insert former Best Picture Oscar winner here). I felt guilty the first time I saw this, sitting outside the car at the drive-in, laughing my head off as my wife sat in the car with our daughter, sound turned off, surprised by the insistent use of obscenities in the early film of the double feature. I still feel guilty watching it over and over on TMN while my daughter sleeps upstairs to the sounds of teenage bromantic lunacy. But do I turn it off? Never.

7. Pan’s Labyrinth

Forget what I just said about movies that earn accolades but collect dust. Pan’s Labyrinth deserved every award it won and was nominated for in 2007, but the reason it collects dust on my bookshelf, is that it was so powerful and emotionally disturbing that it’s actually quite difficult to watch again. Kind of like Schindler’s List, in that regard, a marvel of filmmaking and ingenious storytelling, the film’s content just makes it hard to revisit. But whenever I get a glimpse of the visuals or a sound from the score, it makes me want to return to Pan’s land. If you haven’t gone here once, be sure you do, as it will be a visit you’re unlikely to forget.

6. The Bourne Ultimatum

This entire series has been an awesome throwback to classic spy and cop films of the seventies, with amazing stunt work, exotic on-location shoots, and thrilling chase scenes without any CGI. The third installment really hammers these pleasantries home, as it has perhaps the best chases and fights of the three, though the story is a little less intriguing. Matt Damon is still quite believable and deadly, but the camera work and staging really make the breakneck pace that sets our hearts on overdrive. I recommend the whole series, but if you can only watch one, there really isn’t one clear choice.

5. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
This is one of those films that divide us into two camps: Love it or Hate it. For someone who loves it, Borat is politically subversive, culturally revealing, and gut busting hilarious. For those that hate it, it may seem childish, inappropriate, and irritatingly stupid. Which, for those that love it, is all the more reason to love it. I don’t think there is another film that had me laughing out loud, so hard, so often. I still get a smile on my “vanilla face” (or would that be cinnamon?) when I hear someone imitate “Very Nice.” Even the cheese scene went from not so funny, to irritatingly stupid, to unbelievably hilarious over the span of so many “What’s this?” that when my daughter began asking in her own Borat manner, it brought tears of laughter and joy, not sorrow. Not so much.

4. Snow Cake

A DVD discovery for me, this is one of those hidden gems that may not truly be one of the BEST of the year, as much as it is one of the best finds of the year. Powerful performances, yet subtle in their emotional honesty (we’re not talking about Pacino shouting matches) Rickman and Weaver prove why they continue to be at the top of their game. Canadian in location shooting (I’m sure) with a few Canadian “superstars” of acting, perhaps this is why the film so quietly flew under the radar. Once I discovered it and took a chance on this very human tale, I was thoroughly rewarded. Try it once you’ve exhausted the Hollywood Blockbuster selections and you’ll see why we love movies and why actors choose to act in the first place.

3. Perfume: The Story of a Murderer

Have you ever smelt a film? And I’m not talking about John Waters’ Polyester (though with 3-D films coming back big, there’s no doubt an Odorama attempt may return). Perfume is one of those rare occurrences in film that’s truly worth celebrating. A film where another sense is involved and enveloped as the story unfolds. Centered around a main character whose sense of smell is integral to the plot, director Tom Tykwer pays equal attention to not only how the shot looks, feels and sounds, but how those senses can create an acute sense of smell in the viewer. If you don’t believe me, watch it for yourself. The scents come alive like never before through the use of visual suggestion and audio presentation. Often cited as Kurt Cobain’s favourite novel (and basis for the song “Scentless Apprentice”) earlier attempts by several noted directors were left abandoned, as esteemed talents including the great Stanley Kubrick deemed the novel “unfilmable”. Ironic, considering he himself filmed the previously believed to be “unfilmable” Lolita. Tykwer proves that a keen attention to visual smell could indeed bring this text to life and create a film that is sure to become a cinematic reference point of extremely ingenious storytelling for years to come.

2. Hot Fuzz

The first time I saw this, I was at the drive-in, we’d watched a film or two (or three—some drive-in nights are marathon stretches) and it was one of the only times it began to pour rain. Yet, despite the sleepiness and the downpour, we stuck with it to the end. It wasn’t until repeated viewings on TMN, that I came to recognize its genius. This is parody at its best. Mocking and simulating the Michael Bay style of over-the-top, over edited, over exploding action genre with equal parts love and admiration, shame and silliness, the creators of Shaun of the Dead do for buddy cop action films that Shaun did with the zombie genre. I’ve stated before, spoofs like Epic Movie and Date Movie, etc., etc. aren’t truly spoofs. They are simply replays of film moments done with lesser actors and potty humour. Hot Fuzz is a film that restores parody film making to its pinnacle, creating a believable (somewhat) action film, that accurately imitates the style it’s so cleverly mocking as ridiculous. The premise is hilarious, off-beat, and goofy, all the while presenting it as the most awe-inspiring action adventure of the century!!! Die Hard in a small town!! Watch it, then watch it again. “For the greater good!”

And the number one film that I saw in 2007 is…

1. Ratatouille

There is something truly magical about this film that has been lost on dozens and dozens of so called family animated films in recent years. Call it the Shrekenization of animation, if you will. Every new family film seems to need to be tongue in cheek, pop culture referencing, sing-a-long extravaganzas. Not Ratatouille. Pixar tosses all that aside like the stale fare that it is, and serves up a remarkably fresh, invigorating and totally original film filled with life, adventure, and stunning beauty. It’s amazing that the Mouse House (by way of Pixar) finally manages to create an original story worthy of classic Disney material of yesteryear, if not better. Even more amazing, they actually went with a completely unmarketable title (which probably actually lowered grosses to some degree—don’t let it fool you) and lead characters that aren’t the least bit toy and merchandise friendly (as much as I love this film, I had to laugh at the Ratatouille stock collecting dust and discount stickers at the Disney store—perhaps a cameo in the next Toy Story sequel will be forthcoming).

Ratatouille succeeds in the same manner as the number three film, Perfume. Except, on top of being able to smell this film, you can almost taste how good the film is. The animation is exciting, vibrant, and kinetic, while the story is swift, sweet and succulent. Foregoing an “all-star cast” (yet another Shrekenization of the genre) for more secretly spot on voice work (I never knew Garofalo, Arnett, Holm, and O’Toole, not to mention Garrett, were even the voice talent until the end credits, they were so welcomingly unrecognizable), the film allows you to immerse yourself in the culinary delights and craziness of the kitchen, and transport you to Paris and a little Rat’s dream of beating the odds and the critics. Well, Remy the Rat had this critic at Bonjour.

Honourable mentions (good films that didn’t make the cut): The Departed, Little Miss Sunshine, The Illusionist, Blades of Glory, The Devil Wears Prada, Flushed Away, and some guilty pleasures that may not be your cup of tea, Hot Rod, Grindhouse, Hairspray, and 3:10 to Yuma.

Now, to save you some time, money, and shame,

The Top 5 Worst Films of 2007…

5. Bee Movie

Forget movies that were supposed to suck. Believe me, there were films worse than this. In fact, the more I see ads for this film, the more I’m willing to give it another chance. But for years and years, Seinfeld has been dallying around with a follow up to his sitcom about nothing. And this is what we get? The unhilarious, the so not funny, the so what’s the deal with that joke feeling I got from this film really left a bad taste in my mouth and had me wondering just how much of Seinfeld’s humour came from the dry hand of Larry David and how little came from Jerry’s mind and mouth. After all is said and done, I would rather have had nothing.
4. You, Me, and Dupree

Sold as a laugh a minute farce, this actually becomes painful to watch, especially in light of the news that came after and during the production, of Hudson and Wilson’s philandering and Wilson’s suicide attempt. I think a making of documentary would have been more interesting. Poor Matt Dillon had to take a detour from a nice career renaissance and it wasn’t even his fault this film falls so flat. What promise Hudson once showed in her early career roles has since faded, and yet like her movie star parents, her career will somehow survive until she’s 80 and stars in You, Me, and McCain.

3. Movies with “3” in the title, a.k.a. “threequels”

This includes but is not limited to, Shrek the Third, Rush Hour 3, Spider Man 3, and Pirates of the Caribbean: At World’s End. Those last two aside (they weren’t so much bad films, but just not worthy of the originals) the need to repeat formulas for repeat cash got so bloody obvious that you didn’t need to actually go to see the films to know what would happen. I mean, honestly, were there any surprise moments in any of these threequels, let alone the fourth installment of Die Hard, and while we are at it, the fifth Harry Potter film? I have to admit, the parade of sequels has actually raised the standards somewhat compared to sequels past, but I would much rather prefer a fresh idea that fails to some degree than a formula that pales in comparison. Don’t get me wrong, Live Free or Die Hard was fun, and the 5th Potter maintained the series’ worth as we head into three more, but sometimes too much of a good thing is not so much a good thing. Here’s to new ideas in the future.

2. Movies with “Chuck” in the title

This points directly at I Now Pronounce You Chuck and Larry, along with Good Luck Chuck. My apologies to any good films that came out in 2007 with lead characters named Chuck. The brazen attempts to get a laugh in these two films made me want to upchuck. See. I bet you saw that lame ass joke coming from a mile away. Well, not to disappoint, these two “comedies” actually did not come across telegraphed in a bid for cheap laughs. No, instead, these two films went places you’d never expect to not only forego any attempt at being actually funny; they went into territory that made them morally offensive, and not in a good, George Carlin (R.I.P.) way either. You can make films that are funny, offensive, and sexually mature (see Knocked Up). You can even make Jessica Alba seem funny (see Fantastic Four). But stooping to the levels these films went for laughs that weren’t there??? I Now Pronounce You Dumb and Dumber.

And the worst film of 2007 is…

1. The Death of Mr. Lazaresco

What’s that? You never heard of it? You don’t even know what it’s about? Consider yourself lucky. I wouldn’t have known about it either if I didn’t read stupid year-end Top 10 lists. This one was in several critics’ lists. Apparently, the laugh is on me. I’d love to know what they were smoking when they saw this one and found it funny. It’s not even sad, or clever, or darkly comic (as most claimed it was). In fact, it’s just plain dull and boring. And the fact that I had to do a little more work reading the subtitles made it even worse, because I could have spent that time reading something funnier, like Ziggy. Yes, even the cartoon Ziggy is funnier than this film. Here’s the premise in case you’re one of those people that have to see for themselves. A man, named Mr. Lazaresco is dying. He gets picked up by an ambulance (after about an hour of being in his apartment with random neighbours that speak about mundane things) then goes from hospital to hospital seeking the care that he needs. Then he dies. It may be funny if it didn’t have a hint of truth to it. Then, in that case, maybe it is darkly funny, but not enough so that I need to watch it. I just need to hear that premise and say, “Oh, that’s sadly funny.” SO there, now you know. Save yourself the time, the money, and the miserable experience. I think critics recommend films like these just so they can get the laugh of pulling a fast one on the unsuspecting viewers who follow their suggestions.

Dishonourable mentions (stay away at all costs): The Black Dahlia, The Good Shephard (so bad I actually forgot how bad it was, hence, not on the list), Shrek the Third, Transformers, The Ex, and War.

So there you have it. My long awaited top 10 list. I hope it was worth it, if you read to the end. The fact that it took a year in the making should prove that I’m not pulling a fast one on you. Hopefully 2008’s list will make it to you sooner, rather than later.

12.29.2007

Enchanted

Directed by: Kevin Lima
Starring: Amy Adams, James Marsden, Susan Sarandon, Patrick Dempsey, Timothy Spall, Rachel Covey, Julie Andrews
Running Time: 1h 47min

Disney finally manages to make fun of itself in this twisted fairy tale that owes some of its material to Shrek, not to mention the older French film that was remade into an English language version, Just Visiting. Yet it is refreshing to see the Mouse House poke fun at some of its history, the repeated storyline of Prince rescues the Princess mythology and all that comes with it. Or so it would seem. In the end, Enchanted reinforces modern ideologies, encouraging little girls to dress like princesses, connect with their mothers through consumption, and keep searching for their true love, Prince Charming. That's not to say that there's a little fun along the way.

Adams gives an excellent performance as a maiden who finds herself plucked (or rather, pushed) into New York city, with her fairy tale mentality intact. This plays havoc with Dempsey and his daughter, who act as good sammaritans found only in the movies. Adams plays princess so well, ditzy but not dislikable, sweet but not syrupy, and not your typically stunning beauty, but gorgeous nonetheless. Her songs are hilarious and she does a wonderful spin on typical Disney musical numbers, playing it straight amongst the silliness, like Leslie Nielson in Airplane!

It's in these moments that the film takes off, mocking all the ridiculous Disney past and present. Dempsey plays a great foil to it all, reminding us of his great comedic timing, as he has the hard task of realistically responding to this displaced fairy tale damsel. Their chemistry works, ensuring the film's success. Equally important is Marsden's clueless Prince, a character that could easily have been one note, but is hilarious and suave and adds complexity to the emerging love triangle. He gets some of the best laughs in limited screen time.

All of this is enjoyable and played out wonderfully, milking laughs for just the right amount, and mocking the Princess theme while playing within its trappings. Unfortunately, the third act can't sustain the promise of the first, and the return to traditional fairy tale endings is somewhat disappointing. i still find it quite appalling how commercialism and consumption replaces a young girl's dreams of a boy charming, as if to say that "Girls, you don't need men when you can spend, spend, spend!" If this is what feminism and women's lib have brought us, we're no better off, and i'd take an old fashioned fairy tale romance anyday. However, apart from this ideological gaffe, Enchanted is a ton of fun for everyone in the family.

Grade: B+

The Bourne Ultimatum

Directed by: Paul Greengrass
Starring: Matt Damon, David Strathairn, Joan Allen, Julia Stiles, Albert Finney
Running Time: 1h 55min

Jason Bourne's third outing, The Bourne Ultimatum was much anticipated, and faithfully delivered. After rebooting the spy genre with 2002's The Bourne Identity, then abandoning major time chewing back story and love plot lines for more immediate action and adventure for the sequel, The Bourne Supremacy, the third film gives us more of the same, intense cat and mouse chases, powerful in close fight scenes, and kinetic dialogue between breath stopping moments. It's quite the achievement for a franchise to finish out its third film and leave us wanting more. It's more of an accomplishment to put three films together, that stand alone on their own, while also opening the debate as to which is the greater film.

The vision started with Doug Liman, who helmed the first film and then took a producing role for the franchise. Incoming director, Greengrass has stripped the film's original elements bare, using hand held style camera and amazingly quick pacing to situate the viewer in the desperate dilemma that is Bourne's existence. Greengrass's style is well suited in exotic locations, unfamiliar and uninviting, where Bourne can trust no one. The paranoia is ratcheted up a notch for the film's opening sequence, and we're immediately hooked from then on.

From there we follow the only lead (perhaps the most easily exposed flaw of the series--the next lead is too easily deciphered and chased, an action movie conceit that we can appreciate by way of picking up the pace despite all realistic intentions) to the next location. With each new locale, Greengrass infuses the frame with intensity, setting up the next great chase, fight or showdown. Damon's acting prowess convincingly enhances the chases, the cleverness, and the killing, giving emotional weight to a genre that has traditionally been filled with brain dead and emotionally vacant beefcakes.

The Bourne Ultimatum nicely wraps up the series, putting everything (and everyone) on the line. The spy genre has its cliches, but this franchise manages to side step them to success. Sure there's dirty operatives and double crosses, and a Central Intelligence Agency that isn't the most intelligent. Yet on the other hand, you have a lead character who is more creative and resourceful (and more deadly) than MacGyver, and as skilled as Jackie Chan in close combat (without any of the humour). The film moves with as much excitement and suspense as the chase sequence from The French Connection, only for two hours duration. Sit back, strap in, and enjoy!

Grade: A-

12.21.2007

The Golden Compass

Directed by: Chris Weitz
Starring: Dakota Blue Richards, Nicole Kidman, Daniel Craig, Freddie Highmore, Ian McKellen, Eva Green, Sam Elliott, Christopher Lee, Kristin Scott Thomas, Kathy Bates
Running Time: 1h 53min

Fantasy films (and novels) promise so much, but unless you can get deep within them, they can give you so little. The genre's trappings and formulaic unfolding require that there be something emotionally or philosophically different to set it above other examples of the genre. Philup Pullman's trilogy certainly has these in spades. Unfortunately, the novel's driving forces are lost in this adaptation.

Strangely, however, The Golden Compass' casting and production/design is spot on when it comes to the book's vision. The sets conjure up the same surroundings, and the all-star cast hits the right notes when it comes to the tone of each character. In fact, the casting couldn't be better, as each actor, on screen or just as a voice, nail the characters' demeanor and presence from the novel. Dakota Blue Richards is particularly good, embodying the lead character Lyra's sense of mischief, charm, and cunning wit. Adult leads Kidman and Craig do just as well, fully fleshing out their supporting roles, doing plenty of subterfuge with merely a glance, an eyebrow, or a whisper. They place their characters exactly where they need to be in order to keep the audience guessing.

Despite all that the film adaptation gets right, there's too much left out and done wrong. First off, the restructuring of the novel to make for a more fluid film, with key spectacles more perfectly placed, actually results in a film that struggles with pace. Unlike the novel, which builds suspense, intrigue, and emotional weight by the way it slowly builds, this restructuring never allows the film to build any momentum, all the while stripping the high octane action scenes of any emotional intensity or grand scope. Even something as simple as the majestic power of the Aurora Borealis, and all that can possibly exist within it's awesome beauty, is barely glimpsed in the film.

It seems as though the studio was so desperate for the next fantasy franchise, that they forgot what made the books special in the first place. By focusing on the elements of what makes a fantasy fit the genre, they forgot to include everything that makes "His Dark Materials" stand out; a fantasy that offers the best of children's literature, while pondering the essence of us all, and the question of free will. It's a shame the studio aimed so low.

Grade: B-

Sicko

Directed by: Michael Moore
Starring: Documentary (no "name" actors)
Running Time: 2h 03min

Michael Moore's run of success in the documentary field was unprecedented, so it came as no surprise that his latest outing, Sicko, did not drum up the same box office, nor critical acclaim as its predecessors. What is ironic, is that it is perhaps the most important film he's made concerning the woes and inadequacies of his homeland.

Fresh off the success of the Bush bashing Fahrenheit 9/11, and the previous gun society questioning Bowling for Columbine, Moore sets his sights on the profit pushing insurance providers in a pay per patient health care system. You would think that he's settled on a villain we can all agree on, avoiding the divisive responses he's had in the past. Yet by doing so, he creates a documentary that is devoid of the humour, the fun, and the sauciness that has become a hallmark of his work. Sicko is too dire, depressing, and despite his best attempts, distant for us. It just doesn't seem to have the relevance or timeliness of his other films. A backwards health care system in what is supposed to be the leading country of the civilized world is not news to us. It's just sad and unfortunate, which is the feeling this documentary leaves us with.

Moore is much better when he's using irony and humour to prove a point. His attempt in this film is to bring 9/11 volunteers to Cuba to get the treatment they can't seem to get, at least at an affordable price, in the country they were volunteering to defend. However, the sick people that are interviewed, escorted, and interrogated, feel like they aren't in on Moore's joke. Even worse, they come across as convenient puppets for Moore, as his questioning, dramatic pauses, and hovering camera framing position them too much as helpless victims, when in fact, Moore's promise has always been offering a voice for the little, working class guy.

Still, the subject matter is interesting, if not well worn. The highlights have to be Moore's comparison of other countries' health care systems. Just the disbelief on the faces of people abroad is priceless; how they cannot comprehend a health system that denies procedures or pharmaceuticals for those that need them, at reasonable rates, if at any cost at all. If Moore could channel that nonchalant disbelief, instead of a heavy handed sorrow, Sicko would be easier to swallow.

Grade: B