The Best of 2006

UPDATED! After finally getting around to watching a few more of the later entries of 2006, as well as re-watching some of the earlier ones, I've decided to make a few changes to this list. Only two films have been added (After the Wedding and The Wind That Shakes the Barley), but you may note that the order of some of the others has also been rearranged.


In retrospect, 2006 turned out to be a pretty good year for movies (the last exceptional year being 2002). A lot of the films that didn't make this year’s Top Ten are actually superior to many of the Top Ten films of previous years. The breakdown will begin with a list of ten Honorable Mentions, followed by the ten Runners Up, and then finally the coveted Top Ten of the year, all in rank order. With that said, there were several worthy films that just couldn't make the top thirty cut this year (Cars, The Pursuit of Happyness, Deja Vu, Akeelah and the Bee, Rocky Balboa and The Descent to name a few), but they are still great flicks that everyone should check out. The following are just the cream of the crop. Here we go:


HONORABLE MENTION

30. Babel

It shouldn’t have been nominated for Best Picture, but this film still has quite a lot to offer. Wonderful performances from the entire cast, in addition to the spectacular camerawork and editing, make up for its many shortcomings. However, it is still Inarritu’s least impressive film to date.





29. The Proposition

This darkly atypical Western, set in the rugged Australian Outback, is certainly one of the more bizarre films of the year. It has its share of flaws, but terrific performances from Guy Pearce and Danny Huston, as well as an engaging score, make it seem a great deal better than it probably is.





28. Volver

Pedro Almodovar’s best—and least eccentric—film to date, Volver manages a fine balancing act between comedy and suspense, and allows Penelope Cruz to finally shine as an actress. It reminds one of some of Hitchcock’s earlier and lighter works.






27. Half Nelson

An outstanding debut feature for writer/director Ryan Fleck and writer/producer Anna Boden, who show great talent with their words and their camerawork. Ryan Gosling gives a shattering performance as a drug addicted teacher and fully deserves the Oscar nomination bestowed upon him.





26. An Inconvenient Truth

This documentary is really nothing more than a filmed PowerPoint presentation, even though it is assembled exceptionally well. In the end, it is the global warming message—which is conveyed very successfully—that makes watching it a captivating experience. This is the best documentary of the year.





25. A Scanner Darkly

This underrated endeavor in animation actually showcases some rather awesome visuals. People may have to take in subsequent screenings in order to follow the plot, but this is the first film to truly reflect the style of author Philip K. Dick, who also penned Blade Runner and Minority Report.





24. Marie Antoinette

Director Sofia Coppola’s grossly under-appreciated film had audiences confused upon its release. Is it meant to be a serious attempt at a period epic, or merely a commentary on the current time in which we live? The answer, of course, is both. It is a well-known story of the past that is being told with the familiar language of the present.




23. The Painted Veil

A beautiful production that features a superb performance by Naomi Watts, The Painted Veil got lost in the crowded slate of late December releases. Sharp direction and a well-written script don’t hurt either, although the film loses some of its strength in the final half-hour.






22. Happy Feet

Happy Feet turned out to be the surprise animated hit of the year. Gorgeous animation, witty dialogue, a strong environmental message and even spiritual undertones combine to form a satisfying feature that has something for everyone. Plus, it seems that penguins are just “in” these days.





21. Notes on a Scandal

Director Richard Eyre and screenwriter Patrick Marber have adapted Zoe Heller’s pulpish novel and, inspired somewhat by the tense melodrama of daytime soap operas, created an effectively creepy thriller about a needy sociopath. Judi Dench and Cate Blanchett both act up a storm and have rarely been better.





THE RUNNERS UP

These films are almost a Top Ten in their own right in that many of them are a great deal better than last year’s Top Ten. Yet, for some reason or other, they just barely missed the final cut this year.

20. Blood Diamond

Like most of Edward Zwick’s films, Blood Diamond has a plot filled with masked contrivances, but it still delivers as a motion picture. Leonardo DiCaprio is the standout in his Oscar nominated role as a Rhodesian diamond smuggler, and the film’s cinematography ranks with the best of the year.





19. Pan’s Labyrinth

One of the most imaginative films in recent years, Pan’s Labyrinth combines the dark and brutal reality of the world around us with the awe and wonderment of fairy tales. It is a violent and heartbreaking picture—definitely not for children—and is made with beautiful precision by director Guillermo Del Toro.





18. Water

Set in the years just prior to India’s independence, Water tells the sad tale of several young widows who, due to their Hindu culture, are forced to remain unmarried and live ascetic lifestyles until they die. The movie stirred up a lot of controversy during its production, but has been justly rewarded with an Oscar nomination for Best Foreign Film.




17. Curse of the Golden Flower

A grand epic in the vein of William Shakespeare, Curse of the Golden Flower radiates perfection in every frame. Not missing a single beat, director Zhang Yimou fashions a majestic picture that is filled with beauty, treachery and despair. The stunning visuals positively leap off of the screen.





16. Letters from Iwo Jima

Clint Eastwood’s second Iwo Jima film—leagues above Flags of Our Fathers—pacts a powerful punch and ended up knocking Dreamgirls out of the Best Picture lineup. For once the Academy did something right. This is a beautifully executed production and Ken Watanabe is unforgettable as the Japanese general who resigns his troops to a slaughter.



15. The Good Shepherd

The true epic of the year chronicles the birth of the CIA, as seen through the eyes of a reticent Yale graduate (Matt Damon) who begins working for OSS during World War II. The film follows him all the way to the 1960s, where he has grown into a cold and bitter CIA operative. This is a masterpiece of the genre that effectively analyzes the price one must pay in order to maintain a firm grasp on the world.



14. Brick

It was a daring move to set a murder mystery in a High School, using teenagers to act out the noir-ish narrative style of detective writers like Raymond Chandler and Dashiell Hammett. Fortunately, the film isn’t played out as a joke or as an homage, but takes itself dead seriously. It will likely emerge as a cult classic somewhere down the road.




13. United 93

Incomparably better than the other 9/11 movie released in 2006—the sluggish World Trade Center—United 93 is absolutely riveting cinema. Director Paul Greengrass assembles an impressive group of unknown actors to recreate the events of that horrific day, and the result is first rate, edge-of-your-seat drama.





12. Perfume: The Story of a Murderer

Director Tom Tykwer has not only succeeded in filming a novel that was believed to be unfilmable, but he has done it with quality and passion. The most expensive film in German history, Perfume is one of the best looking pictures of 2006. The story will turn off about as many people as it attracts, but then again, the same was true of the book.



11. The Wind That Shakes the Barley

Director Ken Loach's gripping account of the birth of the Irish Republican Army is a harrowing film that follows two brothers (Cillian Murphy and Liam Cunningham) as they lead a rebellion against British authority. This gut-wrenching, all-too-realistic dramatization won the Palme d'Or at the 2006 Cannes Film Festival.



And here we are:

THE TOP TEN FILMS OF 2006

10. The Last King of Scotland

A veteran of documentaries, director Kevin Macdonald (Touching the Void) absolutely nails his first narrative feature in which we follow the rise of Ugandan dictator Idi Amin (Forest Whitaker, in the best performance of the year). James McAvoy is also excellent as the naïve Scottish doctor who is seduced by Amin’s charms, only to find that he is terrifyingly in over his head.



9. V for Vendetta

This film received a lot of praise upon its release but seemed to be forgotten by the year’s end. This is unfortunate because it is probably, to date, the best translation of a graphic novel to the screen. Natalie Portman does a solid job and Hugo Weaving is pitch-perfect as the story’s anti-hero. It’s a well-made film in every respect.




8. Casino Royale

Based on Ian Fleming’s original spy novel, Casino Royale is the first film in the Bond series to realize how the character is actually written. Daniel Craig makes a fantastic debut in this gritty, gadget-less entry that emphasizes character development over stunts. It’s the best one since On Her Majesty’s Secret Service.





7. The Fountain

Darren Aronofsky’s The Fountain was the most misconstrued film of the year. Those who professed that this complex love story could only be appreciated under some kind of drug induced state obviously refused to put in any rational effort. It has many possible explanations, which ultimately depend on what you bring to the table. It’s brilliant filmmaking that will hopefully be recognized in the future.



6. After the Wedding

Nominated for Best Foreign Film, After the Wedding is a riveting, character-driven melodrama that ranks with the best of Ingmar Bergman. Danish filmmaker Susanne Bier works with a superb cast (headed by Mads Mikkelsen) to bring us an ingeniously constructed tale that moves like an emotional freight train. You won't see the twists and turns in this one coming.



5. The Lives of Others

Set in East Germany, 1984, this film looks at the extreme lengths to which the Secret Police went in order to monitor and interrogate its questionable citizens. A respected playwright (Sebastian Koch) comes under suspicion of having anti-socialist sympathies and is soon placed under such surveillance. This is the best foreign film of the year.




4. The Departed

Martin Scorsese makes a triumphant return to the crime genre and delivers his most satisfying picture in years. Leonardo DiCaprio and Matt Damon are excellent as a pair of moles working on either side of the law. The dialogue is sharp, the editing is second to none, and the camerawork, as it is with any Scorsese film, is outstanding. It is most certainly at home in the Best Picture category.



3. The Prestige

The Prestige isn't really about magic at all. Although the intricate plot is chiefly concerned with the disturbing feud that erupts between two rival magicians, the central theme is actually obsession. Both characters give up everything, including their humanity, through their efforts to constantly defeat each other. Shot and edited to perfection, this film actually makes you feel your brain cells working overtime.



2. The Queen

Even though much of the success of The Queen is due to the superb lead performance by Helen Mirren, the film does have a great deal more to offer. Director Stephen Frears has created a fascinating portrait of a woman caught between the modernizing world and her own traditions. Michael Sheen (robbed of an Oscar nom) is equally good in the role of Tony Blair, and the music by Alexandre Desplat is exemplary.



1. Children of Men

Children of Men is a cinematic masterpiece. Of all of the exceptional films released in 2006, this is perhaps the only one that will be remembered fifty years from now. The plot is deceptively simple, but as is the case with most science fiction tales, the themes it addresses are complex and thought provoking. Director Alfonso Cuaron guides the story and the actors with complete control, and it won’t be a stretch to assume that the cinematography will be analyzed by film students for years to come. A magnificent achievement.


And there it is. The best of the year, so says The Fish.

Letters from Iwo Jima

Letters from Iwo Jima has been called the “completion of the Iwo Jima saga,” with the first part being Flags of Our Fathers (released in October of 2006). This description is true to the extent that each film shows audiences a different perspective of the battle—Flags gives us the U.S. and Letters the Japanese—but the films can also stand alone, apart from one another, and remain complete works. A person does not need to see one to understand the other, but it is quite interesting to watch them both so that one can gauge an overall perception of the battle. In a tremendous feat, Clint Eastwood directed the films back-to-back, and it isn’t a stretch to say that Letters is the better one. While Flags of Our Fathers is a good picture by all accounts, it is still filled with flaws. By contrast, Letters from Iwo Jima will likely go down in history as one of the greatest war movies ever made. Does it deserve such status? Quite possibly. It certainly has its fair share of powerful moments. For one thing, the Japanese knew they were going to lose, and much of the film’s strength lies in illustrating their complete and utter resignation to death. Much like the story of the Alamo, they were overwhelmed by incredible odds, but kept fighting to the last man. It is this inevitability, this certainty of loss, which ultimately fuels the picture. As such, Letters from Iwo Jima has a focus that Flags of Our Fathers was sorely lacking. Another key ingredient to the picture’s success is the addition of Ken Watanabe as General Kuribayashi. In one of the year’s best performances, Watanabe plays a man who is well aware of what the outcome of the battle will be, but remains steadfast in his devotion to his country. Letters from Iwo Jima is not only one of the best films of the year, but it is also one of the best in Eastwood’s long career.

Directed by Clint Eastwood.
Written by Iris Yamashita.
Starring Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase, Shido Nakamura, Hiroshi Watanabe and Takumi Bando.

Rated R for graphic war violence. 141 min.

****½ so says The Fish

The Painted Veil

The Painted Veil, a period piece set in 1920’s China, could easily be described as an epic production. At the same time, however, it turns out to be one of the most intimate character studies of the year. Based on W. Somerset Maughm’s novel, it tells the story of Kitty Fane (Naomi Watts), a shallow beauty who was born into a wealthy family and spoiled for the better part of her life. At a party, she meets the rather uninteresting Walter (Edward Norton), a bacteriologist who is stationed in the far east of China. They meet on subsequent occasions and, to her surprise, he proposes. She doesn’t love him, of course, but feels pressured to accept because of her age and the opinions of her parents. Once in China, she begins a love affair with a charismatic Englishman named Charlie (Liev Schreiber) and has delusions about running off with him, away from her boring husband. It is not long before Walter discovers her infidelity, but rather than granting a divorce, he decides to drag her into the interior of the country where a deadly cholera epidemic has broken out. Kitty views this as an act of murder and suicide on Walter’s part, but her husband’s true intentions are never known. Maughm’s various works have been adapted a countless number of times, and this film ranks among the best, due largely to the superb performance by Naomi Watts. The growth of her character feels so natural and unforced that the audience will be compelled to embrace her in the end, despite all of the mistakes she has made. Edward Norton is terrific as always, but Walter exists more as a tool that ultimately shapes who Kitty becomes, as opposed to a full-fledged character himself. Norton brings quality to the role, but the film really belongs to Watts, who does her best work since Mulholland Drive. The scenery, thanks to cinematographer Stuart Dryburgh, is absolutely breathtaking; Alexandre Desplat’s musical score evokes the perfect range of emotions; and director John Curran does an excellent job of balancing all of the elements. It is a wonderful translation from book to screen.

Directed by John Curran.
Written by Ron Nyswaner.
Starring Naomi Watts, Edward Norton, Liev Schreiber, Toby Jones, Diana Rigg, Anthony Wong Chau-Sang and Juliet Howland.

Rated PG-13 for some mature sexual situations, partial nudity, disturbing images, and brief drug content. 125 min.

**** so says The Fish

Perfume: The Story of a Murderer

Perfume: The Story of a Murderer is a novel that has been fighting to get to the screen for over 20 years. German author Patrick Süskind had long been skeptical about a possible film adaptation and always declined to sell the rights. In fact, his stance was so adamant that it was itself portrayed in a film called Rossini, about an author who refuses to relinquish his story to filmmakers. Since its publication in 1986, Perfume has garnered interest from a host of directors, including Stanley Kubrick, Milos Forman, Martin Scorsese, Ridley Scott and Tim Burton, all of whom felt the story was ultimately unfilmable. Although it has finally been brought to the screen by Tom Tykwer (Run Lola Run), the failure of previous efforts is understandable considering the precise nature of the tale. Set in 18th century France, Perfume chronicles the sad life of Jean-Baptiste Grenouille (played perfectly by newcomer Ben Whishaw). Born in the foulest section of Paris, in the putrid bowels of a fish market, he is immediately abandoned by his mother and left for dead. Spending his childhood in an orphanage, our protagonist is despised by those around him. The other children cannot explain their aversion, but are convinced in their souls that there is something very wrong with Grenouille. In fact, Jean-Baptiste Grenouille possesses the greatest sense of smell in the known history of the world. It is so acute that he can discern organisms—plants, animals, even people—from miles away. He can distinguish between water and rock from vast distances, breaking down the elements that make up the world and cataloguing it within his extensive mind. Yet, for all of his olfactory abilities, Grenouille has no smell of his own. As such, he wanders the world unnoticed, like a phantom. This drives him to create the ultimate perfume using the most beautiful fragrances he can imagine. His methods in obtaining them, as the title suggests, are horrifying to say the least, and this is why one might hesitate to recommend Perfume to others. It is, fundamentally, about a serial killer. But unlike the charismatic Hannibal Lecter, or the vulnerable Tom Ripley, Jean-Baptiste Grenouille is a hollow shell of a person, propelled only by his pursuit of a perfume. As such, he is more like an animal, driven by instinct, than he is a human being. Like the novel, the film does nothing to sympathize with him, and thereby asks a great deal from the audience. However, those willing to follow Grenouille on his journey will be rewarded with a beautiful production where all the expense shows up vividly on the screen. The costliest German film ever made, Perfume is by and far the most handsome looking film of 2006. Tykwer succeeds rather impressively in illustrating Grenouille’s sensory skills, and it is doubtful that even Süskind himself will find many faults with the adaptation. Perfume: The Story of a Murderer will not appeal to everyone, but those who relish the original story will likely feel the same way about the film.

Directed by Tom Tykwer.
Written by Andrew Birkin, Bernd Eichinger and Tom Tykwer.
Starring Ben Whishaw, Alan Rickman, Rachel Hurd-Wood, Dustin Hoffman and John Hurt.

Rated R for aberrant behavior involving nudity, violence, sexuality, and disturbing images. 147 min.

****½ so says The Fish

Children of Men

If there was a single comfort that guided humanity through its darkest times, it was the idea that life would always go on. It has been the same for every generation. No matter how bleak or chaotic the state of the world seemed to be, people could always have hope for the future. But what if there was no future? This is the horrifying scenario depicted in Children of Men, the brilliant new film from director Alfonso Cuaron, loosely adapted from the science fiction novel by P.D. James. The time is 2027, and it has been almost 19 years since the last baby on Earth was born. For some reason or other (it is never explained, nor does it matter), humanity has been unable to produce children. The world has become a dystopia of violent extremists and elderly citizens, left with the terrible reality that in another fifty years, everyone will be gone. Clive Owen stars as Theo Faron, a London bureaucrat and former peace activist who has become resigned to the fact that all is lost. He spends his days wasting away, sometimes in the company of his hippie friend Jasper (played, as always, to perfection by Michael Caine), completely disillusioned about the fate of humanity. He is visited by Julian (Julianne Moore), a woman from his past—now turned revolutionary—who wants Theo’s aid in transporting a girl across the border. The girl’s name is Kee, and to Theo’s complete shock, it turns out that she is pregnant. The rest of the film is a journey in which Theo must bring Kee to safety while protecting her, and the secret she carries, at all costs. The film is thought provoking on every level, from its depiction of a frightening future in all its realism, to how it mirrors the world we live in today. Cuaron uses long takes to capture every scene, and he films the characters in medium shots rather than close-ups. The actors’ performances are never manipulated through the use of editing; rather they are left to speak for themselves. The ultimate effect is an incredible authenticity that accompanies every situation within the film. On top of this, the cinematography by Emmanuel Lubezki (The New World) is an absolute wonder to behold and will likely be analyzed and appreciated for years to come. These are just a few of the aspects that propel Children of Men into the same league as Metropolis, Blade Runner and Gattaca. It is a masterpiece of the genre.

Directed by Alfonso Cuaron.
Written by Alfonso Cuaron, Timothy J. Sexton, David Arata, Mark Fergus and Hawk Ostby.
Starring Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Claire-Hope Ashitey, Charlie Hunnam, Pam Faris, Peter Mullan and Danny Huston.

Rated R for strong violence, language, some drug use and brief nudity. 107 min.

***** so says The Fish

Pan's Labyrinth

Somehow, fairy tales have always carried the connotation that they are little more than moralistic yarns for youngsters. The brothers Grimm may beg to differ, but even their stories have grown somewhat saccharine in the mind’s eyes of readers. Leave it to writer/director Guillermo Del Toro to disrupt the order of things by giving us an R-rated fantasy that evokes the dormant sense of wonder that lies hidden within all adults. Ofelia, the protagonist of Pan’s Labyrinth, may be a child, but the obstacles and anguish she must overcome in this film are anything but childish. Set in 1944, amidst the post-Civil War repression of Franco’s regime, the story follows Ofelia (Ivana Baquero) as she and her mother Carmen are brought to Spain’s rural north at the behest of Captain Vidal. Though Carmen is recently married to Vidal, it is clear from the outset that her only value to the Captain is that she is pregnant with his child. Ofelia can sense this, but dutifully follows her mother to where her terrible stepfather is stationed. Played brilliantly by Sergi Lopez, Captain Vidal is one of the most terrifying villains to hit the silver screen in years. The sheer unpredictability of his sadistic actions imbues the film with a constant sense of fear and uneasiness. To escape this atmosphere, Ofelia spends her time reading books of fantasy and imagination. It isn’t long before she stumbles onto a hidden world filled with magic, fairies, creatures and horrors that are just as unspeakable as the ones she faces in reality. In this world she meets Pan, a suspicious faun who assigns her three tasks to complete. Not knowing who to trust, and with lives hanging in the balance, Ofelia soon comes to decisions that affect her own fate, along with the fates of those around her. Pan’s Labyrinth is a gloriously visual and heartbreaking story that teaches us just how sophisticated and complex a fairy tale can be.

Directed by Guillermo Del Toro.
Written by Guillermo Del Toro.
Starring Ivana Baquero, Sergi Lopez, Ariadna Gil, Maribel Verdu, Alex Angulo and Doug Jones.

Rated R for graphic violence and some language. 112 min.

****½ so says The Fish

We Are Marshall

Sports dramas that are based on inspiring true stories are not hard to come by. In fact, there is probably a rule somewhere that says one of these films must be released every couple of months. Some of the past year’s offerings include Invincible, Gridiron Gang and Glory Road (still the best one of 2006). Now we have We Are Marshall, a less traditional entry in the genre in that it deals less with the sport of football than it does with the small town that embraces it. In 1970, the town of Huntington, West Virginia, which was home to Marshall University, is devastated by a plane crash that claims the lives of its entire college football team, along with several coaches, parents and fans. It is a disaster that the citizens are unable to cope with, and leaves the college in a quandary about what to do with the football program. Many want to suspend it for the time being out of respect for the fallen players, but a few surviving teammates (who had missed the doomed flight) convince the College Board to hire a new coach and start the program from scratch. Until this point, the film is drowned in an understandably somber mood, which is why the appearance of Matthew McConaughey as Jack Lengyel, the new head coach, is such a breath of fresh air. The actor brings a great deal of much needed charm to an otherwise depressing film. Lengyel’s job is to recruit players from wherever he can, whether they come from basketball courts or soccer fields, in order to get the Marshall team ready for the approaching season. To say he is fighting an uphill battle, both on the field and with members of the Huntington community, is an understatement. But his determination to keep the team moving forward works well as a message for the film. More than anything, however, We Are Marshall proves that director McG—who, until now, has only been known for churning out Charlie’s Angels muck—can actually make a decent film. It’s not Hoosiers, but then again, very little is these days.

Directed by McG.
Written by Jamie Linden and Cory Helms.
Starring Matthew McConaughey, Matthew Fox, David Strathairn, Anthony Mackie, Ian McShane, Kate Mara, Brian Geraghty and Robert Patrick.

Rated PG for emotional thematic material, a crash scene, and mild language. 124 min.

*** so says The Fish

Curse of the Golden Flower

Director Zhang Yimou is consistently ranked among the best directors in the world and for good reason. His films, ranging from his smaller, earlier work (Red Sorghum, Raise the Red Lantern) to his more recent epics (Hero, House of Flying Daggers), are rife with so many themes and are so masterfully executed that they stand head and shoulders above the works of most other filmmakers. Often using ancient Chinese legends for inspiration, he threads together wonderful narratives that focus on characters and relationships, while also creating some remarkable visual templates. Curse of the Golden Flower employs all of the director’s skills to their maximum effect. It is his most gorgeous looking film to date, and it features action sequences that would rival any of the Lord of the Rings pictures. On top of that, the plot is something right out of Shakespeare. Emperor Ping (played with a terrifying coldness by Chow Yun-Fat) has assembled his wife and three sons at the Forbidden City for the upcoming chrysanthemum festival. Although the eldest son, Xiang, is the Crown Prince, the Emperor would prefer to leave his throne to the middle son, Jie. Meanwhile, his wife, the Empress Phoenix (superbly played by Gong Li) suspects that her husband has been gradually poisoning her for several days. The story unfolds to include murder, love, conspiracy, incest, betrayal and madness among a host of other themes. Shigeru Umebayashi’s score oozes majesty and treachery all at once, and Zhao Xiaoding’s cinematography is truly breathtaking to behold. Although, when compared to Hero and other earlier works, Curse of the Golden Flower emerges as being decidedly harsh and unsympathetic, it is nonetheless one of Zhang Yimou’s richest endeavors to date and only serves to solidify his position as a superior filmmaker.

Directed by Zhang Yimou.
Written by Zhang Yimou.
Starring Gong Li, Chow Yun-Fat, Liu Ye, Jay Chou, Junjie Qin, Li Man, Jin Chen and Ni Dahong.

Rated R for violence. 114 min.

****½ so says The Fish

Notes on a Scandal

Judi Dench and Cate Blanchett act up a storm in this creepy psychological thriller that lies somewhat in the vein of Fatal Attraction. Dench stars as Barbara Covett, a veteran teacher at a public high school in London and a strict disciplinarian to say the least. She’s the kind of authority figure that commands attention as soon as she enters a room. Blanchett plays the school’s new art teacher Sheba Hart, whose docile attitude practically invites misconduct from the rambunctious students. Barbara effectively takes Sheba under her wing, while secretly growing a rather dangerous affection for her. She conveys all of this in her many diary entries, which eerily serve to narrate the picture. The plot takes a dramatic turn when Barbara catches Sheba having an affair with a student and finds a way to work this to her own advantage. Judi Dench, who is exceptional in whatever she does (as her plethora of Oscar nominations indicate), is in complete control of this frighteningly delicious role. It’s the best (and scariest) portrayal of a female psychopath since Kathy Bates in Misery. Blanchett is also outstanding, starting off as a rather meek and gullible victim of Barbara’s manipulation, but then grows steadily into a freight train of nerves as her character is pushed closer and closer toward the edge. Bill Nighy provides some wonderful supporting work as Sheba’s older husband, and Philip Glass’s unrelenting score beautifully drives the film down its spiral of desperation. Zoe Heller’s novel, adapted by playwright Patrick Marber (Closer), could easily have been the source for a great grade-B thriller; however, the story has been elevated by a taut script and two of the best performances of the year.

Directed by Richard Eyre.
Written by Patrick Marber.
Starring Judi Dench, Cate Blanchett, Bill Nighy and Andrew Simpson.

Rated R for language and some aberrant sexual content. 92 min.

**** so says The Fish

Dreamgirls

Audiences have been blessed with a surge of movie musical extravaganzas since 2001, when the success of Moulin Rouge first brought back the genre. 2002 had the Best Picture winner Chicago (which was, incidentally, written by Dreamgirls helmer Bill Condon), 2004 saw the release of the highly anticipated (and underrated) The Phantom of the Opera, and 2005 gave us the disappointing adaptation of the stage sensation Rent. Dreamgirls continues the trend with first-rate precision and execution. Based on the little seen Broadway production, it chronicles the rise of a Supremes-like trio throughout the 1960s, beginning with their stint as backup singers to James “Thunder” Early (Eddie Murphy). Before long, conflict arises within the group when lead singer Effie (Jennifer Hudson) is forced to swap positions with the prettier, but less talented Deena (Beyoncé Knowles). Pulling the strings from behind the scenes is the girls’ shady producer Curtis Taylor Jr. (Jamie Foxx) who, amidst his underhand deals with the mob and Hollywood heavyweights, jumps from having a relationship with Effie to marrying Deena. It is certainly the most unsympathetic character Foxx has ever played. The same can be said for Knowles who, although does a fine job of acting, is stuck in a character the audience will care very little about. Murphy fairs far better with his portrayal of the James Brown-like Early, a new kind of role for the talented star. But the real standout here is newcomer Jennifer Hudson. Not only does she deliver the best acting performance, but the passion with which she sings her numbers completely overshadows everyone else in the picture. In the end, it is because of her and Murphy that the film succeeds, to some extent, on the same level as Chicago. Otherwise, there wouldn’t be much to hold the interest of the audience.

Directed by Bill Condon.
Written by Bill Condon.
Starring Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, Anika Noni Rose, Keith Robinson and Danny Glover.

Rated PG-13 for language, some sexuality and drug content. 131 min.

***½ so says The Fish

The Good Shepherd

Eric Roth’s screenplay for The Good Shepherd had been floating around Hollywood for years and was considered one of the few exemplary scripts yet to be put into production. Now, under the guidance of Robert De Niro, it has finally made its way to the big screen. More of a spy saga than a spy thriller, The Good Shepherd chronicles the birth of the CIA and its rise through the early years of the Cold War as witnessed by one of its key players, Edward Wilson (Matt Damon). A bright student during his years at Yale, Wilson was recruited into the Skull & Bones society in 1939, allowing him to make the necessary connections that would lead him to work for O.S.S. during the war years. Stationed overseas in Berlin, Wilson sees nothing of his wife Clover (Angelina Jolie) and misses the entire childhood of his only son. When he finally returns home, ready to embark on his career as a CIA operative, he has become a stranger to his own family. The film opens in 1961, following the disaster of the Bay of Pigs, and Wilson’s story is told through flashbacks amidst this event. It’s a tedious structure for such a vast story, but De Niro feels no pressure to rush any of it. Another director may have felt inclined to quicken the pace, with rapid dialogue and more montages, but De Niro knows better. He takes his time to tell the story, giving the characters room to breathe and moments to think, and this, more than anything, accounts for the film’s lengthy running time. Damon shoulders most of the film, with everyone else appearing for only a few scenes, and the actor has rarely been better. He is brutally cold and restrained throughout the picture, using only his eyes to convey emotion. Some may label him as being too one-dimensional, but his lack of expression infuses the film with the exact sense of unattainabilty that is needed to convey the mystery of the spy world. It’s a terrific performance. Despite having little in common with either the Bond or the Bourne films, The Good Shepherd is, in many ways, the definitive spy movie. Roth’s script is incredibly cerebral, and does away with any semblance of action, which even the blandest spy thriller has in spades. Its quiet and realistic tone only serves to make it all the more frightening.

Directed by Robert De Niro.
Written by Eric Roth.
Starring Matt Damon, Angelina Jolie, Billy Crudup, Alec Baldwin, Michael Gambon, John Turturro, William Hurt, Oleg Stefan, Gabriel Macht, Lee Pace, Eddie Redmayne and Joe Pesci.

Rated R for some violence, sexuality and language. 167 min.

****½ so says The Fish

Rocky Balboa

In 1976, when the first Rocky was released, audiences were introduced to an underdog hero who would soon develop into one of the most memorable screen characters of all time. The film went on to win Best Picture at the Oscars and was promptly followed by four sequels which, more than anything, tended to overstay the character’s welcome. Nobody wants to see a beloved film icon fizzle out with a succession of poorly made films, ending with the particularly depressing Rocky V. Fortunately, writer/director/star Sylvester Stallone has now made Rocky Balboa and ended the franchise on a note worthy of the character. After trudging through sub-average Rocky-fair for many years, audiences might be surprised by how good this film actually is. For the first time since the original, Stallone has decided to take the focus off of the final bout, and relies simply on the charm of the characters. Some time has passed since Rocky has lost his wife Adrian, and even more since he last fought professionally, but he has moved on by focusing on his restaurant business. His estranged son has become frustrated that he will never be able to move out from beneath his father’s shadow. And just when Balboa begins to feel the depression of inactivity sinking in, he watches a computer simulated fight on television in which he is pitted against a modern day fighter named Mason Dixon. The buzz around the mock fight escalates, encouraging promoters to set up the real thing, and soon Rocky finds himself training to get back in the ring for one last dance. It’s rousing, moving, first-class entertainment and it will have you cheering all the way!

Directed by Sylvester Stallone.
Written by Sylvester Stallone.
Starring Sylvester Stallone, Burt Young, Antonio Tarver, Geraldine Hughes, Milo Ventimiglia and Tony Burton.

Rated PG for boxing violence and some language. 102 min.

**** so says The Fish

Volver

Pedro Almodóvar is one of Spain’s foremost directors, and for good reason. It’s hard not to watch his films without thinking of Alfred Hitchcock, as both are masters of gradually building suspense, while carefully balancing it with comedy. It was a rule to which Hitchcock firmly adhered: break the tension with a few occasional laughs or else the audience will not be able to withstand it. Granted, Almodóvar works a little differently. His comedy is more abundant, and his suspense builds much more subtly, but the idea is essentially the same. Volver is one of Almodóvar’s best—and least eccentric—films to date, and is especially refreshing after the disappointing Bad Education. It stars Penélope Cruz (who is absolutely sensational!) as Raimunda, an unhappily married wife and mother of a single teenage daughter, Paula. One day Raimunda arrives home and finds her sleazy husband’s body on the kitchen floor, having just been murdered by Paula for making sexual advances, and she takes it upon herself to cover up the crime. Meanwhile, Raimunda’s mother—who was supposedly killed in a tragic fire several years ago—suddenly appears to Sole, her other daughter, and begs her to keep the truth of her return from Raimunda for very mysterious reasons. The story may sound cryptic, but the film isn’t in the slightest. Almodóvar guides many of the scenes to moments of utter hilarity, and in the end Volver, as creepy as it seems, turns out to be one of the lighter films in the director’s increasingly bizarre repertoire.

Directed by Pedro Almodóvar.
Written by Pedro Almodóvar.
Starring Penélope Cruz, Carmen Maura, Lola Dueñas, Blanca Portillo, Yohana Cobo and Antonio de la Torre.

Rated R for some sexual content and language. 121 min.

**** so says The Fish

Eragon

With a disappointing canon of films that include Dragonheart and Reign of Fire, dragon flicks have yet to hit their stride. Eragon can be chalked up on that list as well, forcing fans to continue their wait for the ultimate satisfying dragon adventure. Based on the best-selling book by Christopher Paolini (who was 16 when he wrote it), the film tells the story of Eragon, a young farm boy who comes across an ancient dragon egg on one of his many hunts. It just happens to hatch while in his possession, thereby “choosing” him to be the rider of the newly born creature. This is all surrounded by a confusing story that involves villains and sorcerers and rebellions, along with any other genre cliché you can imagine. After the success of The Lord of the Rings and The Chronicles of Narnia, it seems that December has become the desired month for yearly fantasy releases (it will continue next year with His Dark Materials: The Golden Compass). Alas, Eragon is no Lord of the Rings, and more specifically, director Stefen Fangmeier is no Peter Jackson, and newcomer Ed Speleers is no Elijah Wood (or Daniel Radcliffe for that matter). The editing is atrocious and the dialogue is unbelievably cheesy, albeit in a somewhat forgivable way. In the end, all you’re left to enjoy are the visual effects, which are admittedly quite good (particularly in regards to the dragon). Also, there’s just something cool about watching a grizzled Jeremy Irons wield a blood-red sword as he waxes lyrical about the bygone days of dragons and dragon riders.

Directed by Stefen Fangmeier.
Written by Peter Buchman.
Starring Ed Speleers, Jeremy Irons, Sienna Guillory, Robert Carlyle, Garrett Hedlund, Djimon Hounsou, Rachel Weisz and John Malkovich.

Rated PG for fantasy violence, intense battle sequences and some frightening images. 104 min.

**½ so says The Fish

The Pursuit of Happyness

Based on a true story, The Pursuit of Happyness takes place in 1981 and follows the struggling career path of Chris Gardner as he fights to provide for his son, Christopher. Chris is a relatively unsuccessful salesman for a company that makes portable bone-density scanners, a machine of no real economic value. His marriage is falling apart because both he and his wife are too busy to spend time with each other. Finally, when things seem to have hit rock bottom, Chris decides to apply for an internship at a stock brokerage firm. This is when “rock bottom” becomes “bottomless” as Chris is hit with an amazing string of bad luck. Never giving up, he makes the most of what he has in order to take care of Christopher. As Gardner, Will Smith gives easily the greatest performance of his career. The audience is with him every step of the way and Smith balances a fine act of being charming in some scenes and utterly heartbreaking in others. As the young Christopher, newcomer Jaden Smith (Will’s real-life son) is also wonderfully touching. His scenes with his father feel authentic, and never overtly maudlin or forced. There are a few flaws here and there. For instance, the voice-over narration becomes increasingly frustrating due to its insistence on spelling out the obvious and never giving viewers the credit to figure things out on their own. Also, there are just a few too many scenes of Gardner running about the city, chasing down misplaced portable scanners. That aside, the movie offers a beautiful and inspiring story about one man’s perseverance and determination to succeed against all odds.

Directed by Gabriele Muccino.
Written by Steve Conrad.
Starring Will Smith, Jaden Christopher Syre Smith, Thandie Newton, Brian Howe, Dan Castellaneta and Kurt Fuller.

Rated PG-13 for some language. 117 min.

**** so says The Fish

Apocalypto

As a filmmaker, Mel Gibson likes to take risks. Much like The Passion of the Christ, Apocalypto is filmed entirely in an ancient language, features no prominent stars, and is financed primarily by Gibson himself. Although Braveheart still remains his best film to date, there is no shortage of talent on display in Apocalypto, which features some of the best camerawork and editing of any film this year. The story is set in the latter days of the Mayan Empire, where a young man named Jaguar Paw (Rudy Youngblood) finds his village raided by warriors in search of people to offer as human sacrifices. Our hero is able to hide his son and pregnant wife down a well before getting captured with several other tribesmen. Eventually Jaguar Paw reaches the sacrificial altar, but a series of incredibly fortunate circumstances allows him to escape, with several warriors hot on his heels. From this moment, the movie becomes one extended chase sequence that is filmed with such velocity and high tension that it will be impossible for you to leave the edge of your seat. Despite all of this, there are a number of aspects that lessen the film’s quality. For instance, a series of poorly-conceived comic relief moments (particularly in the first half) tend to pull you out of the picture and grossly detract from its authenticity. Also, the subtitled dialogue is less than poetic and feels jarring when spoken by such visually realistic characters. On top of this, the Mayas, who in reality had quite an advanced civilization—being leaders in architecture, mathematics and astronomy among other things—are portrayed as being rather primitive. They are erroneously shown as enforcers of slavery and mass sacrifice, which was common of the Aztec culture but was never true with the Mayas. One wonders why Gibson went to such great lengths to ensure that his actors and his sets looked authentic if the script was not so in the first place. In the end, however, Apocalypto should be judged for what it is, and that is a “chase film.” In this regard, it’s quite a thrilling ride.

Directed by Mel Gibson.
Written by Mel Gibson and Farhad Safinia.
Starring Rudy Youngblood, Dalia Hernandez, Israel Contreras, Jonathan Brewer and Carlos Emilio Baez.

Rated R for sequences of graphic violence and disturbing images. 140 min.

***½ so says The Fish

Blood Diamond

Edward Zwick is a first-rate director who enjoys making grand productions; however, despite the fact that his films are beautifully shot, well conceived and even well written, they usually end up as simply “good,” rather than “great.” In 1989 he made the brilliant civil war epic Glory, but has since gotten comfortable in the slightly better-than-average range of films like Legends of the Fall, The Siege and The Last Samurai. Blood Diamond finally brings him back to where he should be. It concerns the violence that surrounds the sale of African conflict diamonds, focusing on a man in Sierra Leone named Solomon Vandy (Djimon Hounsou) who, on a local dig, finds a rare pink diamond which he promptly buries before getting arrested. His son, meanwhile, has been captured and gradually transformed into a child soldier by local rebels. Vandy soon meets a Rhodesian diamond smuggler named Danny Archer (Leonardo DiCaprio) and the two form a shaky alliance. Archer will help Vandy find his son if Vandy will lead him to the location of the diamond. Also hovering about is an American journalist (Jennifer Connelly) who agrees to assist Archer in exchange for valuable information on the diamond trade. One of the film’s many strengths is the superb cinematography by Eduardo Serra (Girl with a Pearl Earring). The viewer is immersed into several hair-raising action scenes, each of them shot with such kinetic force that it’s impossible to remove yourself and feel like you are anywhere other than right in the thick of it. Both DiCaprio and Hounsou give tremendous performances, and thankfully Zwick never veers onto a romanticized, Hollywood-style path that has often plagued his previous films. He keeps everything grounded and real, so that when events escalate, it feels much more powerful. Blood Diamond is a film that fires on all cylinders.

Directed by Edward Zwick.
Written by Charles Leavitt.
Starring Leonardo DiCaprio, Jennifer Connelly, Djimon Hounsou, Arnold Vosloo, David Harewood and Michael Sheen.

Rated R for strong violence and language. 150 min.

****½ so says The Fish

The Nativity Story

The story of Christ has been filmed more times than perhaps any other subject in history. The phenomenal success of Mel Gibson’s The Passion of the Christ shows that the movie-going public has not lost its enthusiasm for Biblical films. The Nativity Story is actually refreshing in that its not just another Jesus biopic, but rather focuses on Mary and Joseph. The story is known by almost everyone: a young Mary, having been blessed by the Holy Spirit, becomes pregnant to the dismay of her family. The conflicted Joseph resolves to stand by his wife and the two travel to Bethlehem, while avoiding Herod’s soldiers, where Christ is finally born. Director Catherine Hardwicke (Thirteen, Lords of Dogtown—both films that deal with teenage outcasts) has made her most lavish production to date. She has hired some diverse talent, including New Zealander Keisha Castle-Hughes (Oscar nominee for Whale Rider) as Mary, Guatemalan actor Oscar Isaac as Joseph, and Iranian actress Shohreh Aghdashloo as Elizabeth. Although the film is nice to look at, it is still overwhelmed by many flaws. The visuals effects can be hokey at times, particularly whenever the Angel Gabriel appears; the roles of the three wise men are relegated to comic relief (which is not necessarily a bad thing, but it does give them the impression of being somewhat less wise); and Mary is incredibly underwritten as the main character. Castle-Hughes does the best she can with the role, but the script seems to sidestep any reaction she might have to the importance of her condition. Joseph’s story, as a result, becomes much more engaging and he is the only character that will consistently hold your interest through the duration of the film.

Directed by Catherine Hardwicke.
Written by Mike Rich.
Starring Keisha Castle-Hughes, Oscar Isaac, Shohreh Aghdashloo, Ciaran Hinds and Alexander Siddig.

Rated PG for some violent content. 101 min.

**½ so says The Fish

For Your Consideration

Christopher Guest is unquestionably today’s leading “mockumentary” filmmaker, having previously directed Waiting for Guffman, Best In Show and A Mighty Wind. Using the same assemblage of comedic actors in each film, Guest is a master at dry humor and can create some hilariously deadpan moments in pure documentary fashion. His latest film, For Your Consideration, drops the “mockumentary” approach and sticks with a straightforward narrative in which we are given a behind-the-scenes look at the film industry. A group of has-been movie stars have come together to make a schmaltzy, Hallmark Hall of Fame-style picture entitled Home for Purim. The film likely would have gone unnoticed, but one of its stars, Marylin Hack (played superbly by Catherine O’Hara), finds out that her performance was mentioned somewhere on the Internet as being Oscar-worthy. This tiny mention of award buzz soon escalates into an unstoppable freight train of phantom hype that gets the mediocre little film promoted by the media to the point of absurdity. For Your Consideration ultimately doesn’t have a whole lot to it, but what makes it so funny is how accurately it portrays the complete shallowness of the glitz and glamour side of Hollywood, and how it is played up with such importance by the media. You’ll laugh throughout the whole film and then come away thinking “Well, that’s pretty much how it really is.”

Directed by Christopher Guest.
Written by Christopher Guest and Eugene Levy.
Starring Catherine O’Hara, Harry Shearer, Parker Posey, Christopher Guest, Eugene Levy, John Michael Higgins, Ed Begley, Jr., Jennifer Coolidge, Bob Balaban, Michael McKean, Ricky Gervais, Jane Lynch and Fred Willard.

Rated PG-13 for sexual references and brief language. 86 min.

***½ so says The Fish

Bobby

Writer, director and star Emilio Estevez assembles an intimidating cast of well-known actors to bring to life the day that Senator Robert F. Kennedy was assassinated. Taking place at the Ambassador Hotel in Los Angeles, the film follows about two dozen various employees and guests as they prepare for the Presidential candidate’s victory address, scheduled for later that evening. Each cast member represents an aspect of American life that somehow defined the 1960s, and every bit of dialogue contains a message or warning that comments directly on what our world is experiencing today. The success of such a high-minded script rests entirely on the performances of the actors. Some of them—such as Freddy Rodriguez, Laurence Fishburne and Sharon Stone—are superb. Others—like Helen Hunt, Demi Moore and Elijah Wood—fall incredibly short. Estevez deserves credit for being able to juggle so many characters with such ease, and his skills as a director are certainly evident. The film is infused with a looming sense of tragedy that increases as the day passes on, and when the moment of the assassination finally arrives, it is executed with such raw, cinematic precision that viewers will feel as though they were actually present when it happened. Bobby is not a perfect film, but it packs quite an emotional wallop. One cannot help but wonder how different the world would be today had Sirhan Sirhan not walked into that hotel kitchen.

Directed by Emilio Estevez.
Written by Emilio Estevez.
Starring Freddy Rodriguez, William H. Macy, Anthony Hopkins, Sharon Stone, Demi Moore, Laurence Fishburne, Helen Hunt, Martin Sheen, Shia LaBeouf, Elijah Wood and Christian Slater.

Rated R for language, drug content and a scene of violence. 120 min.

***½ so says The Fish

Déjà Vu

Movies that deal with the phenomenon of time travel always require a suspension of disbelief. As the latest thriller from director Tony Scott (who has finally done away with the choppy editing style that plagued his previous films Man on Fire and Domino), Déjà Vu tries its best to explain the physics behind its more fantastic plot points. It involves the coordination of satellites; billions of dollars in government funded electronic power; a ragtag team of computer geeks; and some seriously detailed navigation capabilities that put Google Earth to shame. You could drive yourself crazy thinking about how all of it is possible, so it’s probably best to leave all manner of logic at the door and just enjoy the ride. The premise involves a terrorist bombing of a New Orleans ferryboat, and it’s up to ATF agent Denzel Washington to locate the perpetrator in the past, follow his actions leading up to the blast, and obtain enough evidence to nail him in the present. Things become complicated when a woman, whose body was recovered from the wreckage, is found to have been killed before the incident ever occurred. The film starts out as an intriguing detective mystery before gradually becoming a full-fledged time travel adventure, and it is riveting every step of the way. Of course there are a couple of problems—as the villain, Jim Caviezel is given too little attention, and as the romantic interest, Paula Patton’s character is developed far too late in the game—but for the most part, Déjà Vu works. A wonderfully intricate script, some beautiful camerawork, and a spot on performance by Washington make this one of the best time travel thrillers in years.

Directed by Tony Scott.
Written by Bill Marsilii and Terry Rossio.
Starring Denzel Washington, Val Kilmer, Jim Caviezel, Paula Patton, Adam Goldberg, Elden Henson, Matt Craven and Bruce Greenwood.

Rated PG-13 for intense sequences of violence and terror, disturbing images and some sensuality. 128 min.

**** so says The Fish