My (and only my) best movies of the decade: The top 10

Quickly before I get into any of that, I was just thrilled to see that "The Muppet Movie," a staple for kids who grew up when I did and hopefully still required viewing in households everywhere there are kids big and small, has been added for preservation to the 2009 National Film Registry by the Library of Congress.

The only question that great news gives me is why in the world did it take so long? As you can see from the list below, there are a lot of other great choices this year, and even a music video from Michael Jackson. Hey, why not? Here it is:

1. Dog Day Afternoon (1975)
2. The Exiles (1961)
3. Heroes All (1920)
4. Hot Dogs for Gauguin (1972)
5. The Incredible Shrinking Man (1957)
6. Jezebel (1938)
7. The Jungle (1967)
8. The Lead Shoes (1949)
9. Little Nemo (1911)
10. Mabel’s Blunder (1914)
11. The Mark of Zorro (1940)
12. Mrs. Miniver (1942)
13. The Muppet Movie (1979)
14. Once Upon a Time in the West (1968)
15. Pillow Talk (1959)
16. Precious Images (1986)
17. Quasi at the Quackadero (1975)
18. The Red Book (1994)
19. The Revenge of Pancho Villa (1930-36)
20. Scratch and Crow (1995)
21. Stark Love (1927)
22. The Story of G.I. Joe (1945)
23. A Study in Reds (1932)
24. Thriller (1983)
25. Under Western Stars (1938)

So there you have it. But here today, it's all about the final cut. Before I do my top 10 list for 2009, which I'm still putting off until the end of this week because I will finally see "Up in the Air" today, I've decided that the reigning champ isn't going to be dethroned, so I can go ahead and do my top 10 movies of the 2000s. I did, however, see one movie that will probably make the 2009 top 10 list coming Monday, Pedro Almodovar's "Broken Embraces," which is just a wildly fun movie and a valentine to moviemaking (when and if you see it, you'll probably agree that it's really a valentine to making specifically Pedro Almodovar movies, but again, why not?)

OK, with the rules being one per year, here are my best movies of the oughts, or whatever you want to call them, with some video clips thrown in just for fun.

2000: "Almost Famous"
Judging from how Cameron Crown started out the '00s, you would think it would have been the most fruitful creative period of his life, but of course that was not to be. "Elizabethtown" almost made me claw my own eyes out, but this rock 'n' roll road movie chronicling Crowe's own ride as a too-young correspondent for the Rolling Stone is as fun as it is moving, and even made me a fan of Elton John again with one of the best uses of a pop song ever, the band rebonding with "Tiny Dancer." Enjoy that clip below.



2001: "The Royal Tenenbaums"
What made "Fantastic Mr. Fox" so good was that, after two instantly forgettable films in "The Life Aquatic with Steve Zissou" and "The Darjeeling Limited," it showed that Wes Anderson had returned to the top form he showed with this flick. At his best, Anderson has a natural gift for storytelling and an artist's eye for details that make you smile broadly if you pay close enough attention, and those two talents just converged perfectly with "The Royal Tenenbaums."

2002: "City of God"
If I had to pick just one, this would be my favorite movie of the '00s, and easily in my top 10 of all time too. Fernando Meirelles' chronicle of street life in Rio de Janeiro focuses on two boys, one who gets caught up in the gang culture that rules the streets and another who escapes to capture its harsh reality with his camera. It works as both a coming-of-age tale or a riveting gangster pic of sorts, and is just packed with searing visual images that are still burned on my brain to this day. Enjoy the clip below showing Lil' Dice transformed into the much more deadly Lil' Ze.



2003: "American Splendor"
Though Paul Giamatti had appeared in plenty of movies before this one from Shari Springer Berman and Robert Pulcini, he certainly chose the right flick to make his real impact as the star of the show. The two directors interweave Giamatti's take on the colorful character that is cartoonist Harvey Pekar with insight from the man himself, and its just a joy to watch as the lines between the two interweave. It also turns into a moving romance with Hope Davis as Pekar's love and salvation, Joyce Brabner, and Judah Friedlander is also just a hoot as Pekar's oddball buddy Toby.

2004: "Maria Full of Grace"
Still the only movie I've ever seen from writer/director Joshua Marston, "Maria Full of Grace" was ahead of its time in putting a very human face on the issue of immigration in America. It certainly doesn't hurt that that face here belongs to the simply stunning Catalina Sandino Moreno, or that the story of Maria Alvarez's role as a drug mule from Colombia and her road to redemption just make for a tremendously entertaining flick.

2005: "Hustle & Flow"
Though I enjoy straightforward musical biopics to a certain degree, I'm much more amenable to movies like "I'm Not There," "Cadillac Records" and this flick from director Craig Brewer that take the genre and twist it into something new. "Hustle & Flow" isn't, of course, a biopic at all, but with the character of struggling pimp and aspiring rapper Djay, brought to vivid life by Terrence Howard, Brewer brings all the corny joy of the rock fable to hip-hop, and though his story of dreaming big while often living small just sounds incredibly corny on paper, it works to near perfection on the big screen. In any language, this clip of Djay and Taraji P. Henson's Shug is just one of the great movie kisses of all time. Enjoy.



2006: "Pan's Labyrinth"
In the year of the three Mexicans, this flick from Guillermo del Toro still stands just a notch taller than Alfonso Cuaron's "Children of Men" in my book, though it's nearly a tie. With "Pan's Labyrinth," Del Toro explores the power of the imagination - both it's light and dark side - as our heroine, played by young Ivana Baquero, crafts an elaborate and often harrowing fantasy world to escape the harsh reality of her life in post-Civil War Spain. It revels in this talent that we all used as children but too often forget once we turn into "adults."

2007: "Into the Wild"
Sean Penn could have gone in many directions with his movie about doomed dreamer Christopher McCandless, but by keeping his own politics out of it and just letting the story unfold at a natural pace, he managed to craft a great American road movie. It's as moving as it is frustrating to watch how McCandless, played by Emile Hirsch, could have avoided his fate if he had simply let in one of the many people who reached out to him in his travels. Hal Holbrook should have won the Oscar he was nominated for with this flick, and Catherine Keener should have had her name called that night too.

2008: "Let the Right One In"
Just the other day, my brother and I were discussing the many fantastic scenes in director Tomas Alfredson's flick, and whether or not any of them will have nearly the same impact in "Cloverfield" director Matt Reeves' upcoming American remake, "Let Me In" (we both have rather serious doubts.) Alfredson's movie, based on John Ajvide Lindqvist's novel, is equal parts coming-of-age story and horror flick as it tells the tale of what happens when bullied Oskar meets the new girl next door - who just happens to be a vampire. Among the many things this movie gets rights is the moment at the pool when - after urging Oskar to stand up for himself - Eli takes matters into her own rather lethal hands. Easily the best horror movie scene of the last 10 years and more. Though I strongly watch you watch it in the movie first if you haven't seen it yet, here's a clip of that amazing sequence. Enjoy.



2009: "Inglourious Basterds"
Watching this movie unfold and just get better and better as it goes along drives home the point that Quentin Tarantino really was just treading water with the two "Kill Bill" movies and his half of "Grindhouse," because this was clearly the movie he was meant to make. It should really have a different name, because the titular "Basterds" are the weakest link in this saga that weaves together several plots to kill Hitler. Whether you call it revisionist history or revenge fantasy, it's also just wildly inventive storytelling. Two scenes in particular, the opening gambit with Christoph Waltz and a later one involving some kind of crazy game of celebrity Indian Head poker, are among the best Tarantino has ever written, just perfectly building all the tension that is finally released in that finale that I guarantee you won't ever forget.

So, there you have it. I hope you enjoyed at least some of that, and if you haven't seen any of them, I guarantee they'll all well worth a rental. And with that I'm finally off to see if George Clooney and "Up in the Air" are really worth all the hype. Peace out.

An animated Best Picture nominee? Why the "Wall-E" not?

I'm always hopeful when I hear a major group of critics sharing the kudos love with animated movies, even if in this case it comes a year too late.

The Los Angeles Film Critics Association, usually a contrarian bunch, has just named "Wall-E" as its pick for Best Picture, with "The Dark Knight" as its runner-up. I think they'll end getting one out of two right in the end, with "The Dark Knight" snagging the final Oscar slot (If I had to pick it today, with the caveat that this is mostly a list of movies I haven't seen, I'd say the final five will be "The Curious Case of Benjamin Button," "Milk", "Revolutionary Road", "Slumdog Millionaire" and "The Dark Knight.") And if that is the final list, count me among the "Slumdog" supporters.

"Wall-E," however, certainly has enough charms to merit it at least being in the conversation, so thanks to the L.A. crew for that. The first 45 minutes or so of "Wall-E" are just the most enchanting kind of romance, and even if it does become more and more conventional as the story goes on, it's still often a very magical movie.

But like I said, the only problem I have with any of this is that it comes a year too late. Where were the critics when it came to hailing "Ratatouille," the best animated movie I've seen in many, many years, and my pick for the best movie of 2007?

My final five, if I remember this right, were in fact "The Savages", "Into the Wild", "Once", "Zodiac" and "Ratatouille." Of those five, I think "Into the Wild" stands the test of time the best, since I just watched it again the other day and loved it even more.

Though I have a slew of prestige pics to catch up on when I get the chance to hit NYC for the end of the year, I have to say that so far it looks like this year just doesn't measure up as well. So, in that void, why not a win for "Wall-E"?

Jim Jarmusch gets by with a little help from old friends

When I found this news this morning, my first thought was that it's been a really long time since we've heard anything at all from Jim Jarmusch, and indeed it has been almost three years since the release of his last, mostly satisfying flick, "Broken Flowers."

Now comes word that two of the stars of that flick, Bill Murray and one of his paramours, Tilda Swinton, are along for the ride in "Limits of Control," the road movie/thriller Jarmusch is shooting in Spain. As several ladies I work with would want to know, Gael Garcia Bernal factors into this somehow too.

As best as I can gather, the flick centers on a mysterious loner as he attempts to complete a criminal job, and it's set to start shooting this month in Madrid, Seville and Almeria, Spain. Even better for anyone who's a fan of Jarmusch's work is that the great French actor Isaach de Bankole, a regular in many of Jarmusch's films (notably as the ice cream man in "Ghost Dog"), plays the loner.

If that makes it sound more than a little similar to the aforementioned "Ghost Dog," that would be just fine by me, since I own that one on VHS and have probably watched it at least into the double digits in times.

And I know plenty of people whose opinions I certainly respect who had serious issues with the ambiguity of "Broken Flowers," but I thought it suited Murray's character just fine, and the would-be mystery writer Winston played by Jeffrey Wright was just a seriously funny comic creation. Here's hoping this latest project from old friends leads to something at least as fun.

Emile Hirsch finally gets some love

The most constant and amazing snub I've noticed in this awards season is that Emile Hirsch, the star of Sean Penn's "Into the Wild," has gotten almost no recognition at all, at least until now.

In March, Hirsch will take the title of Male Star of Tomorrow at ShoWest, which, despite that rather odd title, I would have to assume is also in recognition of his most recent work too, especially since all he has on the menu for this year that I know of is the Wachowskis' almost-surely-to-be-disastruous "Speed Racer."

And if you somehow missed out on seeing "Into the Wild" in theaters (and since it played in my little corner of the world for exactly one week, I couldn't say I blame you), you'll soon get the chance to see it on DVD starting March 4. The saga of Christopher McCandless is a challenging tale, and one that I took a while to warm to, but once I did it ended up on my list of the top five movies of 2007 (along with "Ratatouille," "No Country for Old Men," "Once" and "The Savages.")

And now I'd like to wrap this up kinda quick today, but I'll leave you with this clip of RZA and GZA of the Wu Tang Clan talk with the great Mr. Murray about that most magical of combos, "Coffee and Cigarettes." It's kinda long at almost eight minutes, but I think it would go just great with just about anyone's lunch. Peace out.

My favorite movies of 2007

As I thought about this list over the weekend (and yes, I am enough of a geek that I put a lot of thought into it), I found several movies that I really adored in 2007 had sunk enough to just miss the cut, most noticeably "American Gangster" and, yes, "Juno."

Now, that doesn't mean I love them any less, just that they've lost a little sheen with the passage of time and that stronger movies that came after them simply took their spots. There's still room here for one truly juvenile (but smart) teen comedy and, surprisingly, one movie about a lost soul that I admit I just didn't get until it had had a while to sink in.

So now, without any further qualification, here are my 10 favorite movies of 2007, in only alphabetical order (but if you have to know, my single favorite movie of last year remains "Ratatouille," with "No Country for Old Men" a close second.)

"Breach"
I went into this one expecting some high Washington intrigue but instead got a very intensely claustrophobic and psychological cat-and-mouse game between Chris Cooper as turncoat spy Robert Hanssen and Ryan Philippe as the agent who pursued him (with just enough Laura Linney thrown in for good measure.) It's a real shame that Billy Ray has only directed two movies, with no more on the horizon, because with this and "Shattered Glass," about the wayward journalist Stephen Glass, he's crafted two nearly perfect flicks.

"Into the Wild"
I offer this as an apology to Sean Penn, because my distance from the character of Christopher McCandless made me unable to appreciate this film fully at first. I still find little to identify with in his tale of searching, but this movie is packed full of great performances from Emile Hirsch, Catherine Keener, Hal Holbrook and others, and it's a deeply effecting flick.

"No Country for Old Men"
I would never even come close to writing off the Coen brothers, but I have to admit their output between the great "O Brother Where Art Thou" and this gem had me a little worried. By making Cormac McCarthy's meditation on violence all their own and mixing it with the most uneasy kind of humor, they managed to craft a movie that really only could have come from the Coen brothers. As far as I can tell, "Burn After Reading" should be next on their busy schedule, and I just can't wait.

"Once"
As with "Breach," I was a little off-base going into this one. I was expecting a full-scale musical, but instead got a perfect moment in time with two non-actors, Marketa Irglova and Glen Hansard (from "The Commitments"), delivering captivating performances. But there are, of course, a lot of songs, and they all just fit right into this story that's as much about the creative process as it is about the power of love (cheesy, I concede, but it really does work.)

"Persepolis"
It's possible, I guess, that this just snuck in here because I saw it on the last weekend of the year, but I don't really think that's the case (Paul Thomas Anderson's "There Will Be Blood," which I admit I'm still digesting, for example, didn't make it even though it was viewed then too.) Using mostly a stark black and white palate, graphic novelist Marjane Satrapi and co-director Vincent Paronnaud nonetheless fill the screen with memorable images in this spirited autobiographical tale of Satrapi's life growing up in Iran and Europe. Highly recommended, if you can find it.

"Ratatouille"
I rewatched this again a few weeks ago and loved it just as much as I did the first time. That sequence which starts with Remy and Auguste looking down on Gustave's and finishes with Remy's first scamper through the kitchen remains my favorite of the year, and the movie is just full of enough magical moments to take my 2007 crown.

"The Savages"
Another one from the last weekend of the year, but if you've seen Tamara Jenkins' tender and often very funny family tale starring Laura Linney and Philip Seymour Hoffman, I seriously doubt you'll argue it doesn't deserve this lofty spot. Watching the return of "The Wire" (thank God!) last night, it finally hit me that the nursing home attendant Jimmy was played by Gbenga Akinnagbe, who also plays hitman extraordinaire Chris on "The Wire," which judging from last night's season five premiere is definitely set to go out on top.

"Superbad"
Yes, that's right, "Superbad." After laughing through just about every minute of this one with my brother in Minneapolis this summer, I watched it again a few weeks ago and was struck by how much I enjoyed the B storyline about Bill Hader and screenwriter Seth Rogen as those two cops who just refuse to grow up. I probably identified with them much more than any healthy middle-aged person should!

"Waitress"
I was cheering for this one out of the gate simply because it was written and directed by the late Adrienne Shelly, who was murdered in 2006 for the simple offense of complaining about a neighbor's playing the radio too loud. Even without this depressing context, however, her romantic tale starring Keri Russell, Captain Mal and Andy Griffith was just the perfect counterweight to the summer blockbuster slate, and one that has lingered with me all year.

"Zodiac"
Although I misjudge these things all the time, I'm feeling a genuine surge for David Fincher's true-crime epic as a dark horse contender for a Best Picture nomination, and it's definitely got my support. There wasn't a better crime movie in 2007, or a better one about the power of obsession. I can't wait to see what Fincher does this year with "The Curious Case of Benjamin Button," F. Scott Fitzgerald's tale of a man who is born at age 80 and ages in reverse through the 20th century.

And there you have it. I've included a honorable mention that features just about every movie I liked in 2007, so maybe you'll get some rental ideas of any movies you might have just missed. Peace out.

Honorable mention: Tyler Perry's Daddy's Little Girls, Starter for 10, 300, The Namesake, The Wind that Shakes the Barley, The Lookout, Grindhouse, The Hoax, Hot Fuzz, 28 Weeks Later, Knocked Up, Harry Potter and the Order of the Phoenix, The Simpsons Movie, Rocket Science, Shoot Em Up, Eastern Promises, The Kingdom, Michael Clayton, Tyler Perry's Why Did I Get Married?, Gone Baby Gone, American Gangster, Margot at the Wedding, The Mist, Charlie Wilson's War, Sweeney Todd: The Demon Barber of Fleet Street, Juno, Walk Hard: The Dewey Cox Story, There Will Be Blood

Golden Globes: Great comedies get no respect at all

If one thing is clear after Thursday's Golden Globe nominations, it's that the Hollywood foreign press must just be a fairly humorless bunch.

Now, I'm glad to see that "Juno" made the final five, and I can only assume that "Charlie Wilson's War" will have its funny moments (and enough Tom Hanks smugness to make me want to jump out of my chair and just smack the screen), but how in the world can you have a category called "Motion Picture - Musical or Comedy" and not include more of the funniest movies of 2007? (The other nominees were all musicals, "Sweeney Todd," "Hairspray" and "Across the Universe.")

Perhaps the answer is simply to give musicals a category all their own (which might have meant a much-deserved nomination for John Carney's just-perfect "Once.") That's probably too much weight for musicals, but something has to be done to balance the scales in comedy's favor.

Had there been a comedy category, here are the five movies that would have been my nominees:

Hot Fuzz
The Wayans brothers have apparently watched this pitch-perfect spoof of action movies and decided they can do one better. I have nothing but doubt about that, 'cause for my money Edgar Wright, Simon Pegg and Nick Frost are the masters, and this is the single funniest movie of 2007.

The Simpsons Movie
So what if this was just a 90-minute episode of the TV show? It proved that, with 15 years or so of experience it is indeed possible to come up with a plot and enough jokes to sustain 90 minutes of high entertainment (though why they can't reliably do that from week to week for only 30 minutes anymore is beyond me.)

Superbad
I just watched this again last weekend, and it was at least as good as it was the first time. Jonah Hill and Michael Cera were just as funny as I remembered, but this time the story of the two cops who refuse to grow up, played by Seth Rogen and Bill Hader, just really made me laugh out loud.

Shoot 'Em Up
The beauty of a category for comedy would be if a movie this sublimely silly could really be nominated for anything. If you haven't seen this cartoon-like bullet ballet, rent it immediately. Paul Giamatti, Clive Owen and Monica Bellucci clearly all had fun making it, and as long as you can handle jokes about a baby in extreme peril I guarantee you'll have fun watching it.

And yes, Juno
What's it gonna take to get this little charmer to play wide? I just assumed that a cast this packed with stars would guarantee it a wide ride, but I guess I'm wrong yet again. I suppose that means I'll have to watch Will Smith and his dog walk around for a couple of hours, but I can't really say I'm looking forward to it.

I have a feeling "Walk Hard" might just make a sixth entry to this list, but that's the top five for now (and that means the very funny "Knocked Up" just missed the cut.) As for the rest of the Golden Globe nominations, I could have predicted that my favorite, "Ratatouille," wouldn't be able to make it out of the animated movie ghetto, but there's another, bigger snub that just can't go without mention.

I had to read the list three times to make sure I hadn't missed what must surely be the multiple mentions of "Into the Wild." I had my qualms with the story of Christopher McCandless as told by Sean Penn, but there's no denying it's one of the most powerful movies of 2007, and yet beyond two deserved nominations for Eddie Vedder's songs it was just royally snubbed.

Now, I haven't seen "Atonement," "The Great Debaters" or "There Will Be Blood" (though I'm certainly hyped to do so soon), but how in the world could you have seven nominees for Best Motion Picture - Drama (the other four were "American Gangster," "Eastern Promises," "Michael Clayton" and "No Country for Old Men") and not include "Into the Wild"? Sheesh.

I certainly also would put Emile Hirsch in the top five for Best Actor - Drama (the anointed five are George Clooney, "Michael Clayton," Daniel Day-Lewis, "There Will Be Blood," James McAvoy, "Atonement," Viggo Mortensen, "Eastern Promises" and Denzel Washington, "American Gangster".) His portrayal of McCandless was close to extraordinary.

Much more disturbing was the omission of Hal Holbrook from the Best Supporting Actor category (the big five are Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford," Javier Bardem, "No Country for Old Men," Philip Seymour Hoffman, "Charlie Wilson's War," John Travolta, "Hairspray" and Tom Wilkinson, "Michael Clayton") I can see the merit in all of these except for Travolta's turn in the fat suit (which I didn't see since, having already seen "Hairspray" in two very satisfying formats, I saw no reason to see it re-created once again), but Holbrook's performance was just on a whole other level. If the definition of supporting actor is the person who has the most impact on a movie in a short period of time, then no one fits this better than Holbrook as Ron Franz, the wizened gent who made a last-ditch but ultimately unsuccessful attempt to save McCandless from himself (I don't cry at the movies very often at all, but that moment got me, which says quite a bit.)

But, enough about that. I'm off to see "I Am Legend," and hoping that I'm wrong about how much it's going to suck. Have a perfectly enjoyable weekend.

2007's best soundtrack, and a serious Oscar snub

When I found this morning that the Oscar short list of 59 original songs had been released I was at least a little excited. I love music almost as much as I do movies, and when they come together perfectly it's just sublime entertainment.

Before reading the list, I just assumed there would be at least one song from easily my favorite soundtrack of the year, but I was once again disappointed (we'll get to more about that in just a little bit.)

To be fair, there are some genuinely good selections that did make the list. Kate Bush's "Lyra," which plays over the closing credits of "The Golden Compass," is a haunting tune that will surely be in the final five or so (and, really, isn't any new Kate Bush music at all just a reason to cheer?) There are also three of Eddie Vedder's great songs from "Into the Wild" ("Society," "Guaranteed" and "Rise"), one from John Sayles' "Honeydripper ("China Doll"), and two from John Carney's simply sublime "Once" ("Falling Slowly," the better of the two, and "If You Want Me").

But, of course, among these great tunes you get plenty of silliness, including three (three!?!?) songs from "Good Luck Chuck" and something called "The Tale of the Horny Frog" from "The Heartbreak Kid." Now, I didn't bother to see that Ben Stiller flick, but I can't imagine anything with that title is exactly poetry.

And what they snubbed completely was anything from my favorite soundtrack of the year (with the one for the Joe Strummer doco "The Future is Unwritten" a close second), Loudon Wainwright III's "Strange Weirdos: Music from and Inspired by the Film 'Knocked Up'."

Along with being a slyly funny folkie, Wainwright has been a regular fixture in Judd Apatow's movies and TV shows. In "Knocked Up," he was the obstetrician who flaked out on Heigl and Rogen on delivery day, and he was even better in a bigger role as Jay Baruchel's dorky dad on the much-too-shortlived TV show "Undeclared."

For the soundtrack (which you can buy track-by-track for .89 cents a cut at Amazon), the songs perfectly match the tone of the movie, ranging from bitterly funny ("Grey in LA") to almost-too-sappy ("Daughter.") Except for two songs from Joe Henry, this is all Wainwright, and I assure you it contains at least 10 songs that could have been among the 59 being considered for an Oscar.

To read the entire list of Oscar contenders, click here.

Pedro Almodovar's back in a noir mood

I need to get a job where I can just pick up the phone and get Penelope Cruz on the other end and have her do whatever I want (nothing terribly dirty implied there, I promise.)

Spanish director Pedro Almodovar seems to have that power, and I'd certainly say he's earned it by now. For their next collaboration, Almodovar and Cruz will be making "Los Abrazos Rotos" (if anyone can translate that for me, please do), which the director describes as a "four-way tale of amour fou, shot in the style of '50s American film noir at its most hard-boiled." Sounds like tons of Almodovar fun to me.

Almodovar regulars Blanca Portillo (from "Volver") and Lluis Homar (from "Mala Educacion") will co-star.

According to the director, "Abrazos," which will go into production this spring, is set in the '90s and present day, and will mix stylistic references to films such as Nicholas Ray's "In a Lonely Place" and Vincente Minnelli's "The Bad and the Beautiful" with signature Almodovar themes: "Fate, the mystery of creation, guilt, unscrupulous power, the eternal search of fathers for sons, and sons for fathers."

"Penelope (Cruz) will exchange the era's aprons, cardigans and the hairdos for an updated look, but one that mixes the transparent turbulence of Gene Tierney and the mistreated, challenging beauty of Linda Darnell in Otto Preminger's 'Fallen Angel,' " Almodovar told Variety.

I adored Todd Haynes' ode to '50s-style melodrama with "Far from Heaven," so I'll certainly be keeping my eyes on this to see what Pedro and Penelope can do with an even darker approach.

Eva Cassidy biopic in the works

Always-welcome visitor Nell Minow left a comment yesterday to say that "Walk Hard," Jake Kasdan's upcoming spoof of music biopics starring John C. Reilly, is a real winner that will keep everyone constantly laughing. I certainly hope I agree when I get to see it next week, because this is indeed a genre worthy of sendup.

Which doesn't mean I won't see any more music biopics. I'd certainly spring for Spike Lee's take on the life of James Brown, if he ever gets around to it, and word came today that one of my favorite artists of all time is about to get the cinematic treatment thanks to some very devoted fans.

The story of Eva Cassidy is indeed a real American tragedy. Anyone who spent any time in Washington D.C. in the '90s is probably at least a little familiar with the story of this blues/jazz singer who never received the acclaim she deserved until after her death from melanoma at the way-too-young age of 33.

It was her version of "Over the Rainbow" from the posthumous collection "Songbird" that brought her fame, especially in Europe. And now, AIR Prods., which this year produced director Amy Redford's "The Guitar" (which I have not yet seen), is going to make a movie about her much-too-short life.

This is certainly good news, at least to me, and since I firmly believe that even the worst day imaginable can be made a little better with a dose of Eva Cassidy, here's a YouTube clip of her performing "Cheek to Cheek" live at D.C.'s Blues Alley. If this doesn't bring a smile to your face, well, I'd just have to imagine you simply don't smile often enough. Peace out.

An animated Best Picture: Why in the world not?

Allow me to warn you now: Though I won't mention it every day, this marks the beginning of my own personal campaign, just in case anyone's listening, to get a Best Picture Oscar nomination for Brad Bird's "Ratatouille." Not Best Animated Picture (which, with "Persepolis" out there it might not even win anyway), but the best darn movie of the year.

Before we delve into the history, let's take a look at this year. Personally, I have four of the five slots filled for what I consider to be the best movies of this year: "No Country for Old Men," "Juno" (which I just gushed about yesterday, if you care to scroll back), "American Gangster" and, yes, "Ratatouille."

It's all open for the fifth slot, with two strong contenders up this week (and not "The Golden Compass," though I am hoping that one doesn't somehow just suck): Mira Nair's "The Namesake," which I'm expecting to get from the Netflix today, and Jon Carney's "Once," which is being screened this Sunday at the Douglass Theater by the Macon Film Guild (so be there!). Still to come with high hopes are "I'm Not There," "There Will Be Blood" and perhaps a few other surprises.

But, of course, this is all about the charms of "Ratatouille." For perspective, here's what I had to say shortly after watching it for the first time:

"Ratatouille," the story of Remy, the rat who just wants to cook, is much more "Babe: Pig in the City" than "Babe" in tenor and tone. And that's just fine by me. ...

But then, and in wonderfully abrupt fashion, director Brad Bird injects "Ratatouille" with another element we've been missing in animated flicks for a long time: Magic. I had seen the best nine minutes of "Ratatouille" beforehand on YouTube, but that still didn't take away from the thrill of discovery when Remy first scampers up the rooftop to find Paris in front of him. It's a vista that would make Hayao Miyazaki smile broadly. ...

And next, from when he's looking down on the kitchen at Gustave's with his guardian angel, the late Gustave (Brad Garrett), to when he falls through the window and lands in the chaotic kitchen's sink, it's as exhilarating as any animated sequence since "Fantasia." And no, I'm not exaggerating here; it's just that good. ...

So, in the end, how good is "Ratatouille"? Well, Brad Bird directed my single favorite animated flick in "The Iron Giant," and I have a strong feeling that, once I see "Ratatouille" a few more times, it will hold almost as lofty a place in my heart. If you haven't seen it, do so right away. ...

Very high praise, I concede, but having watched it twice now I stand by every word, and would only add that Peter O'Toole as the dour food critic Anton Ego is thoroughly deserving of a Best Supporting Actor nomination (though the award should just be given now to Hal Holbrook for his incredible work in "Into the Wild.")

And let me just state for the record that anyone who doesn't think "cartoons" are worthy of such high praise just watches movies in an entirely different way from me, and I dare say doesn't get nearly as much enjoyment from them as I do. "Ratatouille" is both entertainment and art of the highest order. 'Nuff said.

There have been two animated Best Picture contenders in the past, and a third that certainly should have been in the game.

In 1992, the nominees were: "Beauty and the Beast," "Bugsy," "JFK," "The Prince of Tides" and "Silence of the Lambs." Though "Silence" was a darn fine flick, I was rooting for "Beauty and the Beast" to win in this era before animated movies even had their own category.

In 1996, we had "Apollo 13," "Babe," "Braveheart," "Il Postino" and "Sense and Sensibility." Though winner "Braveheart" certainly had its visceral charms, "Il Postino," "Sense and Sensibility" and, yes, "Babe" were all better movies. I understand that "Babe" is just too sappy for many people, but it remains one of my favorite flicks, and would have been a worthy Oscar winner.

And, in 2005, a strong year for movies, Brad Bird's "The Incredibles" certainly should have been a contender. The nominees were "The Aviator," "Finding Neverland" (wtf!), "Million Dollar Baby," "Ray" and "Sideways." I would have taken "The Aviator" off of that list (certainly at least over winner "Million Dollar Baby"), but would still submit that Bird's flick was better than any of them.

So, will "Ratatouille" get the same shaft? The short answer is probably, but I'm still hoping it backs in to at least get nominated for Best Picture. It's got my vote, which, as far as I know, doesn't yet count for too much at all.

An early contender for favorite movie of 2008?

When I first saw the preview for Michel Gondry's "Be Kind Rewind" on the big screen (in front of "Margot at the Wedding," I believe), it just made me smile and laugh from start to finish. I'm a little skeptical still that they can sustain the gag - Jack Black and Mos Def (huzzah!) remaking all the movies at a video store after the tapes get "magnetized" and erased - for an entire movie. But it's clear that Gondry just loves making movies, and it looks like this flick is infused with that spirit. Here's the poster (click to view much larger) for what should be a very fun flick, set to come out, I think, in January. Enjoy, and have an entirely bearable Tuesday.

Awards season already? Get in the Spirit

It does seem awfully early for this, but two groups have just launched the opening salvos in kudos season, with the Spirit Awards announcing its nominations and the Gothams simply skipping right to the winners.

My first thought in looking at the Spirit Best Feature nominees was a bit of depression that I haven't actually seen any of them, but that will change soon with a trip to NYC set for the end of the year. My next two thoughts were "how in the world did 'A Mighty Heart' end up here?" and then "Juno," a movie which I've plugged rather shamelessly here for what seems like three years, will probably be the winner, if Todd Haynes isn't crowned the king.

Of the movies I have seen, I'm really happy to see the love for "Rocket Science," easily one of my favorite movies of 2007. Jeffrey Blitz certainly deserves the directing recognition, and Anna Kendrick is a worthy nominee for best supporting actress (though I'd imagine Jennifer Jason Leigh, who more than holds her own against Nicole Kidman in "Margot at the Wedding," will take this one home.) And, of course, huzzah to the nomination of the late Adrienne Shelly for her screenplay for the simply enchanting "Waitress."

And finally, though I passed up the opportunity to do so when I first saw it, let me be a very much minority voice of dissent in opposition to Michael Moore's "Sicko" (which doesn't appear until the Gothams segment, but bear with me.) I've been a Moore supporter from the beginning, but this was, to me, probably his worst movie. If he had spent a lot less time gallivanting around Europe to brag about their free health care and instead focused on the very real problem of Americans who do have some form of insurance and yet routinely get denied care, he would have made a much more powerful film.

But enough venting from me. Here are the Spirit nomination highlights, and you can read the whole list here:

FEATURE
"The Diving Bell and the Butterfly" - Producers: Kathleen Kennedy, Jon Kilik
"I’m Not There" - Producers: Christine Vachon, John Sloss, John Goldwyn, James D. Stern
"Juno" - Producers: Lianne Halfon, John Malkovich, Mason Novick, Russell Smith
"A Mighty Heart" - Producers: Dede Gardner, Andrew Eaton, Brad Pitt
"Paranoid Park" - Producers: Neil Kopp, David Cress

FIRST FEATURE
"2 Days in Paris" - Director: Julie Delpy; Producers: Julie Delpy, Christophe Mazodier, Thierry Potok
"Great World of Sound" - Director: Craig Zobel; Producers: Melissa Palmer, David Gordon Green, Richard Wright, Craig Zobel
"The Lookout" - Director: Scott Frank; Producers: Roger Birnbaum, Gary Barber, Laurence Mark, Walter Parkes
"Rocket Science" - Director: Jeffrey Blitz; Producers: Effie T. Brown, Sean Welch
"Vanaja" - Director: Rajnesh Domalpalli; Producer: Latha R. Domalapalli

DIRECTOR
Todd Haynes - "I’m Not There"
Tamara Jenkins - "The Savages"
Jason Reitman - "Juno"
Julian Schnabel - "The Diving Bell and the Butterfly"
Gus Van Sant - "Paranoid Park"

MALE LEAD
Pedro Castaneda - "August Evening"
Don Cheadle - "Talk To Me"
Philip Seymour Hoffman - "The Savages"
Frank Langella - "Starting Out in the Evening"
Tony Leung - "Lust, Caution"

FEMALE LEAD
Angelina Jolie - "A Mighty Heart"
Sienna Miller - "Interview"
Ellen Page - "Juno"
Parker Posey - "Broken English"
Tang Wei - "Lust, Caution"

SUPPORTING MALE
Chiwetel Ejiofor - "Talk To Me"
Marcus Carl Franklin - "I’m Not There"
Kene Holliday - "Great World of Sound"
Irrfan Khan - "The Namesake"
Steve Zahn - "Rescue Dawn"

SUPPORTING FEMALE
Cate Blanchett - "I’m Not There"
Anna Kendrick - "Rocket Science"
Jennifer Jason Leigh - "Margot at the Wedding"
Tamara Podemski - "Four Sheets to the Wind"
Marisa Tomei - "Before the Devil Knows You’re Dead"

SCREENPLAY
Ronald Harwood - "The Diving Bell and the Butterfly"
Tamara Jenkins - "The Savages"
Fred Parnes & Andrew Wagner - "Starting Out in the Evening"
Adrienne Shelly - "Waitress"
Mike White - "Year of the Dog"

FIRST SCREENPLAY
Jeffrey Blitz - "Rocket Science"
Zoe Cassavetes - "Broken English"
Diablo Cody - "Juno"
Kelly Masterson - "Before the Devil Knows You’re Dead"
John Orloff - "A Mighty Heart"

DOCUMENTARY
"Crazy Love" - Director: Dan Klores
"Lake of Fire" - Director: Tony Kaye
"Manufactured Landscapes" - Director: Jennifer Baichwal
"The Monastery" - Director: Pernille Rose Grønkjær
"The Prisoner or: How I Planned to Kill Tony Blair" - Directors: Petra Epperlein & Michael Tucker

'Into the Wild' tops Gotham Awards

Though I stand by my difficulties with the character of Christopher McCandless (in a fit of pique, I believe I called him a spoiled brat), I'm still very happy to see Sean Penn's ambitious and very challenging movie getting awards season love.

"Into the Wild" won best feature honors Tuesday at the 17th Gotham Awards.
The Gothams, given by the Independent Feature Project, go to winners in six categories. "Sicko," which I lashed into a bit earlier, took home the doco prize.

The ensemble cast award was shared by "Talk to Me" and "Before the Devil Knows You're Dead." The latter, by the way, was a flick I just really couldn't get into, though it is indeed packed with top-shelf actors at the top of their game (and a very welcome return by Marisa Tomei too.)

Ellen Page, in what will hopefully be her launching pad to a best actress Oscar nomination, won for breakthrough actor in "Juno." Breakthrough director honors went to Craig Zobel for "Great World of Sound." "Frownland" won the cheekily named award, Best Film Not Playing at a Theater Near You.

Six already-announced tributes were handed out to Roger Ebert, Javier Bardem, Mira Nair (huzzah!!!), production designer Mark Friedberg, IFC Entertainment president Jonathan Sehring and New York mayor Michael Bloomberg.

Has Scorsese finally picked his next movie?

After spending a little down time (and why not?) chumming around with the Rolling Stones, it seems Martin Scorsese's finally ready to commit to his next feature film.

I was hoping he would turn to the children's novel "The Invention of Hugo Cabret," which is rapidly moving up my to-read list (Jonathan Safran Foer's "Everything Is Illuminated" is my current read), but I suppose you can't go too wrong in tapping the work of Dennis Lehane. Leonardo DiCaprio (shocker!) and now Mark Ruffalo are set to star in Scorsese's "Shutter Island," based on Lehane's 2004 novel.

Ruffalo will play U.S. Marshal Chuck Aule, who travels with his new partner (DiCaprio) to the Massachusetts island in 1954. As they investigate the disappearance of a patient from a hospital for the criminally insane, they encounter a web of lies, a hurricane and a deadly inmate riot that leaves them trapped on the island.

Sounds like uber-cool stuff to me, and it's certainly nice to see Mr. Scorsese finally working again.

A banner week on DVD:

The Namesake: I was hoping the Macon Film Guild would make this Mira Nair movie its December selection (but "Once," showing Dec. 9 at the Douglass Theatre, is certainly a worthy choice too) so I would get to see it on the big screen, but at least I can finally see it at all on DVD. It seems like this came out in theaters years ago, and I simply adore Mira Nair, so the first thing I'm doing after finishing this is moving her to the top of my Netflix queue.

Waitress: As I start to think about which 10 movies might make it into my Best of 2007 list, I've thought a lot about this sweet little movie from Adrienne Shelly. Sure, it's lighter than air, but you get Felicity, Sheriff Andy and Captain Mal in this bittersweet romance, so how much more can you really ask for?

Bender's Big Score This is the first of what will be a fairly remarkable four movies based on the late but much-loved (especially by me) TV show "Futurama." Planet Express is threatened with a hostile takeover and Bender falls into the hands of criminals who use him to fulfill their schemes.

Paprika: I'm a sucker for intelligent animated movies made for adults, so this one is a natural. As far as I can tell, the wild plot centers on a machine that allows therapists to read people's dreams, and what happens after it gets stolen.

Indy's not really all that old

Well, maybe he is, but judging from this photo of Harrison Ford and Shia LaBoeuf on the set of "Indiana Jones and the Kingdom of the Crystal Skull" he's at least not yet approaching embarrassing himself like Stallone soon will in yet another "Rambo" movie. You can count "Indy" as the blockbuster I'm most excited for next summer, even more so than "The Dark Knight." Enjoy, and have an entirely bearable Wednesday.

Into the Wild: A hard way to go

I really wanted to love "Into the Wild," and I did like it, but there was one central obstacle at its core that kept me from fully embracing the movie: Christopher McCandless, for all the lionization he received from Sean Penn in this often visually stunning movie, was, in my view, a spoiled and extremely selfish brat.

Now, I concede that that has as much to do with me as the movie itself, but it is a major drawback when you can't get past the gnawing feeling that this kid who's smiling back at you during his cross-country journey is as much a smug bastard as he is simply a misguided youth. Now, I understand that young Mr. McCandless didn't do anything at all criminal, but I couldn't help but get a similarly creeped-out sensation as to the one I had while watching "Capturing the Friedmans." That movie, however, lingered with me for a long time, and I know that Sean Penn's challenging film will too.

In order to continue what is quickly developing into a tirade, but which I assure you will eventually get to the many charms of this flick, I'm just going to have to assume that you have either seen it or are at least a little familiar with the story of the West Virginia native who turned into an ill-fated modern-day Thoreau. If you haven't seen it and want to, and I do encourage everyone to do so, you only have until Thursday to do it in Macon.

So, why did I have so much trouble watching young Mr. McCandless disintegrate on-screen? After all, I like to think I have a little wanderlust left in my soul. I have every intention of returning to South Africa for the 2010 World Cup, for example.

I guess I turned on our hero so early in this movie when he dismissed so quickly the accomplishment of graduating from Emory University, something his parents must surely have contributed to at least financially in some form. In short order he gives away all his money, burns all his identification and sets out across the country, leaving behind all the people who loved him. Now, as Penn lays out and, since they cooperated with the movie, I have to assume is true, his parents were a bad match from the start who passed many of their issues on to their offspring. But he also left behind a sister who clearly loved him unconditionally, and her narration in the film gives it much of its emotional wallop.

OK, enough about our (for me, at least anti-) hero. What about the movie itself? Well, for someone who supposedly hates America, Penn has constructed, in McCandless' journey, a visual valentine to this country. And the many people who try and reach out to McCandless, played with determination by Emile Hirsch, are almost universally full of love and the will to stop him from completing his journey to oblivion.

In vision and tone, it is certainly a big step forward for Penn as a director. Like Terrence Malick with thankfully more appreciation for the story he is telling, he clearly has enough love of nature's beauty to give us a sense, no matter how misguided he was, of what would drive McCandless to do this.

And the people he meets are all colorful characters played with style by actors I love. It makes it all that much harder watching the great Catherine Keener, as a hippie living in Slab City when she's not motoring around with hubby (at least, I think they were married) Rainey, played by Brian Dierker (apparently a ski shop owner making his first movie appearance.) To watch her unburden all her troubles to McCandless (who calls himself Alexander Supertramp for much of the movie) and to hear him then later talk about how meaningless human ties are was just painful to watch.

But the real gut shot comes near the end as Hal Holbrook, like you've never seen him before, makes a last-ditch effort to save McCandless. It's in this final, and yes, I'll say it, transcendent, chapter of McCandless' life that Penn's movie is at its strongest. Extreme spoiler alert: Don't read this sentence if you haven't seen the movie: Seeing McCandless slowly write out the lesson he should have learned well before his pretty pathetic end was the first thing that - yes, I'll admit it - made me cry a little during a movie this year. Hal Holbrook should start preparing his Supporting Actor Oscar speech now.

In summary of a review/rant that turned out much longer than I originally intended, Sean Penn's often-great movie lays out the journey of a truly troubled soul and lets you make your own decision (as I clearly did) about his choices. It's a challenging movie, and one I encourage everyone to experience in its big-screen beauty while you still can.

A great movie weekend in Macon

I realize that means it's at least as great a movie weekend everywhere else too, but a surprise, belated entry has me particularly psyched about the offerings in my little corner of the world.

So, in chronological order, here's what I'll be watching (except maybe the last one) and, if you check back throughout the weekend, I promise, reviewing here:

1. Bee Movie
This isn't the movie I most want to see this weekend, but due to the fact that it's playing on a gazillion screens it's the easiest one to catch before I have to go work today. I think I'd be more excited for this one if we hadn't been inundated with those "Dol-Bee" ads for what seems like three years now. After all, Jerry Seinfeld is a savagely funny guy, and it's much easier to get amped for animation when there's not a glut of it on the big screen, so here's hoping this sucks a lot less than I'm fearing.

2. American Gangster
Until I saw how few screens it's getting at my multiplex, due surely to it's length, among other factors, I was sure this would be the big winner at the box office this weekend. Denzel, Russell and gangsters ... what could be better? For my money, very little. I actually managed to do my senior thesis at Catholic University for a class in political film on something along the lines of "The Social Ramifications and Parallels of Early Gangster Films," which, even though I worked quite hard on it, always felt like a bit of a con. The reviews I've seen so far say this is a pretty by-the-numbers gangster flick, but I still suspect I'm gonna like it a lot.

3. Into the Wild
And here's the wild card late entry, and a flick that many readers of this site have been urging me to see for some time now. My father rather unintentionally spoiled the end of this one for me, which I would be more upset about if every review I've read since hadn't done the same thing. Jon Krakauer's "Under the Banner of Heaven" is one of the best books I've ever read, so I'm sure he delivered a rousing tale here about Christopher McCandless' trip down Thoreau's path, and by all accounts Sean Penn put a stirring visual cherry on top, so count me very psyched for this one too.

4. Across the Universe
I'll definitely need some persuading to drive a half hour to see this one in Centerville. I just love the Beatles far too much to see their songs sung by the likes of Eddie Izzard and, God forbid, Bono. If you've seen this one and there's something to recommend it that I'm just missing, please feel free to let me know.

And there you have it. A busy weekend for me at the movies. Here's hoping you have at least a fairly great one too.