So 2005 is another one of those years where I forgot a bunch of movies I love and didn’t include them in my original list – silly boy. I’m going to update it to 11 – adding a new film which should have knocked Land Of The Dead off the list first time round. The order doesn’t really matter anyway. In my almosts, I’m adding a few of the great films I forgot about too,
Corpse Bride is that rare ‘modern’ Tim Burton movie which reminds us that he can be a great filmmaker when he’s doing his own thing. It’s just creepy enough to make the kids snuggle up to you on the sofa, but not scary enough to give them nightmares. It has the Tim Burton look and style, and is enjoyable for the whole family. The Devil’s Rejects is also fun for the whole family, if your family are inbred murderers of the Texan variety. It’s probably still Rob Zombie’s most enjoyable movie and the distilled prime example of everything he is as a filmmaker – that Southern vibe, that 70s grindhouse look and style, sadistic characters, sick humour, and lashings of violence. It’s a sequel to House Of A Thousand Corpses – but you don’t really need to have seen it first, though it’s good too. A History Of Violence is Cronenberg, so it should be one any film fan’s list regardless. It takes him in a fresh new direction from his body horror roots, acting more like a twisting drama filled with secrets. Viggo Mortensen firmly leaves Aragorn behind with a chilling performance in this one, and everybody else is good.
Serenity was Joss Whedon’s first bash at big screen stardom, a fan-pleasing coda to the short-running Firefly. I’m not as huge a fan of the show as most, but the film is a fun watch. Election is Johnnie To’s finest work, almost up there with Infernal Affairs but focuses more on the criminal underbelly than twists and double-crosses. It’s another must watch once you get into Hong Kong cinema.
11. Noroi (Japan) Koji Shiraishi
Found footage and creepy Japanese long-haired shenanigans – that’s possibly a hard-sell. I know plenty of horror fans who dislike one or both of those sub-genres but usually I persuade them to watch by saying that while found-footage it isn’t run around the woods nausea inducing, and while there are long-haired shenanigans they are not of the Ringu or Ju-On variety. On top of that, the director had a history within the found footage genre to the extent that by the time he made Noroi he was savvy enough to deliver the unexpected, and he would go on to make the notoriously nasty Grotesque.
Noroi follows a film-maker and documentary expert on the paranormal who is working on his latest show – investigating a curse and a number of people who claim to be embroiled in different types of paranormal activity. We see his capturing of these incidents and over time the word, or name ‘Kagutaba’ comes up repeatedly. Without getting into spoilers, the stories are somehow connected and a sordid history of abortions, theft, murder and all sorts of goodness oozes out. It’s a film which doesn’t go near jump-scares or obvious answers but instead succeeds because it’s so unnerving and goes places where few films dare to tread. It’s also one where you need to watch all the way to the end for some mid-credits extras. If you want a J-Horror film which doesn’t fit the mold and which hardly anyone knows of, you can’t do much better than Noroi.
10: Land Of The Dead (US) George A Romero
Back to our original Top Ten – I was as hyped as anyone when it was announced that Romero was returning to the genre he created, decades after. So it’s not as good as his first three Dead movies, but it’s still a fun ride, and it’s still political. Moving the action to a more familiar location (of sorts) it’s set in the present day in a world which has learned to survive alongside the walking dead. Quite understandably, the wealthy are still safe from most of the problems the rest of the world face, living in skyscrapers while everyone else slums it on the streets, protected by the military, the average gun-toting civvy, and by a convenient river acting as a moat. Dennis Hopper is one such rich guy, hamming it up in one of his most amusing final roles, while John Leguizamo and Simon Baker play two soldiers who make dangerous journeys in a Mad Max style souped up vehicle for medical supplies and more. Leguizamo shines as the opposing force to Hopper’s white politician and there are a slew of in-jokes and cameos to enjoy. Mostly it’s an excuse to give Romero a big budget and let a master do what he pleases. In the wake of The Walking Dead it does feel a little like 1 series of that show condensed into a single movie, but it’s also a thank you to the fans.
9: Hostel (US) Eli Roth
I feel very much that this is the one film most likely to drop off my list when I get around to seeing more movies from this year. Eli Roth is always hit and miss for me – his humour is usually very misjudged though generally the ideas are sound. Hostel is notorious as a standard bearer for torture porn – an excuse to cut up nameless nobodies for our entertainment. There’s much to be said in support and opposition to that statement, the obvious political asides being as simple as using the template as a satire on US Imperialism and as an extreme reaction to the torture tactics used by terrorists, military, and government alike. While I won’t say Hostel is clever, I will say it’s not as dumb as most people think. It’s just a bloody good time which takes mainstream US brutality to new levels as it follows a group of Millennial backpackers who are captured in Europe and find themselves as unwilling guinea pigs in some sort of Millionaire-led murder business. Basically, if you have enough money, you can pay to hurt and kill another human in whatever way you please – with our protagonists being the victims. There’s plenty of blood and to Roth’s credit the first half of the movie is spent trying to get to know these people. There’s not a lot to know about them, but at least they’re not standard slasher fodder.
8: A Bittersweet Life (SK) Kim Jee Woon
A Bittersweet Life is another prime example of the sort of boundary pushing film Hollywood used to make but seems to have given up on in lieu of treading increasingly safe and tame waters. The plot of the film itself is safe, tame – a hitman is employed by his boss to kill the boss’s cheating girlfriend, and he refuses. Stuff happens. What raises it is the fact that Kim Jee Woon directs – expanding upon his eye for detail and grim truths as exemplified in his previous film A Tale Of Two Sisters. He has found a niche in capturing breathtakingly beautiful shots against horrifying or violent backdrops and situations, and he rarely cares for conventions. Throw in Lee Byung-hun as the hitman with a change of heart who keeps everything grounded. Like any number of South Korean movies from this period – it’s a must-see.
7: Sympathy For Lady Vengeance (SK) Chan Wook Park
The final entry in Park’s esteemed trilogy is maybe the weakest, probably my least favourite, but still head and shoulders over 90% of what was released this year. It may be the most accomplished and beautiful of the bunch. Like the first two films it is presented as a straightforwards revenge story, but as revenge is never clean there are plenty of twists and complexities. It follows a woman (Lee Young-ae) as a woman just released from prison for a murder she didn’t commit, and her quest to hunt down the real perp. Starting out as a seemingly reformed model prisoner due to newfound spirituality, we slide down her rabbit hole and are dragged along another characteristically grim tale. As with the above entry – this one demands your attention.
6: Kiss Kiss Bang Bang (US) Shane Black
Without knowing it for much of my life, Shane Black had been one of my favourite people for most of my life. Predator has been an all time favourite of mine for as long as I can remember but in my younger days, while I knew the character names, I really only remembered Arnie’s name when it came to the cast. Later he would three further all time favourites – The Long Kiss Goodnight, The Last Boy Scout, and Last Action Hero. It wasn’t until I started to think about how movies were made and who made them that I began to connect the dots. Of course by that point he had dropped off the face of the planet, seemingly to never return. Then it was announced he would be directing his first film – this is the result. There’s no way I wasn’t going to at least enjoy this, but it’s a typically incisive, funny, violent story with the usual macho leanings upgraded for a new decade. It’s great to see Val Kilmer back on screen, it was a launch pad for Downey Jr to get back on track. It’s more of a Noir than anything he had done till that point, but his trademark writing keeps it unique as 100% Black.
5: The Descent (UK) Neil Marshall
Neil Marshall had gained my attention a few years earlier with his debut Dog Soldiers – an adventurous werewolf movie with more comparisons to Aliens than any Universal classic. The Descent drops much of the fun of that movie, dispenses with the more macho influences, and instead gives us one of the most tense, atmospheric, and claustrophobic movies in recent years. It’s the best of a spate of similar sounding movies from the period which saw a group of travelers going into some sort of underground world and meeting with various mishaps. Where this one differs is with its reliance on character and emotion – yes it’s a film about being trapped underground, yes it’s a film about the monstrous creatures which you may find once trapped, but it’s also a film about grief and guilt, about escape and resilience, about friendship and loss. Marshall also wisely makes the first half of the movie simply about these women, their fears and motivations, and their struggles to keep it together once they head into hell. It’s a shock then when the first creature does appear, and the film takes on a new edge. My only complaint remains that the cast are too similar in features which can make distinguishing them in the gloom problematic first time around.
4: The 40 Year Old Virgin (US) Judd Apatow
Much of the comedies which have been successful this decade and up till present day haven’t worked for me, either descending or focusing on bro-bullshit or because the dialogue is delivered in this faux unscripted manner. Or simply because they’re not very funny. Judd Apatow sometimes strikes the right balance between juvenile humour and honesty, a blend smoothed out by likable performers and a solid script. The 40 Year Old Virgin is probably my favourite of his movies with plenty of zingers and a more refined Carrell who doesn’t need to do his whole straight man-The Office-shouty shtick. For the most part. Of course the usual Apatow pals show up in supporting roles but the clincher is having Catherine Keener as the object of Carrell’s affections.
3: Revenge Of The Sith (US) George Lucas
For a while it seemed like this was the end – the culmination of Lucas’s grand plan. Since then Disney has released another 15 Star Wars movies and has plans for another 83. Per year. Jokes! Revenge Of The Sith, is easily the best of the prequels. It’s not without its faults, with Padme being reduced to a birth vessel and the whole not being as emotionally powerful as it should have been. I think that’s more of a fault with how the trilogy was laid out, with casting from the outset, and an overburdened script that was never set up to allow us to scream, cheer, and cry. But still, it has some of the best action of the whole series, it does feel like the collapse of good and the success of evil, and Ian McDiarmud deserved an Oscar nomination at the very least for his performance.
2: Sin City (US) Frank Miller/Robert Rodriguez/Quentin Tarantino
The benchmark for visually unique and authentic comic book movies, Sin City nails the tone, look, and dialogue of Miller’s series – a collage of disturbing and violent and sexually charged intersecting stories which truly does feel like flicking through the ragged pages of a seedy comic you picked up on a whim for a few bucks before the last metro home. Rodriquez and Tarantino both do their thang and pull together a terrific ensemble, including such repulsive and creepy creations as whatever the hell Elijah Wood and Nick Stahl are supposed to be. It’s a mixture of pulp, thriller, action, with obvious twisted noir principles, swept along with a cool, detached pace.
1: Batman Begins (US/UK) Christopher Nolan
It’s in my Top Movies Of The Decade post, so if you want to read my thoughts, go check it.
How Many Of My Films Were In The Top 10 Grossing Of The Year: Two
How Many Of My Films Were Nominated For the Best Picture Oscar: None
Let us know your picks in the comments!