2009 top 10s from OFCS members: part 1

Kevin LaForest, Montreal Film Journal: “2009: To Pandora and Back Again”

Betty Jo Tucker, ReelTalk: “Best and Worst Movies of 2009”

Henry Stewart, The L Magazine: “Best (and worst) Films of 2009” and “Top 20 Movies of the Decade”

Brian Juergens, CampBlood: “Ten Best (and Three Worst) horror flicks of 2009”

Mark Harris, About.com: Horror: “Top 10 Horror Movies of 2009 (Wide Release)” and “Top 20 Horror Movies of 2009 (Limited Release/DVD)”

Mike McGranaghan, The Aisle Seat: “The Best Films of 2009”

Dustin Putman: “The Year in Review: 2009’s Best and Worst”

James Wegg: “Best of 2009”

Joseph Proimakis, Quiet Earth: top 5 of 2009

criticism news roundup

David Chen wonders whether film criticism really is a dying art, and decides that “fragmentation is not death.”

David Kronke at Variety asks “Can critics push Oscar?”, and examines the films of 2009 that have been helped by critical love.

OFCSer Erik Childress runs down the quote whores of 2009, and despairs that “the rise of the quote whores and anonymous fanboy bloggers has gone ruefully under-reported.”

RTE News announces the death of Irish Times film critic Michael Dwyer, whom director Neil Jordan praised as someone who brought a “totally different energy” to criticism.

classics update

Classic films our members are watching:

Brian Holcomb reviews Cruising (1980)

John J. Puccio reviews The Boy with Green Hair (1948)

Mike Phillips reviews Town Without Pity (1961) and Bootleg Film (1999)

Kevin Laforest reviews Moulin Rouge! (2001)

Glenn Erickson reviews Remember the Night (1940) and Untamed Youth (1957)

Dan Jardine reviews Fistful of Dollars, A Few Dollars More, and The Good the Bad and the Ugly (1964/1965/1966), Amarcord (1973), and Anatomy of a Murder (1959)

Sean Axmaker looks at the classic “DVD Discoveries and Rediscoveries of 2009” and the classic “Ten DVD Releases That Made 2009 Great”

Roderick Heath reviews Cleopatra (1963)

Dennis Schwartz reviews Sherlock Holmes’ Fatal Hour (1931) and The Hound of the Baskervilles (1939)

Cole Smithey reviews Salo (1975)

A.J. Hakari reviews Female Yakuza Tale (1973), Murders in the Rue Morgue (1932), and The Private Life of Sherlock Holmes (1970)

Marilyn Ferdinand reviews Gosford Park (2001)

Michael E. Grost reviews Rio Bravo (1959) and Great Day in the Morning (1956)

Gabe reviews Pickpocket (1959)

international update

What our members outside North America are watching:

U.K.
Rich Cline reviews I’m Gonna Explode

Greece
Joseph Proimakis reviews Les Herbes Folles and J’ai Tue ma Mere (reviews in Greek)

OFCS members to discuss top films of 2009

OFCS members and ReelTalk contributors Betty Jo Tucker, John P. McCarthy, and A.J. Hakari will discuss the top films of 2009 on a BlogTalkRadio show on Tuesday, January 5, at 4 pm Eastern/1 pm Pacific. During the live show, listeners are invited to call in and to participate in a chat. An archived segment will also be available.

Go to ReelTalk for more info, including how to listen and how to call in.

Essay Question: favorite movies of 2009

OFCS members ponder the question:

“What’s your favorite movie of 2009, and why?”

Answers after the jump.


John J. Puccio, DVDtown:

I enjoy films that move me, that make me feel or think or question something, films that evoke happiness, joy, sorrow, pain, excitement, whatever. Pixar’s Up did just that. Indeed, it elicited a whole range of feelings from me, leaving me wanting to see it, to experience it, again and again. And maybe the gorgeous animation helped, too.


Edward Howard, Only the Cinema:

There was no more exciting cinematic experience in 2009 than Quentin Tarantino’s Inglourious Basterds, the film that confirmed what QT’s admirers have long believed: that there are untold emotional and aesthetic depths to the director’s pop-culture namedropping and compulsive movie-referencing tics.


Steve Biodrowski, Cinefantastique:

Star Trek was my favorite movie of 2009, against expectations. The idea of rebooting the franchise seemed too commercially calculated to yield a movie that would be anything but a Hollywood hamburger, but the film turned out to be the best of both worlds, working for fans and newbies alike. The secret to its success lies in the screenplay. Orci and Kurtzman realized there were certain familiar tropes that had to be delivered, but more important they realized that the familiar character shtick had to be more than just shtick — it had to reflect who the characters were beneath the skin. The result is an absolute delight. I went to the first screening at the local cinema; as the credits rolled I walked out to the box office, bought another ticket, and went back in to watch the next screening.


A.J. Hakari, Blogcritics:

Watchmen, for encompassing everything I look for in a film: thought-provoking themes and rousing entertainment. Zack Snyder engaged my eyes as much as my mind, and for that, I tip my hat off to the man.


Kevin LaForest, Montreal Film Journal:

Avatar, no question about it. For the groundbreaking use of performance capture and 3D, sure, but mostly because James Cameron is probably the best modern action/sci-fi director in Hollywood and on top of that, he knows how to write simple but involving stories featuring characters we truly care about.


Pablo Villaca, Cinema em Cena:

Departures. A profoundly touching story that, with a refreshingly direct way, discards any attempt of melodrama while developing its characters and their relationships in a mature and sensitive manner.


Mark H. Harris, BlackHorrorMovies.com:

For all the hype about Avatar presenting something we’ve never seen before on screen, I found District 9 to be just as visually impressive — but with a much better script and more unique storytelling. The digital effects aren’t as extensive or as immersing as those in Avatar, but that’s what’s so stunning about D9’s CGI. Unlike Avatar, which takes you to a cartoonish, unreal world, D9’s effects integrate seamlessly with real-world locations and people — arguably a more difficult task, given the myriad of awkward green screen and CGI efforts over the past 20 years. The “how’d they do that” quotient is off the charts in D9, a true indicator of that elusive thing known as “movie magic.”

That said, the script is what truly floored me about District 9. The content and tone are impossible to pin down into one genre: it’s part sci fi, part action, part dark comedy, part faux documentary, part sociopolitical drama, part satire, with the gore of a horror movie and even a touch of melancholy romance. It’s a refreshingly unique blend, and given how hard it is to define, I’m impressed that the studio was able to market it as successfully as it did. D9‘s story is no less socially relevant or allegorical than Avatar‘s and is much more nuanced, with characters who operate in the gray area between good and evil and issues that can’t be resolved by one big fire fight.


Rob Gonsalves, eFilmCritic:

Bad Lieutenant: Port of Call New Orleans. Herzog + Cage = more hilarious cool than you can possibly handle. If not for that, Richard Kelly’s lovably loopy The Box might’ve taken it.


MaryAnn Johanson, FlickFilosopher.com:

District 9. It’s been a long time since I felt absolutely compelled to return to the multiplex again and again just for the experience of being immersed in a movie, but this one kept drawing me in. And I never tired of it.


Mike McGranaghan, Aisle Seat:

My favorite and my best movie of 2009 are the same: Precious: Based on the Novel “Push” by Sapphire. Despite the awkward title, this is an all-around terrific film. I tend to be a fan of movies that feel like a slice of somebody’s life. In this case, the life of the main character involves poverty, illiteracy, an incestuous absentee father, and an abusive mother. Tough subject matter, but what makes Precious so wonderful is that it portrays this girl’s situation with devistating realism while also finding time for humor and, in the end, a bit of hope. That’s a rare thing for a movie to be able to do; Precious pulls it off brilliantly. I have a feeling that I will never forget this film.


Anton Bitel, Channel 4 Film:

It’s an impossible call between:

Pontypool: The only 2009 film that I felt compelled to watch again (and again) — and that offered something radically different with each viewing.

A Serious Man: From the writing through the performances to the mise en scene and score, this was pure pleasure from start to finish.

Fantastic Mr Fox: Easily the best adapted screenplay of 2009, and the only “family movie” this year that was thoroughly enjoyed by every member of my immediate family.

Bad Lieutenant: Port of Call New Orleans: I still have absolutely no idea whether it was good or bad, but my jaw remains rooted to the floor.


Rich Cline, Shadows on the Wall:

A Prophet, by Jacques Audiard. I know this film isn’t eligible in the OFCS awards, but it’s the one movie I saw in 2009 that I simply can’t get out of my head. There were more elegant, more entertaining, more heart-stirring films last year, but this one is destined to be a classic for the way it redefines the prison drama and gets us so deeply into one young man’s head that we start to feel his guilt and understand his descent (ascent?) into criminal mastery. Tahar Rahim’s introspective yet fierce central performance combines perfectly with Jacques Audiard’s prickly, telling direction. Whenever you get the chance to see it, don’t miss it.


Betty Jo Tucker, ReelTalkReviews.com:

In this crazy world of ours, finding a tr

ue friend has to be one of life’s most treasured gifts. The Soloist, a film blessed with superb performances by Robert Downey Jr. and Jamie Foxx, presents this theme through contrasting scenes of great beauty and gritty realism. Seamlessly combining topnotch acting, splendid cinematography, elegant music, impressive writing and a humanistic approach, The Soloist is my favorite movie of 2009.


Wesley Lovell, The Oscar Guy:

For me, District 9 represents the year’s best effort. Not only does it restore my faith in Science Fiction as a genre that entertains and educates (unlike the nothing-but-popcorn Star Trek flick) without pandering to the lowest common denominator in attempt to draw folks to the box office. It stands firmly with the best of the genre, comparing favorably to classics like The Day the Earth Stood Still, Invasion of the Body Snatchers and Blade Runner. And like those films, it’s not just a science fiction film, it’s an example great filmmaking.


Jonathan Richards, FilmFreak.be:

I don’t think I had a better time in the movies this year than at Pirate Radio. It probably wasn’t the best movie of the year, but then what’s better than pure enjoyment? Richard Curtis makes movies that sometimes cause critics to sniff, but audiences love them.

Pirate Radio is loosely based on the historical truths of an era when British rock ruled the world but couldn’t get the time of day on the BBC, which controlled England’s airwaves with a hand of iron and an ear of tin. Into the breach stepped Radio Rock, a sort of Radio Free Britain broadcasting rock ‘n’ roll 24/7 from a ship moored in international waters off the coast of England. This, at least, is the way Curtis tells it in his fictionalized take on the guerilla stations like Radio Caroline that made a commercial end run around the restrictions of government-run broadcasting in Britain. Curtis’s movie is loosely based on the historical truths of the time, but it isn’t meant as a documentary, or even a docucomedy. It’s just a hell of a lot of fun.


Dave Johnson, DVD Verdict:

Taken. Sure, this movie came out like 12 years ago in the rest of the world, but what a much-needed shot of unapologetic bad-assery this was for 2009. You’ve got a lethal protagonist whose motivations are clear (rescue daughter from the scum of the earth) and a nonstop procession of sex slavers that deserve every bit of brutality that comes their way.

You know, sometimes you just want to sit down and toss in a flick with a dude whose violence you can totally get behind.


Dan Lybarger, eFilmCritic:

In the Loop is a horror film that plays like a comedy. More than any other movie I’ve seen this year, its has stayed with me by revealing a world that neither Dante nor Poe could imagine. And sadly, this environment bears an uncomfortable resemblance to our own.

All of this would be unbearable if it weren’t so damn funny. As the Prime Minister’s tyrannical hatchet man Malcolm Tucker, Peter Capaldi turns cursing into a new art form and maintains a state of constant fury without missing a beat. Iannucci and his team of co-screenwriters toss out dozens of memorable lines that a terrific cast (including Gina McKee, James Gandolfini, Mimi Kennedy, Tom Hollander and David Rasche) deliver with consistent aplomb.

2009 Online Film Critics Society Award nominees

OFCS members will submit their final votes over the next few days, and winners will be announced on January 6, 2010.

BEST PICTURE
The Hurt Locker
Inglourious Basterds
A Serious Man
Up
Up in the Air

BEST DIRECTOR
Kathryn Bigelow (-) The Hurt Locker
Neill Blomkamp (-) District 9
James Cameron (-) Avatar
Joel & Ethan Coen (-) A Serious Man
Quentin Tarantino (-) Inglourious Basterds

BEST ACTOR
Jeff Bridges (-) Crazy Heart
Sharlto Copley (-) District 9
George Clooney (-) Up in the Air
Joaquin Phoenix (-) Two Lovers
Jeremy Renner (-) The Hurt Locker

BEST ACTRESS
Mélanie Laurent (-) Inglourious Basterds
Carey Mulligan (-) An Education
Gabourey Sidibe (-) Precious: Based on the Novel Push by Sapphire
Meryl Streep (-) Julie & Julia
Tilda Swinton (-) Julia

BEST SUPPORTING ACTOR
Peter Capaldi (-) In the Loop
Jackie Earle Haley (-) Watchmen
Woody Harrelson (-) The Messenger
Anthony Mackie (-) The Hurt Locker
Christoph Waltz (-) Inglourious Basterds

BEST SUPPORTING ACTRESS
Vera Farmiga (-) Up in the Air
Anna Kendrick (-) Up in the Air
Diane Kruger (-) Inglourious Basterds
Mo’Nique (-) Precious
Julianne Moore (-) A Single Man

BEST ORIGINAL SCREENPLAY
(500) Days of Summer (-) Scott Neustadter & Michael H. Weber
The Hurt Locker (-) Mark Boal
Inglourious Basterds (-) Quentin Tarantino
A Serious Man (-) Joel & Ethan Coen
Up (-) Bob Peterson

BEST ADAPTED SCREENPLAY
District 9 (-) Neill Blomkamp & Terri Tatchell
Fantastic Mr. Fox (-) Wes Anderson & Noah Baumbach
In the Loop (-) Jesse Armstrong, Simon Blackwell, Armando Iannucci & Tony Roche
Up in the Air (-) Jason Reitman & Sheldon Turner
Where the Wild Things Are (-) Spike Jonze & Dave Eggers

BEST DOCUMENTARY
Anvil!: The Story of Anvil
The Beaches of Agnes
Capitalism: A Love Story
The Cove
Food, Inc.

BEST FILM NOT IN THE ENGLISH LANGUAGE
Broken Embraces
Police, Adjective
Silent Light
Summer Hours
The White Ribbon

BEST ANIMATED FEATURE
Coraline
Fantastic Mr. Fox
Ponyo
The Princess and the Frog
Up

BEST CINEMATOGRAPHY
Avatar (-) Mauro Fiore
District 9 (-) Trent Opaloch
The Hurt Locker (-) Barry Ackroyd
Inglourious Basterds (-) Robert Richardson
A Serious Man (-) Roger Deakins

BEST ORIGINAL SCORE
Fantastic Mr. Fox (-) Alexandre Desplat
The Informant! (-) Marvin Hamlisch
Star Trek (-) Michael Giacchino
Up (-) Michael Giacchino
Where the Wild Things Are (-) Carter Burwell & Karen Orzolek

BEST EDITING
(500) Days of Summer (-) Alan Edward Bell
Avatar (-) Steve R. Moore, John Refoua & Stephen Rivkin
District 9 (-) Julian Clarke
The Hurt Locker (-) Chris Innis & Bob Murawski
Inglourious Basterds (-) Sally Menke

Survey Says: OFCS members choose their most anticipated comic book movie of 2010

As we enter the new movie year, OFCS members were asked to choose which of the ten movies based upon comic books scheduled for release in 2010 they’re most looking forward to.

By a wide margin, Iron Man 2 came out on top.

Results were calculated on a simple vote basis: of the 43 members who participated in the poll, 21 voted for Iron Man 2.

Other ranking titles:

Kick-Ass (7 votes)
Scott Pilgrim vs The World (6 votes)
The Green Hornet (3 votes)
Priest (2 votes)
The Losers (1 vote)

Titles that received no votes: Dead of Night, Jax of Heart, Jonah Hex, and Red.

Three members also picked “none.” “None of these sound particularly appealing,” one anonymous member said. Two other members — who also chose to remain anonymous — expressed disgust with Hollywood’s penchant for comic-book movies:

At some point Hollywood has to draw a line between making movies for children (i.e. G-rated fare that doesn’t contain insulting, rude, or violent behavior) and grown-up movies for grown-ups. 30 years of cartoon movies aimed at 14-year-old boys and girls has dumbed down American cinema to an atrocious level.

and

I’m ready for fewer juvenile fantasies and more grown-up reality. We have some serious problems in this country, and the Green Hornet isn’t going to help us figure out how to solve them, just keep us in the denial zone.

Margot Harrison of Seven Days worries:

While I liked Iron Man and The Dark Knight, I fear the Watchmen flop will dictate the dumbing down of most future comic book movies to X-Men Origins: Wolverine level.

Of the top choice, Ed Howard of Only the Cinema says:

The first Iron Man film went from light-on-its-feet improv patter to a poundingly heavy metal-on-metal climax. Here’s hoping the second film has more of the former and less of the latter.

Other comments:

Jeffrey Chen of Window to the Movies chose Scott Pilgrim vs The World

only because it’s the next film by Edgar Wright, the guy who gave us two of my favorite recent comedies, Shaun of the Dead and Hot Fuzz.

while another anonymous member said of his/her choice:

Kick-Ass by a nose, but Scott Pilgrim is almost equal.

Of another ranking title, The Green Hornet, an anonymous OFCSer writes:

I’m a diehard fan of the Seth Rogen & Evan Goldberg-penned Superbad and Pineapple Express, and with Michel Gondry at the helm, this can’t fail!

and Eric D. Snider of Eric D. Snider.com says:

The combination of Seth Rogen and Michel Gondry is irresistible to me. With the other upcoming comic book films, you kind of have an idea what they’re going to be like. Green Hornet seems like whatever it is, it will be a surprise.

criticism news roundup

Stephen Saito at IFC runs down the most memorable critical dustups of 2009, with a look at “some of the most thought-provoking film writing of the year [which] hasn’t been done on film at all, but on how film writing is changing, where film journalists begin to consider themselves as film activists and critics engage in discussions that don’t end with the final period of their reviews.”

David Berry at Vue Weekly offers a critics guide to critics, wherein he examines “the thought process behind art criticism.”

Anna Robinson at Alt Film Guide notes the controversy over how the London Film Critics treat Irish talent.

classics update

Classic films our members are watching:

A.J. Hakari reviews Army of Darkness (1992), Cabaret (1972), Christmas in Connecticut (1945), A Christmas Story (1983), Dracula (1931 Spanish version), Sex & Fury (1973), and Samurai Spy (1965)

John J. Puccio reviews A Walk in the Sun (1945) and The Canterville Ghost (1944)

Glenn Erickson reviews The Next Voice You Hear… (1950)

Rich Cline reviews The Queen of Spades (1949)

Dan Jardine reviews African Queen (1951), Maltese Falcon (1941), and It’s a Wonderful Life (1941)

Dennis Schwartz reviews Radio Days (1987)

Michael E. Grost reviews Great Day in the Morning (1956)

Roderick Heath reviews Black Christmas (1974)

Steve Biodrowski reviews Scrooge (1951)

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