Finally. It’s over. The 2000s. The 00s. The aughts. Whatever the fuck you want to call it. We’re done. And with the close of the decade, comes the obligatory nostalgic look back. And while we’ve suffered through a lot of bullshit these past ten years, there is also much to be appreciated—especially when it comes to film.

When we sat down to compile the best of the aughts, our initial list was almost 300 strong. We were blown away by the sheer number of dope movies that had come out.

This decade: We were introduced to Rian Johnson and Jason Reitman. Danny Boyle got the props we’ve been saying he deserved for years. Christopher Nolan gave us a superhero movie that didn’t suck. Charlie Kaufman decided to actually direct one of his screenplays. The Oscars officially became a joke. And sexy gypsy was born.

A lot of coffee, cigarettes and Wes Andersen bashing went into making this list. But we’re happy with the way it turned out. Don’t expect to see dumb shit like The Lord of The Rings or Dream Girls here. Instead you’ll see films from The Coen Brothers, Jim Jarmusch and Takashi Miike. The few honorable mentions that didn’t quite make the cut are at the bottom of the post.

Anyway, without any further rambling, here it is. sexy gypsy’s Best of the Aughts…

(in alphabetical order)

1) Almost Famous (Cameron Crowe, 2000)

I was 15 years old when Almost Famous dropped and changed my life. It was the first time I realized people would pay you to run around, listen to music and talk about it. So in a way, sexy gypsy wouldn’t even be here without this movie. It featured a great cast—Patrick Fugit (who shows up twice on this list), Zooey Deschanel, Anna Paquin, Frances McDormand aka Willem Dafoe (seriously, look that shit up. They look exactly alike. We still maintain they are the same person), Jason Lee, Philip Seymour Hoffman and even Jimmy Fallon. Add that to an immensely personal Cameron Crowe script, perfect music, and Billy Crudup screaming “I AM A GOLDEN GOD!” from atop a roof, and you have one damn fine film. —BIG

2) American Gangster (Ridley Scott, 2008)

3) American Psycho (Mary Harron, 2000)

4) Anchorman (Adam McKay, 2004)

5) Antichrist (Lars von Trier, 2009)

6) Audition (Takashi Miike, 2001)

7) Away We Go (Sam Mendes, 2009)

The Boondock Saints (Troy Duffy, 2000)

9) Brick (Rian Johnson, 2005)

10) The Brothers Bloom (Rian Johnson, 2009)

Last year, Rian Johnson’s Brick showed up on a sexy gypsy list of off-the-radar films, and we basically called it a one hit wonder. We officially apologize to Mr. Johnson. The Brothers Bloom, while very different from Brick, showed a matured sense of direction and style, with the same tone of homage and innovation, and a playful sense of humor. As an elaborate, yet completely character-driven con film, this is moviemaking at it’s finest. —GWG

11) Broken Flowers (Jim Jarmusch, 2005)

12) Children of Men (Alfonso Cuaron, 2006)

13) Choke (Clark Gregg, 2008)

14) The Chumscrubber (Arie Posin, 2005)

Teenage suicide is never a good thing. Unless it brings about the complete destruction of idyllic white suburbia. What’s interesting about this film is that it doesn’t show you underlying problems around the neighborhood, and then culminate with a death. The suicide happens at the beginning, and instead of being the breaking point, or even the catalyst, it is the loose thread that unravels everyone’s secrets and facades. It is beautifully written and acted, with a multi-generational, eclectic cast that actually fits very well together. —GWG

15) City of God (Fernando Meirelles, Katia Lund, 2002)

16) Coffee and Cigarettes (Jim Jarmusch, 2003)

17) Collateral (Michael Mann, 2004)

18) Crash (Paul Haggis, 2005)

19) Criminal (Gregory Jacobs, 2004)

20) The Dark Knight (Christopher Nolan, 2008)

21) The Departed (Martin Scorcese, 2006)

The Departed is the only film on this list I had to fight for. The Great White Gypsy hated it. But he’s crazy, so I had to veto. Granted, I am a confessed Scorsese groupie. The man has never made a film I didn’t love. And I’ve seen them all. Even the obscure ones like Boxcar Bertha. So maybe I was a little biased with this pick. But to me, anytime you can put Matt Damon, Mark Wahlberg and Leonardo DiCaprio in the same movie and not make people want stab themselves in the eye, it’s a fucking win. Bonus points for having Nas and Flogging Molly on the same soundtrack. —BIG

22) The Devil’s Rejects (Rob Zombie, 2005)

Admittedly, Rob Zombie’s first venture, House of 1000 Corpses, was retarded. However, with a little less Horror rip-off, and a lot more disturbing violence, the sequel was a cult classic opening weekend. Zombie knows how to work a camera, but this film is probably the pinnacle of his work with the soundtrack. It starts with The Allman Brothers’ Midnight Rider, swells with a violent sequence to the tune of Terry Reid’s To Be Treated Right, and finishes with the best use of Lynyrd Skynyrd’s Free Bird to date. All of this is driven home by a sobering message: There is no ice cream in your fucking future. —GWG

23) District 9 (Neill Blomkamp, 2009)

24) Donnie Darko (Richard Kelly, 2001)

25) The Dreamers (Bernardo Bertolucci, 2003)

26) Eastern Promises (David Cronenberg, 2007)

27) Equilibrium (Kurt Wimmer, 2002)

28) Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

29) The Fall (Tarsem Singh, 2008)

This is one of the most beautiful films I’ve ever seen. Tarsem Singh makes a huge leap up from his very respectable 2000 debut, The Cell, and tells us an engaging story in ways never before seen. In a time of crazy, overdone CGI and generic plot, The Fall was refreshingly organic. Great acting, directing, cinematography, and everything in between. —BIG

30) (500) Days of Summer (Marc Webb, 2009)

31) Garden State (Zach Braff, 2004)

32) Ghost World (Terry Zwigoff, 2001)

33) Gladiator (Ridley Scott, 2000)

34) Half Nelson (Ryan Fleck, 2006)

35) The Hangover (Todd Phillips, 2009)

36) Havoc (Barbara Kopple, 2005)

37) High Fidelity (Stephen Frears, 2000)

Like Almost Famous, High Fidelity was one of those life defining movies for me. He owned a record store, argued about top five lists with his friends, organized his music collection autobiographically and pined over beautiful women. That was his whole life. How awesome is that? Almost Famous made me realize I could write about music, High Fidelity made me realize I wasn’t alone in obsessing over it. —BIG

HIGH FIDELITY BONUS: TOP 5 SONGS TO PLAY AT MY FUNERAL:

1) Paint It Black - The Rolling Stones

2) Ready To Die - The Notorious BIG

3) Bullet With Butterfly Wings - The Smashing Pumpkins

4) Funeral - The Clipse

5) Angel’s Son - Snot featuring Lajon Witherspoon from Sevendust

38) High Tension (Alexandre Aja, 2005)

39) Humpday (Lynn Shelton, 2009)

One of the things I will always remember about this decade is my discovery of Mumblecore. I started with The Puffy Chair and soon devoured films like Baghead, Mutual Appreciation and Funny Ha Ha. Though not always the best executed films, the genre intrigued me. And with the success of people like Lynn Shelton and Mark Duplass, I hope more people discover it. Humpday is an experience. You’re in the room, a silent observer—not just someone watching a film. Effortlessly hilarious and purposefully awkward, it is one of my favorite films of this year and definitely deserves a spot on the list. —BIG

40) The Hurt Locker (Katherine Bigelow, 2009)

41) Ichi the Killer (Takashi Miike, 2003)

42) Imaginary Heroes (Dan Harris, 2004)

43) In Bruges (Martin McDonagh, 2008)

44) In Search of a Midnight Kiss (Alex Holdridge, 2007)

45) Inglourious Basterds (Quentin Tarantino, 2009)

46) Jarhead (Sam Mendes, 2005)

47) Juno (Jason Reitman, 2007)

48) Kill Bill Vol 1 & 2 (Quentin Tarantino, 2003, 2004)

49) Kingdom of Heaven (Ridley Scott, 2005)

50) Kiss Kiss Bang Bang (Shane Black, 2005)

“You look up the ‘idiot’ in the dictionary, know what you’ll find?”

“A picture of me?”

“No, the definition of the word idiot, which you fucking are!!”

This film never gets old. Raymond Chandler meets Abbott and Costello. The mystery itself isn’t anything amazingly unique, but it’s entertaining and solid enough to hold up a great cast, one of the best narrations ever, and almost as many quotable quotes as Anchorman.

“Talking money…”

“A Talking monkey?”

“Talking monkey, yeah, yeah. Came here from the future. Ugly sucker, only says ficus.”

—GWG

51) Knocked Up (Judd Apatow, 2007)

52) Let the Right One In (Tomas Alfredson, 2008)

53) Little Children (Todd Field, 2006)

54) Little Miss Sunshine (Jonathan Dayton, Valerie Faris, 2006)

55) Lost in Translation (Sofia Coppola, 2003)

56) Love Actually (Richard Curtis, 2003)

57) The Machinist (Brad Anderson, 2004)

58) Maria Full of Grace (Joshua Marston, 2004)

59) Memento (Christopher Nolan, 2000)

60) Milk (Gus van Sant, 2008)

61) Monsoon Wedding (Mira Nair, 2002)

62) Mulholland Drive (David Lynch, 2001)

63) 9 Songs (Michael Winterbottom, 2005)

A lot of people are quick to dismiss this film as unnecessarily explicit, self-indulgent, (not so) thinly veiled pornography. I couldn’t disagree more. Michael Winterbottom is a masterful storyteller, communicating an entire relationship with minimum dialogue and nine amazing songs. It’s an ambitious concept that in less capable hands would have failed miserably. But Winterbottom executes it perfectly. It’s on Netflix Watch Instantly right now. So if you haven’t seen it, do so now. —BIG

64) No Country for Old Men (The Coen Brothers, 2008)

65) O Brother Where Art Thou (The Coen Brothers, 2000)

66) Oldboy (Chan-wook Park, 2003)

The second film in Chan-wook Park’s Revenge Trilogy (Sympathy for Mr. Vengeance, Sympathy for Lady Vengeance), Oldboy features some original camerawork, really cool fight scenes, and an emotional yet disturbing story that would make David Fincher blush. The hallway fight, done in one continuous shot, is a staple of discussion. But there are so many great scenes, so many impressive technical aspects and character moments, that it definitely warrants multiple viewings. We did want to include the entire trilogy on the list, as there is a noticeable arc and underlying theme across all three films. However, they are all separate, unrelated stories, and Oldboy stands out as the strongest link. —GWG

67) Pan’s Labyrinth (Guillermo del Toro, 2006)

68) Purple Violets (Edward Burns, 2007)

69) Rachel Getting Married (Jonathan Demme, 2008)

70) Requiem for a Dream (Darren Aronofsky, 2000)

71) Revolutionary Road (Sam Mendes, 2008)

72) The Road to Perdition (Sam Mendes, 2002)

73) The Salton Sea (D.J. Caruso, 2002)

74) Saw (James Wan, 2004)

75) A Scanner Darkly (Richard Linklater, 2006)

76) Shaun of the Dead (Edgar Wright, 2004)

77) Shopgirl (Anand Tucker, 2005)

78) Sin City (Robert Rodriguez, Frank Miller, 2005)

79) Slumdog Millionaire (Danny Boyle, 2008)

80) Snatch (Guy Ritchie, 2000)

81) The Squid and the Whale (Noah Baumbach, 2005)

82) State and Main (David Mamet, 2000)

83) Sukiyaki Western Django (Takashi Miike, 2008)

What do you get when you mix Yojimbo, Django, and A Fistfull of Dollars? Actually, if you’re anyone but Takashi Miike, your head might explode. Lucky for us, the Japanese maestro of bloodshed helmed this crazy, entertaining, violent film about…Japanese cowboys? In Miike’s first American project, he decides to have Asian actors speaking John Wayne-style English while carrying six shooters and katanas. Oh yeah, and Tarantino has a couple cameos. Fucking great. —GWG

84) Surveillance (Jennifer Lynch, 2009)

85) Synecdoche, New York (Charlie Kaufman, 2008)

86) There Will Be Blood (Paul Thomas Anderson, 2007)

87) Thirteen (Catherine Hardwicke, 2003)

In 2003, a pre-Twilight Catherine Hardwicke gave us a film that would alter the existence of little sisters forever. I saw Thirteen and wanted nothing more than to lock my sister in a closet until she was 20. That was the only conceivable way to save her from the unbearable plight of the teenage American girl. Most of the credit for this film goes to Nikki Reed, who was 15 when she wrote it. Thirteen is an exceptionally honest and powerful directorial debut from a director that proved to be a one hit wonder. —BIG

88) 28 Days Later (Danny Boyle, 2003)

Not many zombie movies offer much more than cheap thrills and bloody carnage. We’ll be honest, that’s why we love them. With Danny Boyle’s version, though, every aspect of the film is striking. The character development, the landscape, the music, and the balls-to-the-wall tension throughout make this film stand an infected, disembodied head above the rest in the genre. —GWG

89) 25th Hour (Spike Lee, 2002)

90) The United States of Leland (Matthew Ryan Hoge, 2003)

This film makes us miss the early 2000’s, when all-star casts could still deliver a patient, tempered, emotional film. As a whole, this movie exhibits the same complex subtleties as its main character, a simple-minded teenager accused of murder. Themes of perspective, miscommunication, self-examination and accountability underline interesting cinematography and a beautiful story. —GWG

91) The Wackness (Jonathan Levine, 2008)

92) The Way of the Gun (Christopher McQuarrie, 2000)

93) Wicker Park (Paul McGuigan, 2004)

94) The Wrestler (Darren Aronofsky, 2008)

95) Wristcutters: A Love Story (Goran Dukic, 2006)

96) Zack and Miri Make a Porno (Kevin Smith, 2008)

Honorable Mentions

Infernal Affairs (Wai-keung Lau, Alan Mak, 2002)

Though infinitely better than The Departed, this film had it’s share of problems, and spawned two unnecessary sequels.

Avatar (James Cameron, 2009)

The story may have been borrowed, and the score unoriginal, but the visuals in this film (as well as the 3-D effects) will revolutionize cinema as we know it.

Life as a House (Irwin Winkler, 2001)

An amazing character study that develops well, with solid acting and a decent soundtrack. The downside: Hayden Christiansen

Irreversible (Gaspar Noe, 2002)

Very similar to Memento, this reverse film is well acted and directed, but without the intense, realistic, extremely long rape sequence, it might not have as much effect.

The Anniversary Party (Alan Cumming, Jennifer Jason Leigh, 2001)

Very well written and acted, even John C. Reilly tones it down a bit. Possibly a tad self indulgent, but the ecstasy scene is great.

Spartan (David Mamet, 2004)

Mamet’s esoteric uber-realism that doesn’t bother explaining itself to the ordinary viewer is the best and worst part of this film. It never stops moving, and maintains it’s staying power, it just doesn’t wait for anyone to catch up.

Layer Cake (Matthew Vaughn, 2004)

Great soundtrack, great acting, great story. Decent dialog, cinematography, cutting this one was hard, but just couldn’t stand up to some of the competition.

Thank You for Smoking (Jason Reitman, 2005)

Jason Reitman can do no wrong. Possibly Eckhart’s best performance. Another tough choice, but Juno kinda kicked it in the pork sword.

Hard Candy (David Slade, 2005)

Few movies can make me cringe. 15-year-old Ellen Page threatening to castrate Patrick Wilson? Really, really uncool. Great acting and writing, but a bit limited in it’s scope.

Renaissance (Christian Volckman, 2006)

Black and white motion capture animation set in Paris, 2054. The story’s a little muddled at times, but it’s just frickin cool to watch cartoon Daniel Craig shoot people in the face.

A Serious Man - Written and Directed by Joel and Ethan Coen
Set in 1967, this black comedy follows a Jewish professor as he attempts to stop his life from unraveling after his wife announces she wants a divorce. It would appear that the Coen dynasty is back in full swing after their three year hiatus between The Ladykillers (2004) and No Country for Old Men (2007). Though longtime Coen teammates Carter Burwell (composer) and Roger Deakins (cinematographer) are back again, the cast for this one is largely unknown. I can’t wait.
Michael Stuhlbarg, Richard Kind, Fred Melamed
October 2

Whip It - Directed by Drew Barrymore, Written by Shauna Cross
Drew Barrymore’s directorial debut about a punk rock outcast (Ellen Page) living in small town Texas who rebels by joining an all girl roller derby league. I’m a fan of Page and Barrymore, and though it was filmed almost entirely in Michigan and features an esoteric chick-indie-punk soundtrack, Barrymore managed to get some good names on the roster. Not cast-wise, as Page and Marcia Gay Harden are the only recognizable ones, but she borrowed longtime Wes Anderson cinematographer Robert D. Yeoman, as well as editor Dylan Tichenor (Doubt, There Will Be Blood), and Art Director Kevin Kavanaugh (The Dark Knight, The Prestige). Call me impressed.
Ellen Page, Marcia Gay Harden
October 2

Zombieland - Directed by Ruben Fleischer, Written by Rhett Reese and Paul Wernick
Sure, the writers and director of this Americanized Shaun of the Dead are newbies. And yes, British humor often times prevails when put toe to toe (except the Office, Steve Carrell is a silly bitch). But after watching the previews, how can you not smile and say, “Yeah, I’ll see that eventually.”? If for no other reason that watching little miss sunshine kick some zombie ass would be sweet.
Woody Harrelson, Jessie Eisenberg, Abigail Breslin, Emma Stone, Amber Heard, Bill Murray
October 2

An Education - Directed by Lone Scherfig,Written by Nick Hornby
Wait…Peter Sarsgaard? In a low profile dramatic role you’ve never heard of until now? Yeah, that sounds about right. About a 17-year-old girl in 1960’s London who abandons her college plans for a wealthy socialite twice her age. You may not recognize any of the names behind the scenes, but Nick Hornby (author, High Fidelity) is enough for me.
Peter Sarsgaard, Carey Mulligan, Alfred Molina, Emma Thompson, Rosamund Pike
October 9

Couples Retreat - Directed by Peter Billingsley, Written by Jon Favreau and Vince Vaughn
Apparently, Ralphie from A Christmas Story is all grown up and wants to be a director. Starting with a screenplay by Jon Favreau and Vince Vaughn will either be his ticket to greatness, or a nail in his mediocre comedy coffin. Still, Swingers and Made were great, and the cast in this one has me more than confident. If the plot isn’t obvious by the title, you should not see this movie, you might shoot your eye out (fuck you, you knew it was coming).
Vince Vaughn, Jon Favreau, Jason Bateman, Kristen Bell, Malin Akerman, Kristin Davis, Ken Jeong, Jean Reno, Faizon Love, Tasha Smith, John Michael Higgins
October 9

Peter and Vandy - Written and Directed by Jay DiPietro
In the style of (500) Days of Summer, this relationship film set in New York City jumps back and forth through time telling the story of how Peter and Vandy went from friends to lovers, and how they ended up as a comfortable, yet manipulative couple. The chemistry between Ritter and Weixler looks good, and Sundance apparently loved it. My only worry is, in a non-linear feature film, editor Geoffrey Richman has been limited to documentaries. Ok, he did Murderball and God Grew Tired of Us, but still, a lot’s riding on this guy’s shoulders. DePietro’s first.
Jason Ritter, Jess Weixler
October 9

Trucker - Written and Directed by James Mottern
James Mottern’s first endeavor gives Monaghan an amazing role as a long distance truck driver who must care for the son she abandoned while his father is in the hospital. Interesting cast (I like Adams and Fillion), and behind the scenes, names like Mychael Danna (composer: (500) Days of Summer, Girl Interrupted) and Lawrence Sher (cinematographer: Garden State, The Chumscrubber) intrigue me. Assuming Monaghan’s role is as great as it appears in the preview, I will make a bold statement: If Melissa Leo can be nominated for Frozen Rivers, this might be Monaghan’s year.
Michelle Monaghan, Benjamin Bratt, Joey Lauren Adams, Nathan Fillion, Jimmy Bennett
October 9

Law Abiding Citizen - Directed by F. Gary Gray, Written by Kurt Wimmer
Gerard Butler’s wife and daughter are killed. The D.A. (Jamie Foxx) gives the murderers a plea bargain. Years later, Butler starts exacting his revenge on everyone involved…from the comfort of his jail cell. Wimmer wrote and directed Equilibrium (freaking awesome), but he also wrote and directed Ultraviolet (freaking garbage). Aside from editor Tariq Anwar (Revolutionary Road, American Beauty), everyone involved is a so-so list of random action film participants. So why would you see this one? Cause it’s Friday…you ain’t got no job…and you ain’t got shit to do.
Gerard Butler, Jamie Foxx, Leslie Bibb, Colm Meaney, Bruce McGill, Viola Davis, Regina Hall
October 16

New York, I Love You - Directed by Faith Akin and Yvan Attal, Written by Emmanual Benbihy and Tristan Carne
I’m sure even the most skeptical among you can’t say you didn’t enjoy Paris, Je T’aime. It was a great cross-sectioning of different views and stories around the city, told by some great directors (The Coen Brothers and Gus van Sant among them). I gotta say, I’m a little disappointed about the young cast and director lineup (where the F are DeNiro and Scorcese?) But as an overall project, I’m really looking forward to this film. With segments directed by Allan Hughes, Shunji Iwai, Wen Jiang, Shekhar Kapur, Joshua Marston, Mira Nair, Natalie Portman, and Brett Ratner.
Bradley Cooper, Natalie Portman, Shia LaBeouf, Blake Lively, Robin Wright Penn, Orlando Bloom, Hayden Christensen, Christina Ricci, Rachel Bilson, Ethan Hawke, John Hurt, Justin Bartha, James Caan, Maggie Q, Anton Yelchin, Andy Garcia, Chris Cooper, Olivia Thirlby, Drea De Matteo, Julie Christie, Cloris Leachman, Eli Wallach
October 16

Where the Wild Things Are - Directed by Spike Jonze, Written by Spike Jonze and Dave Eggers
Maurice Sendak’s classic children’s story about a boy who invents an imaginary world populated with large creatures who name him King. Jonze hasn’t really done many films (Being John Malkovich and Adaptation), but he’s an accomplished music video director, and with an adaptation by Dave Eggers, he can’t really go wrong. Effects look good, voice casting is solid.
Max Records, Catherine Keener, Mark Ruffalo, James Gandolfini, Chris Cooper, Forest Whitaker, Catherine O’Hara, Paul Dano, Lauren Ambrose
October 16

Amelia - Directed by Mira Nair, Written by Ronald Bass and Anna Hamilton Phelan
From the director of The Namesake, this biopic of Amelia Earhart covers her romance with flight, and her rise to the level of cultural icon. Can’t say it looks like anything really spectacular, but Swank has won multiple Oscars, Phelan wrote Girl Interrupted, and The Aviator was warmly received. Look for this to show up on some Academy Award lists regardless.
Hilary Swank, Richard Gere, Ewan McGregor, Christopher Eccelston
October 23

Antichrist - Written and Directed by Lars von Trier
Danish director Lars von Trier has won numerous awards for his films. He has also shocked a lot of people not only by his style, but by his tendency to add super realism to his films by actually having the actors doing whatever the characters are supposed to (meaning if there’s a group sex scene, chances are those people are actually having sex on camera). Antichrist is the story of a couple trying to reconnect in a cabin after the death of their son. What happens next is ridiculously graphic, violent, and spiritually disturbing. While the wide theatrical release will no doubt be heavily edited, the uncut version is something you have to see to fully understand.
Willem Dafoe, Charlotte Gainsbourg
October 23

Saw VI - Directed by Kevin Greutert, Written by Marcus Dunstan and Patrick Melton
Don’t think I really need to explain this one. Jigsaw’s dead, but we’re gonna try to fit at least four more storylines into the original script. Director is new, writers have worked on the last three Saw films. I’ll see it, but when an original horror franchise with an awesome theme song allows a Texas Chainsaw Massacre motif into their preview, it worries me.
Tobin Bell, Costas Mandylor, Shawnee Smith, Betsy Russell
October 23

(Untitled) - Directed by Jonathan Parker, Written by Jonathan Parker and Catherine DiNapoli
Shelton plays an art gallery director who falls in love with a struggling artist/musician in New York. Should be good for a few laughs if you can’t stand newagepostmodernretroindieavantgardeabstracthipsterbullshit. Also, Vinnie Jones as an artist, and Adam Goldberg kicking a bucket on stage should be hilarious. Rookie writer/director.
Adam Goldberg, Marley Shelton, Vinnie Jones
October 23

Boondock Saints II: All Saints Day - Directed by Troy Duffy, Written by Troy and Taylor Duffy
We’ve had to wait ten bloody years for this film to actually see the light of day. Now it’s here. If you didn’t see the first one (what the hell is wrong with you??) it’s about two Irish brothers who are “called” by God to administer justice and vengeance to society’s scum. I’m actually impressed that after so long on the shelf, the writer/director of the first film is still on board. Can’t freaking wait.
Sean Patrick Flanery, Norman Reedus, Clifton Collins Jr., Julie Benz, Judd Nelson, Billy Connolly, Peter Fonda
October 30

How to Seduce Difficult Women - Written and Directed by Richard Temtchine
Although there are no recognizable names or faces attached to this one, imagine if someone combined Hitch and School for Scoundrels, and then made a GOOD film. The main character, Pierre, decides to teach the ways of French seduction to the floundering American men who have lost the art (stupid French guys with their…sexy accents…). Interspersed with NY street interviews about sex and seduction. Could be interesting.
Louis-Do de Lencquesaing, Stephanie Szostak, Jackie Hoffman, Rachel Roberts
October 30

KEEP YOUR EYES OPEN

The Ministers - Written and Directed by Franc. Reyes
Kinda like Boondock Saints…except Latin. And they’re serial killers. And Leguizamo plays twins. And I’d bet money Keitel gets naked for no reason. Reyes is a weird cat, but he directed Empire and Illegal Tender, which weren’t bad. Leguizamo’s always good, so we’ll see. Rumored limited release date, nothing solid yet.
John Leguizamo, Harvey Keitel, Wanda De Jesus, Florencia Lozano
October 1 (Limited)

Aladin - Written and Directed by Sujoy Ghosh
Shut up and let me talk. Yes, it’s an Indian film. Yes, it appears there is a bit of singing involved. However, the story of Aladin is one of the most widely known and adaptable myths to come out of the area. And the preview actually gives me a Stephen Chow (Kung Fu Hustle, Shaolin Soccer) kind of feel. Excuse the hell out of me for trying to broaden your minds. Only release date in India so far. Check it out.
Ritesh Deshmukh, Jaqueline Fernandes, Amitabh Bachchan, Sanjay Dutt
October 23 (India)

Pope Joan - Directed by Sonke Wortmann, Written by Heinrich Hadding
Based on the German novel, this is the story of an English woman born in Germany, who disguises herself as a man and ascends to a seat of power in 9th century Vatican. A German film about gender disguise, and John Goodman’s in it, but Hilary Swank isn’t? That’s so confusing it has to be fattening. Limited release in Germany so far.
David Wenham, John Goodman, Ian Glen
October 22 (Germany)

I wish you could’ve seen my expression last November, when I first read the Oscar nominees for 2008. I was appalled. Not only were certain films on the docket that didn’t deserve so much as an original song award, but what was almost completely absent was Sam Mendes’ gut wrenching yet brilliantly crafted period piece, Revolutionary Road. I couldn’t believe the Academy’s oversight. I mean, it’s not like his films haven’t gotten any recognition (American Beauty got a couple awards), but with the competition last year being what it was, his snubbing was inexcusable.

It’s 2009. The Golden Globes have come and gone. Obama is officially president. We can finally put 2008 behind us, right? Wrong. Tomorrow, the Academy will announce its nominees for the 2009 Oscars ceremony on February 22. Which means for the next month, you can add, “So who do you think will win best sound mixing?” to your repertoire of suave pick-up lines.

As we said, we’ve never really paid attention to the Golden Globes. Around this time of year, we’re usually already trying to predict not only the Oscar nominees, but also the winners. However, after the surprising sweeps by Slumdog Millionaire and Kate Winslet, we decided to read up on the HFPA and compare them with the Academy. We found some interesting stuff.

2006 was the year of Crash, at least for the Oscars. Strangely enough, it didn’t even get nominated for a Golden Globe, which went to Brokeback Mountain (over A History of Violence) and Walk the Line (over The Squid and the Whale). If that wasn’t weird enough, George Clooney and Rachel Weisz undeservedly won both awards for best supporting (Syriana and The Constant Gardener respectively), and Ang Lee won both for Brokeback Mountain (also undeserved).

2007 saw some interesting competition. Little Miss Sunshine, Thank You For Smoking, The Departed, Babel, The Queen…the list goes on. The Academy was, if nothing else, consistent in its awards (The Departed won a couple…). The HFPA, on the other hand, gave best picture to Babel and Dreamgirls, the latter actually cleaning up the Golden Globes, with Eddie Murphy winning best supporting actor (Alan Arkin wasn’t even nominated, seriously?) and Jennifer Hudson getting supporting actress in both ceremonies, which is just silly.

2008 was the closest race in recent years, so we can’t be mad at either group. Atonement got the Globe for best picture, No Country for Old Men got the Oscar. Julian Schnabel (The Diving Bell and the Butterfly) won a director Globe, The Coens scored the Oscar. The only travesty was Tilda Swinton winning a best supporting Oscar for Michael Clayton.

What we found interesting was that, in all three years, every Oscar winner for actor and actress also won the Golden Globe. Philip Seymour Hoffman (Capote) and Reese Witherspoon (Walk the Line) in 2006. Forest Whitaker (The Last King of Scotland) and Helen Mirren (The Queen) in 2007. Daniel Day-Lewis (There Will Be Blood) and Marion Cotillard (La Vie en Rose) in 2008.

So what will happen in 2009? Will Danny Boyle finally grab the gold? Will Mickey Rourke finally give an acceptance speech (it sure as hell better not be Colin Farrell). Or will the Academy condemn the HFPA for not at least giving Woody Allen or Sean Penn a reach-around for being overrated?

We’ll see tomorrow.

I have been a film buff since I was little. I probably get a lot of it from my father, who had a sizeable VHS collection in the ‘90’s. One of his random acquisitions was Raising Arizona. He told me not to bother with it, that it was weird and ridiculous, some director he’d never heard of. So I took his advice, and didn’t watch it.

A couple years later, around 1995, it was movie night at home. We rented The Hudsucker Proxy, because it looked funny. I thought it was really cool, but everyone else hated it. I didn’t even bother to check who directed it.

Cut to 1998. I had seen The Big Lebowski advertised on TV, but being thirteen, I couldn’t see it by myself. My dad rented it when it finally came out (still on VHS), and we both loved it. I had never seen anything like it, I didn’t know what a White Russian was, but one thing was clear: The Dude definitely abides. I felt that tingly feeling in my gut, and I knew I was in love with the Coen Brothers.

Over the.years, I’ve been able to get my hands on all of their films, even their little known debut Blood Simple (1984). They range from the comically absurd (Raising Arizona, Intolerable Cruelty) to the dark and violent (Fargo, No Country for Old Men). From the quirky drama (The Man Who Wasn’t There, Barton Fink) to adaptations of Greek literature (O Brother, Where Art Thou?). They’ve been nominated for 8 Oscars (winning 4), 5 Golden Globes (winning 1) and 10 nominations over the years at Cannes (winning 4).

In a nutshell, they are freaking amazing.

Most people will tell you that, No Country for Old Men aside, O Brother, Where Art Thou? Is the best Coen film. This is debatable, but it is very well done. Only Joel and Ethan could adapt Homer’s Odyssey, set it in the 1930’s dust bowl, and turn it into a chain-gang escape film. They even use an old-timey soundtrack while the three heroes are being seduced by sirens, fighting the Cyclops, and running from the lawman.

A lot of directors have a trademark. Music, certain cinematography techniques, casting, dialogue, etc. The Coen’s trademark? Tonality. They generally have every cinematic element in place, everything is cohesive and well crafted. But what makes a great director (or in this case team) is the intangibles. Those things that, be it a comedy, a drama, or a political thriller, maintain that indescribable air that lets you know this is a Coen Brothers’ film.

It also doesn’t hurt to have familiar faces throughout the resume. Steve Buscemi, John Turturro, John Goodman, George Clooney, Frances McDormand, and Bonnie Hunt have all shown up in multiple Coen projects. But it’s also the familiar faces behind the scenes. Carter Burwell has been the composer in almost all of the Coen’s films, and he’s done a great job. Roger Deakins has been on board as cinematographer since Barton Fink (1991). Production Designer Dennis Gassner has also been involved in the bulk of the Coen’s work. And it doesn’t hurt that Joel and Ethan Coen have not only written and directed all of their films, they’ve also edited them (together under the name Roderick Jaynes). The Coen’s haven’t just had an amazing career; they’ve built an empire.

I did finally watch Raising Arizona. When I saw my dad next, I said, “My friends call me Lenny, only I ain’t got no friends.” He didn’t get it. So I said, “Don’t fuck with the Jesus.” He hit me with a Bible. He doesn’t understand.

Coen Brothers Filmography:

Burn After Reading (2008)

No Country for Old Men (2007)

The Ladykillers (2004)

Intolerable Cruelty (2003)

The Man Who Wasn’t There (2001)

O Brother, Where Art Thou? (2000)

The Big Lebowski (1998)

Fargo (1996)

The Hudsucker Proxy (1994)

Barton Fink (1991)

Miller’s Crossing (1990)

Raising Arizona (1987)

Blood Simple (1984)

Atonement

This sophomore effort by Joe Wright is a directorial paint-by-numbers designed specifically to get an Oscar.  It is rigid, mechanical, and devoid of the emotions it is supposed to arouse.  The score, costume design, and cinematography are all solid, but not extraordinary.  The screenplay lacks the substance to make you believe James McAvoy and Keira Knightley are truly in love, or truly suffering for the sake of it.  The acting is good, but appears to be hindered by a director unwilling to go outside the lines and actually make a film.  Will it win?  Probably.  Does it deserve to win? No.

Juno

For what it is, this film is perfect.  The quirky dialogue, music, and animated introduction all fit together amazingly on screen.  The subject matter is somewhat controversial, the parental reactions are unconventional, but it is a heartfelt story with amazing performances by the entire cast, great editing and camerawork.  I‚m just excited it was nominated.

<

p class=”paragraph_style_2”>Michael Clayton

This is Rainmaker with a better cast, The Firm with less tension, and A Civil Action without victims or a clear understanding of the crimes committed.  John Grisham can write better in his sleep.  Editing, directing, cinematography, screenplay, acting, are all lacking.  George Clooney is George Clooney; no intensity, emotion, or drive in the character.  Tilda Swinton is barely in it, and she did a better job in The Chronicles of Narnia.  Tom Wilkinson deserves the nomination, but not the win.  He does crazy very well for 20 minutes, but we‚ve come to expect this from him.

<

p class=”paragraph_style_2”>There Will Be Blood

For a film based on an Upton Sinclair novel, this movie is unconventional and well crafted.  Long and unusual camera shots, intense acting, and a killer score highlight a brave directing style.  Day-Lewis is an intriguing and multi-layered character whose ambition is depicted very well in the first ten minutes (in which there is no dialogue whatsoever).  The sound bleeds and artistic disconnect between sound and camera, are risky moves, but work out well.  My only complaint: The last 30 minutes are too removed from the rest of the film to make any real sense, and the characters and dialogue are completely different without an explanation.

<

p class=”paragraph_style_2”>No Country for Old Men

My favorite film of 2007.  Directing was on point with established Coen Brothers style, with solid additions.  The lack of a score is still a score, as the silence is itself a character that plays well with the rest of them.  Cinematography and lighting are fantastic.  The screenplay is nothing spectacular, but the adaptation is respectable.  Performances are all seamless and tempered by simple, deliberate dialogue that allows intense emotions to come from scenes and facial expressions.  Javier Bardom is amazing, a standout performance that leaves you feeling uncomfortable and unnerved even when he‚s not on screen.  No lacking elements, and some extraordinary ones make it my Oscar pick.

<

p class=”paragraph_style_2”>Additional Picks

<

p class=”paragraph_style_2”>American Gangster

It takes a great director and great actors to produce a film like this nowadays.  It is calm, patient, and explosive at the same time.  Characters come off contradictory, but not underdeveloped.  Cinematography is solid.  Music and art design are perfect for the period.  It seems to have aspirations of Michael Mann‚s Heat, and it understandably falls short, but this film is well rounded, beautifully directed, and completely underappreciated by the academy.  That‚s a damn shame.

Zodiac

David Fincher‚s early 2007 adaptation of Robert Graysmith‚s book is dark, eerie, and well crafted. Typical Fincher, not his best, but solid.  Definitely one of Ruffalo‚s best, though Gyllenhaal doesn‚t stand out.  Editing and cinematography are worth a nod, as is the adapted screenplay.  It came out too early to get any credit.

Sunshine

Sci-fi films usually never get any kind of award notice.  However, this brilliant new film from Danny Boyle is a masterpiece of cinematography, editing, and stunning visuals.  It sucks that, in this genre, amazing filmmakers are overlooked, but Pirates of the Caribbean can get multiple nominations.

<

p class=”paragraph_style_2”>Saw IV

I know, I know.  It‚s a low budget horror sequel not worthy of a Golden Globe.  However, when I walked out of this film, I wasn‚t thinking about the gore, the twists, or the revamping of the franchise.  I was thinking, „Damn, that was some amazing editing.‰  I say, if The Bourne Ultimatum can get three nominations it doesn‚t deserve, maybe the Academy should think a little more outside the box.

<

p class=”paragraph_style_2”>The Kingdom

Oscar winners Jamie Foxx and Chris Cooper have been in better films, but this was a great, non-political movie that could‚ve easily been nominated for best cinematography or sound mixing.  If I find out it‚s because it‚s about Iraq, heads will roll, Hollywood.

My condolences to the Academy for 2007.  It must be difficult to compile a list of nominees without being able to nominate Oliver Stone, Jack Nicholson, Ron Howard, or Peter Jackson.  Maybe next year.