|
Scott's Top
10 of 2006
2006 was a year in which, for me, film
became less about visual asthetics and more about social and political
impact. Americans are in the midst of a hugely unpopular war
in the Middle East, but we're also embroiled in a cultural civil
war at home. Many of the films I've picked for my top ten are films
which foster discussion and argument and take a meaningful stand. Also,
there's a movie about talking cars. Enjoy!
Honorable Mention: The Fountain, The Departed
10. Cars: Cars was
not Pixar's strongest movie, in fact it might be their weakest, but it still
edges itself into my top ten for a couple of reasons. Mainly, from the starting
flag, the movie sucks you in. I've never seen a more effective
introduction to a sports or family picture. Although
the film's plot is a bit too close to that of Doc Hollywood,
it maintains its charm in a way I never expected it could.
9. Street Fight: We
all know that politics is a dirty business, but most of us
are truly ignorant of dirtiest tricks. We assume that because
something is unethical it's illegal or that if its illegal
it won't be done, but in both cases, we're wrong. This is an
important movie, this is a movie that matters. Hmm, maybe
I should have placed it higher.
8. Stranger Than Fiction: I
loved this movie though I feel as though it was mis-marketed.
It had Will Ferrel, it was funny and I laughed, but it wasn't
a comedy. Not really. And with the nerfed ending it's no tragedy.
What it was, however, was very, very good. It doesn't reinvent
the wheel entirely but its meta-humor and the surprising depth
of Will Ferrel are, even more than the movie's hook, what captures
you, even more than the movie's refreshing, outside-the-box hook. 7. Thank You For Smoking: And thank you, Jason Reitman, for giving me copious argument fodder. Is this a libertarian movie? Is it Anti-political correctness? Is it Pro-smoking? Anti-spin? Are the views of Nick Naylor (played by Aaron Eckhart) supposed to be taken at face value? And is the intent of the auteur the ultimately what we must accept the film says or are all interpretations equally valid? Sorta, sorta, no, yes, no, the latter (provided you back it up).
6. Little Miss Sunshine: It's a little mean and a little awkward. It's a little rough around its edges. But it's funny, and the characters actually arc, which is a pleasant departure from the comedies we've been seeing over the last seven years which have sacrificed structure and character for cheap jokes at every turn.
5. Borat: I'm already sick of the references. "Is nice," may just edge out "Show me the money," as the phrase most likely to force me to punch you in the face. But that's not Sacha Baron Cohen's fault and it's not the movie's fault. Seeing Borat in theaters was an experience that stands alone. Now please, everyone, shut up. (Unless you wanna laugh at those college kids that are suing the movie's producers; those kids suck.) 4. This Film is Not Yet Rated: Engaging,
funny and occasionally infuriating, learning about the MPAA should be a requirement
for anyone serious about film. And if that's not enough, this is another
movie that makes for great argument fodder. Is it better to have rules set
in stone or take things case by case? Who is policing the police? Is a common
man's opinion better than a specialist's? Stone, nobody yet, and oh God no!
3. An Inconvenient Truth: I
voted for Nader, who I still think is a great American, but that decision
is something I've had to live with every day for the last seven years. (Actually
I voted out of Massachusetts. PS: We told you so.) This film is a wonderfully
clear and concise presentation that anyone can watch and come away from possessing
a working understanding of the scientific evidence behind global climate
change.
2. Pan's Labyrinth: Here's
another victim of mis-marketing. I had salivated over the previews,
yet I had no idea the movie took place during the Spanish Civil War
until I was actually in the theater. It was intense, gory and
gorgeous. Some of the political themes were a little heavy-handed and simplistic
but since we mainly follow the narrative through a child's eyes,
this serves to reinforce Ofelia's fear and need to escape.
1. Children of Men: This is what filmmaking should be.
This is what science fiction can be. Profoundly relevant
to a host of issues facing us today, as gripping a movie as I've
ever seen, and with its long takes (that make the opening sequence
of Touch of Evil look like a high school video project),
I firmly believe Children of Men will prove to be a
lasting classic.
|
