Bohemian Cinema By Jonathan Pacheco

Top Ten of 2005

Tags: Top Ten, Lists

In honor of some bald guy named Oscar, here’s the Top Ten Films of 2005, as judged by myself.

10. Tie - Yes

    

    What would a Top Ten list be without a tie? I simply could not leave Sally Potter’s Yes off my list. The film works on so many levels. The script is written in iambic pentameter (“Shakespeare rythmn” for you Philistines), but it’s not just some gimmick—it adds another layer to the poetry and story of this film, which is Shakespearean in itself (interracial relationships, affairs, politics). I don’t know how this screenplay was overlooked during Awards season. And it certainly could teach Crash a thing or two on how to deal with racism.

10. Tie - Shopgirl

    

    I love Steve Martin the Writer. At times, I love him more than (classic) Steve Martin the Actor. Shopgirl takes most people by surprise because most people don’t realize how poignantly and complexly Steve Martin understands relationships. The film chronicles the “love triangle” between a shopgirl, a slacker, and a millionaire, played by Martin who doesn’t miss a step in a subdued role. Having read Martin’s novella that this film was based on, I can tell you that, while remaining faithful, Martin and director Anand Tucker knew where to cut and where to add. A beautiful film.

9. The Weatherman

   

   An overlooked film that I hope will gain an audience on DVD. Gore Verbinski’s The Weatherman is one of the most genuine films in recent memory, which is what makes it so funny and so, in a sense, tragic. The “hero” is more of an anti-hero, and the film isn’t too afraid to allow him to fail. Also in the film is one of the best written and performed voice over/thought narrations (at times it’s so familiarly fast and A.D.D.). I urge everyone to give this one a look. I honestly don’t think you’ll be disappointed.

8. Good Night, and Good Luck.

   

   George Clooney seems to have a knack for directing films that mix real footage and “fake” footage, because this film, as did 2002’s Confessions of a Dangerous Mind, seamlessly blends fact and possible-fact to create an interesting and fascinating look at television and its politics. This film is masterfully directed, no doubt about it. But there seemed to be a single element missing, an element I can’t put my finger on, that kept Good Night, and Good Luck. from being an absolutly great film. Nevertheless, it still manages to be one of the best films of this past year.

7. Me and You and Everyone We Know

   

   Miranda July splashed onto the indie scene with this small, hilarious film that seems to charm almost everyone it comes into contact with. It’s a (and I hate using this word, but it fits) quirky piece that, I believe, connects all of us through our simple need for human contact, no matter what the method or medium. Every character in this film looks for affirmation through some channel of communication. July herself stars in one of the lead roles, and she couldn’t be more perfect. The film also contains one of the funniest pieces of dialogue ever to take me by surprise.

6. Jarhead

   

   One of the few films I saw more than once in theaters, Jarhead chronicles a young man during the events (and lack of events) of the first Gulf War. Honest, political, and quite funny, it’s a film that also showcases Jake Gyllenhaal’s talents as he goes from naive to tainted, to desperate, and, at points, to the brink of insanity. I have a feeling that this film’s appreciation will only truly come in the future. Sometimes it just has to be that way.

5. Sin City

   

   The first great movie that I saw in 2005, and not surprisingly so. Robert Rodriguez certainly knows how to direct with energy, and this time it pays off bigtime with the literal adaptation of Frank Miller’s beloved graphic novels. Sin City is addicting and has a look and feel unlike anything you’ve ever seen before. It’s old-school noir fun with new-school style and violence.

4. 2046

   

   While not as amazing as its trailer, Wong Kar Wai’s 2046 is a tale about a man who seems to be too afraid to love, but can’t help but fall into the cycle over and over again. The film is masterfully made and Tony Leung’s performance harkens back to the days of Grant. It’s not everyone’s cup of tea, but whether you like it or not, it will without a doubt leave some kind of impression on you. Isn’t that what good filmmaking is all about? Oh, and it has the best theme I’ve heard all year.

3. Harry Potter and the Goblet of Fire

   

   There are some that say Cuaron should have stayed on board. After seeing Azkaban, I agreed. I was nervous about Mike Newell and some of his decisions—namely, choosing not to rehire the Oscar nominated FX team from Azkaban nor composer John Williams, who was also nominated for his work in the third film. But my worries were laid to rest from the very beginning. Goblet’s success lies in Newell’s choice to approach the film in the veign of a classical thriller, such as North by Northwest. The result is a film that cuts the fat from the book (which can be jarring for a reader of the book, at first, but upon second viewing, the viewer barely remembers what he was missing in the first place), and expands on the teenage angst that was touched upon in Azkaban.

2. Last Days

   

   This is another haunting film who’s impact seems to be felt only a while after it’s finished. Walking out of the theater, I did not know how to feel or how to react. In some ways, the feeling it left me with was somewhat like the film itself—quiet, numbed, and melancholy. The movie finishes Gus Van Sant’s trilogy of Death and Objectivity. He’s created an unbiased look at a man at the end of his rope, who finds little clarity in his final descent to death.

1. Match Point

   

   I am a die-hard Woody Allen fan, and I’ll be the first to admit it. But I’ll also tell you that I know and recognize when he fails and faulters. I tell you this because I want you to understand that the praise for Match Point is not just the loyal fanatics hailing his return to form. Quite simply, Woody Allen fan or not, Match Point is an absolutely brilliant film, guided by the hand of a capable man who’s very name causes some sort of prejudice towards the film. There were those who said that, had this very film been directed by some other name than Allen, it would have easily garnered awards at Cannes, if not the Palme d’Or itself. But it’s this built-in prejudice that comes from who-knows-where that robs Allen of the recognition he deserves in his latter days. As for the film itself, Match Point is a taught, intense story that packs a punch and haunts you well after you drive home.

Not Quite, But Still Good

The Constant Gardener

Not the movie I expected coming in. A convoluted, intense and political thriller with great performances and great filmmaking.

Broken Flowers

A quiet film with a quiet performance from Bill Murray that leaves a quiet impression that can still be felt long after it concludes. A must see.

Little Manhattan

Many will call this a sappy kid’s movie, but I found it profoundly sweet and poignant. Maybe it’s just me, but it charmed me from the first frame, and never let go.

Still to See

• Syriana
• The Squid and the Whale
• The New World

I will be seeing these within the next couple of days.

You Have to Mention…

Star Wars: Episode III: Revenge of the Sith

A worthy finale to what I felt was a worthy trilogy. Nothing beats waiting for hours in line to finally see it on a big DLP screen.

Batman Begins

The Dark Knight is reborn in Christopher Nolan’s epic that is destined to become a classic. A very strong film.

And yes, I saw Brokeback Mountain. Great filmmaking, just not as good as people say.

Biggest Disappointments

King Kong

Overindulgence shoots Peter Jackson’s lovesong straight off the top of the Empire State Building.

Wallace and Gromit in The Curse of the Were-Rabbit

Not as funny as people make it out to be, but not a bad film by any means.

Crash

What an overrated film! It has a few strong performances, but it’s all overshadowed by it’s heavy-handed attempt to teach us a moral lesson. I’ll take subtlety any day of the week, thank you very much.