David O'Connell2009: SCREEN FANATIC YEAR IN REVIEW
December 30th 2009 07:18
It’s always an onerous, and possibly futile – not to mention frustrating - task putting together a summary of the cinematic year. It’s all subjective and prone to holes created by the glaring omission of films we’ve been unable to catch for whatever reason during the year. Still, any self-respecting film critic, despite despising his or her duty, must fulfil it nonetheless!
Anyway, for better or worse I’ll push on, beginning with my favourite 20 films of the year. Three of my top picks can also be seen lingering in the upper reaches of 20/20 Filmsight’s elite countdown of the year’s finest, as compiled by Matt Shea here.
1. A SERIOUS MAN (d. Joel Coen, Ethan Coen): In the Coen brothers' latest, they perform another startling about-turn after the silly romp of Burn After Reading, delving back into a realm of existential angst most effectively witnessed in their early masterpiece Barton Fink (1991). Here, a single man’s life plunges into the abyss of everyday turmoil that seems to mount with some sinister celestial intent. Bad things happen to good people, but don't ask why: the answer may be all that is contained in the howl of a wind that reduces your life to rubble.
2. BRONSON (d. Nicolas Winding Refn): An insanely brilliant performance-piece of sorts for actor Tom Hardy who transforms into a cyclonic force of nature otherwise known as Britain’s most outlandish and hardened criminal, 'Charles Bronson'. A tour-de-force and star making turn, it also pinpointed the exactitude of Refn’s unique vision for this most audacious of biopics, somehow making the low-budget a virtue that enhanced his creative process.
3. LAST RIDE (d. Glendyn Ivin): Ivin’s first feature was my favourite Australian film of the year. A bleak road trip that painfully soldered the lives of an irresolute father and his reluctant son together - to its breaking point and beyond. Ivin made great use of locations whilst eliciting stunning performances from Hugo Weaving and youngster Tom Russell.
4. AN EDUCATION (d. Lone Scherfig): This will undoubtedly prove to be a career kickstarter for Carey Mulligan and featured possibly the finest screenplay of the year from Nick Hornby; by turns moving, whimsical, wise and gut-bustingly funny, it was the perfect crowd-pleaser with hardly a false note from its great support cast, especially Alfred Molina.
5. REVOLUTIONARY ROAD (d. Sam Mendes): This seems like a long time ago now but it was one of the early highlights of the year despite being a 2008 release in the States. As bleak as they come, Mendes somehow did Richard Yates’ novel perfect justice whilst bringing the stars of Titanic together for another collision with an iceberg of a very different sort, one that would leave deep physchological wounds for its characters and audience alike. Powerful and haunting, it remains as vivid nearly a year later.
6. KATALIN VARGA (d. Peter Strickland): One of my absolute favourites from this year’s Melbourne International Film Festival, this tale of revenge from Romania (made by a ex-pat Brit) is a stunning manipulation, making the most daring use of sound and nature to elevate its atmospheric arc into something that haunts like nothing else I saw this year. It’s an untainted mood piece, brilliantly and admirably realised considering its low-budget and elongated, torturous path to the big screen – an ordeal that could form the basis of a film in its own right. Faetures a magnificent central performance from Hilda Peter.
7. THE HURT LOCKER (d. Kathryn Bigelow): After years of stylish, thoughtful but neglected work, Bigelow finally earns her breakthrough with a gritty, sweaty-palm ride into the lives of a squad of men who must assess and dispose of bombs. Whilst ramping the tension to unbearable levels in its set-pieces, time is admirably put aside to delve into the human stories that really propel the narrative along its painstaking path.
8. BREATHLESS (d. Yang Ik-joon): How do you compare this to anything else from South Korea? Yang provides a stunning turn in what amounts to a searing, one-man show, brutally cutting through the jagged surfaces of a criminal’s professional and personal lives. Though not to all tastes, this profane, debauched but unforgettable film may one day be regarded as a landmark work.
9. MOON (d. Duncan Jones): Actually improves the second time around as I found out this week. Sam Rockwell is sublimely good, the direction likewise. Bruises both the mind and heart against all expectations. I summarised it in the 20/20 summary.
10. AVATAR (d. James Cameron): Sneaks into the top 10! The ‘event’ film of the decade actually delivers on the level of pure spectacle if nothing else. Part of me wanted to hate it but I was hooked from very early on and its spell kept me entranced until the credits rolled.
THE NEXT TEN:
11. SAMSON AND DELILAH (d. Warwick Thornton): Hard to watch at times with its repetitious surrender to the helplessness of lives suppressed by both internal and external factors. But it’s a brave, healing journey into Australia’s heart of darkness and one of the year’s finest.
12. APPALOOSA (d. Ed Harris): A laconic, laid-back western from the old school but held together by the bewitching force of its two central performances from Harris and Viggo Mortensen. Admirably low-key, it may flirt with genre conventions but what it boils down to is a powerful tale of friendship that lingers in the mind long after, conjuring a bygone era with real affection and exquisite attention to detail in its craft.
13. VAN DIEMEN’S LAND (d. Jonathan Auf der Heide): Expanding upon his original short film, Auf der Heide’s brutal but bloodless first feature is a fascinating and gruelling glimpse into Australian history. Though it may take liberties with the truth, it makes for compelling subject matter as men battle demons in nature and within as their futile quest for liberty pares back their numbers like a fast-moving cancer. The greatest cannibal tale of them all?
14. DISTRICT 9 (d. Neil Blomkamp): Slick, thought-provoking and inventive, Blomkamp’s sci-fi/action classic is only let down by its glaringly awful support cast, though Sharlto Copley more than makes up for those deficiencies.
15. BALIBO (d. Robert Connelly): A politically-charged drama that sheds light on a powerful untold story of Australian journalists dying for their convictions overseas. Anthony LaPaglia and Oscar Isaac shine as the cross-cutting between two time strands counts down to heart-breakingly painful resolutions.
16. THE DAMNED UNITED (d. Tom Hooper): Far from heavyweight drama but I couldn’t get enough of Michael Sheen as the charismatic Brian Clough whose hubris brings about his downfall during a short but storied term in charge of Leeds United.
17. LAKE MUNGO (d. Joel Anderson): Creepy, convincing and cleverly constructed, this inventive low-budget debut is panels ahead of something like Paranormal Activity which is probably its closest recent relation. Another excellent Australian breakthrough – and prepare yourself for the scariest moment of the year late in the film!
18. TWO LOVERS (d. James Gray): A director who could do nothing wrong in my eyes – well, until seeing We Own the Night. But this simple, yet moving drama may be his finest to date; it’s certainly Joaquin Phoenix’s best performance, all his excesses toned down to an immersive, believable pitch that will leave you spellbound. Gwyneth Paltrow has never been better either - but then again, has she ever been good?
19. NORTH (d. Rune Denstad Langlo): Another brilliant entry at MIFF 09, this deliriously twisted road movie from Norway was as funny as it was moving. Somehow it manages to be irreverent without neglecting the big heart that makes it tick and is exemplified by Anders Baasmo Christiansen's lead performance. Its snowy backdrops made for some eye-popping visuals too.
20. THE LOVELY BONES (d. Peter Jackson): A strangely haunting mix of the sinister and the other-worldly, much will depend of your suspension of disbelief – or maybe the strength of your belief in another plane of existence beyond this one. Some of the peripheral characters are either ludicrous, severely underwritten or both, and Mark Wahlberg isn’t used to best advantage, but the brilliance of Jackson’s direction, and the exceptional performances of Saoirse Ronan and Stanley Tucci make this a compelling, and strangely haunting reminder of shockingly cut-short lives and the shattered pieces they leave behind.
IT CONTINUES…………….
ALSO WORTH MENTIONING:
The brilliant and seriously creepy second half of Henry Selick’s Coraline, which in 3D made for a visual treat only surpassed by Avatar.
The Julia Child half of Julia and Julia which really worked thanks to Meryl Streep’s extraordinary inhabitation of the famous cook.
The sensitively handled, heart-breaking conclusion of Marley and Me, which had me convinced a reservoir had broken free in my head!
The equally sensitive and respectful ceremonial scenes in Departures, which provided the most poetical moments of visual beauty for the year.
The early montage sequence in Up – and that other storybook moment near the end, you know the one I mean: the dam walls were struggling to hold their position again!
The pure simplicity of Wendy and Lucy, which sees a story about nothing really become a thing of momentous poignancy. (Do I dare mention the possibility of tears again whilst retaining hopes of credibility as a detached, objective observer?)
Also, Let the Right One In is technically a 2008 film, even though most Australians saw it this year after a Dec 26, 2008 release. If it had been held back a week, it would definitely have made my top 2 or 3. I’ll just have to relegate to my head of 08 list alongside Hunger.
GUILTY PLEASURES:
KNOWING: Alex Proyas’ latest isn’t in danger of usurping Dark City or The Crow from the top of his CV, but despite its lack of complexity and Nic Cage’s sleepwalking, I still found it to be a fun rollercoaster of a ride. The two major set pieces will be worth revisiting for years, and Marco Beltrami’s score is a beauty.
I LOVE YOU, MAN: Gets my vote for the funniest comedy of the year, with Paul Rudd and Jason Segel as two of the most likable lovable losers you’ll ever meet.
WORST OF THE YEAR:
Unquestionably OBSERVE AND REPORT which firmly entrenched itself at the top of the dungheap. Proudly claims to be a ‘dark’ comedy, but it’s so utterly moronic with the most irredeemable twats for characters and not a single believable scenario or line of dialogue in the entire film. Utter garbage. I want my free Foxtel Box Office movie back!
MOST OVERRATED:
Again, no contest: THE HANGOVER, which had even seemingly semi-intelligent people drooling over themselves in an effort to spread its gospel of hilarity. Did somebody slip me 90 minutes of discarded outtakes?!?!
MOST DISAPPOINTING:
Even though I’ve never read the WATCHMEN graphic novel, Zack Snyder’s film was a huge let-down, overburdened with such admittedly outlandish expectations of greatness. Though not explicitly bad, there were moments that flirted with trashy B-grade-ness and the characters were so generally detestable, or without merit at least, that I had a hard time caring about any of them. Hands down the best opening credits sequence of the year though.
AUSTRALIAN CINEMA:
The local industry thrived with a slew of much better than average films released this year. I had 5 in my top 20 favourites, but also liked Mary and Max, Acolytes, Beautiful and Disgrace to a lesser extent.
Anyway, for better or worse I’ll push on, beginning with my favourite 20 films of the year. Three of my top picks can also be seen lingering in the upper reaches of 20/20 Filmsight’s elite countdown of the year’s finest, as compiled by Matt Shea here.
1. A SERIOUS MAN (d. Joel Coen, Ethan Coen): In the Coen brothers' latest, they perform another startling about-turn after the silly romp of Burn After Reading, delving back into a realm of existential angst most effectively witnessed in their early masterpiece Barton Fink (1991). Here, a single man’s life plunges into the abyss of everyday turmoil that seems to mount with some sinister celestial intent. Bad things happen to good people, but don't ask why: the answer may be all that is contained in the howl of a wind that reduces your life to rubble.
2. BRONSON (d. Nicolas Winding Refn): An insanely brilliant performance-piece of sorts for actor Tom Hardy who transforms into a cyclonic force of nature otherwise known as Britain’s most outlandish and hardened criminal, 'Charles Bronson'. A tour-de-force and star making turn, it also pinpointed the exactitude of Refn’s unique vision for this most audacious of biopics, somehow making the low-budget a virtue that enhanced his creative process.
3. LAST RIDE (d. Glendyn Ivin): Ivin’s first feature was my favourite Australian film of the year. A bleak road trip that painfully soldered the lives of an irresolute father and his reluctant son together - to its breaking point and beyond. Ivin made great use of locations whilst eliciting stunning performances from Hugo Weaving and youngster Tom Russell.
4. AN EDUCATION (d. Lone Scherfig): This will undoubtedly prove to be a career kickstarter for Carey Mulligan and featured possibly the finest screenplay of the year from Nick Hornby; by turns moving, whimsical, wise and gut-bustingly funny, it was the perfect crowd-pleaser with hardly a false note from its great support cast, especially Alfred Molina.
5. REVOLUTIONARY ROAD (d. Sam Mendes): This seems like a long time ago now but it was one of the early highlights of the year despite being a 2008 release in the States. As bleak as they come, Mendes somehow did Richard Yates’ novel perfect justice whilst bringing the stars of Titanic together for another collision with an iceberg of a very different sort, one that would leave deep physchological wounds for its characters and audience alike. Powerful and haunting, it remains as vivid nearly a year later.
6. KATALIN VARGA (d. Peter Strickland): One of my absolute favourites from this year’s Melbourne International Film Festival, this tale of revenge from Romania (made by a ex-pat Brit) is a stunning manipulation, making the most daring use of sound and nature to elevate its atmospheric arc into something that haunts like nothing else I saw this year. It’s an untainted mood piece, brilliantly and admirably realised considering its low-budget and elongated, torturous path to the big screen – an ordeal that could form the basis of a film in its own right. Faetures a magnificent central performance from Hilda Peter.
7. THE HURT LOCKER (d. Kathryn Bigelow): After years of stylish, thoughtful but neglected work, Bigelow finally earns her breakthrough with a gritty, sweaty-palm ride into the lives of a squad of men who must assess and dispose of bombs. Whilst ramping the tension to unbearable levels in its set-pieces, time is admirably put aside to delve into the human stories that really propel the narrative along its painstaking path.
8. BREATHLESS (d. Yang Ik-joon): How do you compare this to anything else from South Korea? Yang provides a stunning turn in what amounts to a searing, one-man show, brutally cutting through the jagged surfaces of a criminal’s professional and personal lives. Though not to all tastes, this profane, debauched but unforgettable film may one day be regarded as a landmark work.
9. MOON (d. Duncan Jones): Actually improves the second time around as I found out this week. Sam Rockwell is sublimely good, the direction likewise. Bruises both the mind and heart against all expectations. I summarised it in the 20/20 summary.
10. AVATAR (d. James Cameron): Sneaks into the top 10! The ‘event’ film of the decade actually delivers on the level of pure spectacle if nothing else. Part of me wanted to hate it but I was hooked from very early on and its spell kept me entranced until the credits rolled.
THE NEXT TEN:
11. SAMSON AND DELILAH (d. Warwick Thornton): Hard to watch at times with its repetitious surrender to the helplessness of lives suppressed by both internal and external factors. But it’s a brave, healing journey into Australia’s heart of darkness and one of the year’s finest.
12. APPALOOSA (d. Ed Harris): A laconic, laid-back western from the old school but held together by the bewitching force of its two central performances from Harris and Viggo Mortensen. Admirably low-key, it may flirt with genre conventions but what it boils down to is a powerful tale of friendship that lingers in the mind long after, conjuring a bygone era with real affection and exquisite attention to detail in its craft.
13. VAN DIEMEN’S LAND (d. Jonathan Auf der Heide): Expanding upon his original short film, Auf der Heide’s brutal but bloodless first feature is a fascinating and gruelling glimpse into Australian history. Though it may take liberties with the truth, it makes for compelling subject matter as men battle demons in nature and within as their futile quest for liberty pares back their numbers like a fast-moving cancer. The greatest cannibal tale of them all?
14. DISTRICT 9 (d. Neil Blomkamp): Slick, thought-provoking and inventive, Blomkamp’s sci-fi/action classic is only let down by its glaringly awful support cast, though Sharlto Copley more than makes up for those deficiencies.
15. BALIBO (d. Robert Connelly): A politically-charged drama that sheds light on a powerful untold story of Australian journalists dying for their convictions overseas. Anthony LaPaglia and Oscar Isaac shine as the cross-cutting between two time strands counts down to heart-breakingly painful resolutions.
16. THE DAMNED UNITED (d. Tom Hooper): Far from heavyweight drama but I couldn’t get enough of Michael Sheen as the charismatic Brian Clough whose hubris brings about his downfall during a short but storied term in charge of Leeds United.
17. LAKE MUNGO (d. Joel Anderson): Creepy, convincing and cleverly constructed, this inventive low-budget debut is panels ahead of something like Paranormal Activity which is probably its closest recent relation. Another excellent Australian breakthrough – and prepare yourself for the scariest moment of the year late in the film!
18. TWO LOVERS (d. James Gray): A director who could do nothing wrong in my eyes – well, until seeing We Own the Night. But this simple, yet moving drama may be his finest to date; it’s certainly Joaquin Phoenix’s best performance, all his excesses toned down to an immersive, believable pitch that will leave you spellbound. Gwyneth Paltrow has never been better either - but then again, has she ever been good?
19. NORTH (d. Rune Denstad Langlo): Another brilliant entry at MIFF 09, this deliriously twisted road movie from Norway was as funny as it was moving. Somehow it manages to be irreverent without neglecting the big heart that makes it tick and is exemplified by Anders Baasmo Christiansen's lead performance. Its snowy backdrops made for some eye-popping visuals too.
20. THE LOVELY BONES (d. Peter Jackson): A strangely haunting mix of the sinister and the other-worldly, much will depend of your suspension of disbelief – or maybe the strength of your belief in another plane of existence beyond this one. Some of the peripheral characters are either ludicrous, severely underwritten or both, and Mark Wahlberg isn’t used to best advantage, but the brilliance of Jackson’s direction, and the exceptional performances of Saoirse Ronan and Stanley Tucci make this a compelling, and strangely haunting reminder of shockingly cut-short lives and the shattered pieces they leave behind.
IT CONTINUES…………….
ALSO WORTH MENTIONING:
The brilliant and seriously creepy second half of Henry Selick’s Coraline, which in 3D made for a visual treat only surpassed by Avatar.
The Julia Child half of Julia and Julia which really worked thanks to Meryl Streep’s extraordinary inhabitation of the famous cook.
The sensitively handled, heart-breaking conclusion of Marley and Me, which had me convinced a reservoir had broken free in my head!
The equally sensitive and respectful ceremonial scenes in Departures, which provided the most poetical moments of visual beauty for the year.
The early montage sequence in Up – and that other storybook moment near the end, you know the one I mean: the dam walls were struggling to hold their position again!
The pure simplicity of Wendy and Lucy, which sees a story about nothing really become a thing of momentous poignancy. (Do I dare mention the possibility of tears again whilst retaining hopes of credibility as a detached, objective observer?)
Also, Let the Right One In is technically a 2008 film, even though most Australians saw it this year after a Dec 26, 2008 release. If it had been held back a week, it would definitely have made my top 2 or 3. I’ll just have to relegate to my head of 08 list alongside Hunger.
GUILTY PLEASURES:
KNOWING: Alex Proyas’ latest isn’t in danger of usurping Dark City or The Crow from the top of his CV, but despite its lack of complexity and Nic Cage’s sleepwalking, I still found it to be a fun rollercoaster of a ride. The two major set pieces will be worth revisiting for years, and Marco Beltrami’s score is a beauty.
I LOVE YOU, MAN: Gets my vote for the funniest comedy of the year, with Paul Rudd and Jason Segel as two of the most likable lovable losers you’ll ever meet.
WORST OF THE YEAR:
Unquestionably OBSERVE AND REPORT which firmly entrenched itself at the top of the dungheap. Proudly claims to be a ‘dark’ comedy, but it’s so utterly moronic with the most irredeemable twats for characters and not a single believable scenario or line of dialogue in the entire film. Utter garbage. I want my free Foxtel Box Office movie back!
MOST OVERRATED:
Again, no contest: THE HANGOVER, which had even seemingly semi-intelligent people drooling over themselves in an effort to spread its gospel of hilarity. Did somebody slip me 90 minutes of discarded outtakes?!?!
MOST DISAPPOINTING:
Even though I’ve never read the WATCHMEN graphic novel, Zack Snyder’s film was a huge let-down, overburdened with such admittedly outlandish expectations of greatness. Though not explicitly bad, there were moments that flirted with trashy B-grade-ness and the characters were so generally detestable, or without merit at least, that I had a hard time caring about any of them. Hands down the best opening credits sequence of the year though.
AUSTRALIAN CINEMA:
The local industry thrived with a slew of much better than average films released this year. I had 5 in my top 20 favourites, but also liked Mary and Max, Acolytes, Beautiful and Disgrace to a lesser extent.
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Comment by Matt Shea
20/20 Filmsight
As for the Australian films, Balibo would probably be my pick for the year. It got a strangely lukewarm reception from the Aus critics and I couldn't understand why - I thought it was head and shoulders above some of the other local efforts that got the big thumbs up from the scribes. STILL need to see Samson and Delilah :-\.
Comment by David O'Connell
Screen Fanatic
Luckily, I bypassed Year One though I'm sure it would have been jostling with Observe and Report for the title!
Damn mate, you haven't seen Samson and Delilah yet!!??
Well, just to make you feel better, I openly admit to having missed 2 more strong contenders also - Beautiful Kate and Blessed.
Balibo is a fantastic film but Last Ride just really hit home with me.
I'm looking forward to a second viewing of all these great films produced here this year to see how they hold up.
Comment by Anonymous
Sampson and Delilah? Is this site being funded by some liberal arts program?
A Serious Man, that one got under the guard, didn't even know the evil twins were back in the game. After Barton Fink I have to see this one.
Interesting choices Dave and congrats on the past year. Without a doubt Australia's premiere movie reviewer.
Comment by David O'Connell
Screen Fanatic
Comment by Cinema Autopsy
I thought it only fair to now comment on your list and applaud your diverse and interesting choices. I'm actually pleased to see that we disagree on a handful of films as I was starting to feel a bit weird about how similar our tastes are! For a start, I actually really enjoyed The Hangover but do admit to being highly disturbed at the time by how much I liked it!
One thing - I'm 99% certain that Let the Right One In wasn't released in Australia until 2009 because I reviewed it on air and only started doing the show that I'm on last year. So I reckon you can count it in a 2009 list.
Thanks for the heads-up on Katalin Varga, Breathless, Appaloosa and North. I didn't see any of those films so will now track them down.
Cheers
Thomas
PS 2009 really did turn out to be quite a fantastic year for cinema.
Comment by David O'Connell
Screen Fanatic
Trust me, I feel very alone in my lack of love for The Hangover, I still can't find anyone who agrees with me!
It's so tricky with Let the Right One In as it is with a lot of those films released around Christmas/New Year. It's such a great film and I really wanted to include it but decided against it. I think my top five is now in need of sub-listings!
Those more obscure films - especially Katalin Varga and Breathless which are an acquired taste - are well worth checking out. I loved them all and I'm pretty sure you will too. I just hope they get a release over here on DVD at some stage or I'll be raiding Amazon to hunt for overseas releases!