The Best Films of 2005
THE BEST FILMS OF 2005 (That I saw)
Best of the year. I need half of 2006 to attempt to catch all the shit I missed last year, and I have missed a bunch. Alas, here's the list based on what I got to see. Due to some unknown fucking reason, I was unable to add photos to this, and became so goddamn frustrated by it's inability that I gave up for the night. Look for photos to be added at a later time to fill the large empty spaces. Besides, you're not here JUST for the pretty pictures, are ya?
11) Wallace and Gromit: The Curse of the Were-Rabbit
The "Pixar" award goes to Nick Park and his crew of Brittish funny-animators. Here's a family classic that appeals to the kids and has enough going on to keep the adults glued to the screen as well. I've been a W&G fan since I was a kid, and seeing magic like this on the big screen was a great time. In fact, one of the best theater experiences as a whole throughout 2005. Child free, near empty, and with a pretty lady to cuddle and laugh with. Perfect. This really is a great film, and one that shouldn't be forgotten come Oscar time, nor ignored by anyone who still thinks "cartoons are for kids." Fuck you, naysayer.
10) The 40 Year Old Virgin & The Baxter
Here's two different ends of the spectrum. First we have "The 40 Year Old Virgin," a mostly ad-libbed and improvised, broad comedy. Through an unusually long two hour running time, I very rarely went without laughing. This is a hilarious effort from the brilliant Judd Apatow, and showcases break out spots for Steve Carrell, Seth Rogan and Romany Malco to truly shine. Not only does it manage to be funny, it also becomes honest and sweet, and never does it shy into cheesy, tasteless romantic comedy bullshit. Not once, and that's partially due to Catherine Keener. And the "Alligator Fuckhouse." What could have been a mindless sex comedy became something more by trying to be something relatable, and Carrell worked wonders. On the other end, we have "The Baxter," which is extremely subtle and small. Michael Showalter, of the incredible "Wet Hot American Summer" and Comedy Central's show "Stella," has crafted together a wonderful concept about the "other guy" who is oft forgotten in romantic stories. While it may not have you rolling around instantly, lines will spring to mind later, and you'll want to watch it again. It's a sponge of a comedy that expands every time you watch it or talk about it due to the subtle innerworkings. You find many, many great things over time. Great performances from Michelle Williams and Justin Theroux seals the deal.
9) Cinderella Man
It's hard to get past being a sports movie. Try all as they might, sports films are traditional. Predictable, even. And while maybe they are passable exercises, and while they might not be bad by any means, sports deserve better. I fucking love sports. And so Peter Berg gave us "Friday Night Lights" last year to do that for football. Boxing deserves better, too. And so, boxing is given the gift of a great film now. Ron Howard has won acclaim in the past, but none more deserved than here. He directs with visual firepower, and showcases the best fights on film since "Raging Bull" blew everyone away. It's the performances that really make it shine, and that's thanks to Paul Giamatti and Russel Crowe. I don't even like Crowe, but I'll be damned if he didn't move me multiple times here. It's a feel good sports film, with a little more to it, and that's what got me. It's a shame this didn't get seen by more people, and it's a shame it'll go virtually unnoticed come award time. Or perhaps not. We shall see.
8) King Kong
Peter Jackson cements his status. Yes, it's overly long. Yes, it's full of some useless subplots. But it's a scope, and a vision, and it's a complete one. It's a solid one. Every once in a while, you see something that just enthralls you and keeps you glued down for the whole thing. This is one of those for me, and I saw all three hours of it at midnight while on four hours of sleep. That's saying something. It's huge, the effects are for the most part phenomenal, and the emotion between Naomi Watts and Andy Sirkis's motion captured ape is shockingly sweet and real. It's a theater experience, folks, and there really aren't many of these anymore. Catch it before it's gone.
7) A Bittersweet Life
Ji-woon Kim is an extremely interesting director from Korea, one of three that I've been enthralled by. Korean cinema has in the past few years turned from an industry on the verge of extinction into one of the best in the world. Kim nabbed a top spot on my list last year for "A Tale Of Two Sisters," a seriously creepy and twisted horror flick. Here he takes a simple premise and a formula that we've seen many times before, and churns out not only the most beautiful and glossy action film that I've ever seen, but something that transcends cliche. Seriously. These sets, the cinematography, and the use of light and color is simply magnificent. I've seen Hollywood productions that cost over a hundred million more that have never looked quite this good. It is matched evenly with Kim's sense of scope, and his magnificent eye for the unusual angle to give new perspective to something mundane. Like a hallway. Or a wall. The film starts with a deep proverbial message, which makes you want to dig deeper into the meaning. It LOOKS so fucking good that you're dying to find something else in it. But there isn't anything there. It's hollow, and that emptiness makes it all the more thought provoking. It is primarily a thriller, a revenge story, a love story, with some jaw dropping set pieces. The camera veers dangerously close to the fights, which are realistic, fast and brutal. They are shot and edited in a fashion which I have never seen before. It's hard to explain why I like this thing so much, but it taps into my every vein and infects me. I want to spread the infection. I'll let you borrow it as I haven't seen any plans for an American release thus far.
6) Kiss Kiss Bang Bang
Shane Black's snappy writing finally arrives in an unfiltered form, delivered the way he wrote it. He's been notoriously watered down in the past, giving way to some minor action classics like "Lethal Weapon" and my favie "The Long Kiss Goodnight." It also led to things like "Last Boy Scout" and "Last Action Hero," which only felt like interpretations of work shown through someone else's blurry glasses. Black is credited at one time to be the highest paid writer in Hollywood. It's a screenwriter's dream to get to adapt your own work, and he's really done it to perfection. It's modern day film noir, though self aware. And it's a black comedy. Warner really dropped the ball on this one. Haven't heard of the movie? That's why. Limited releasing and virtually no advertising, after a year of sitting on the shelf. With proper screenings and word of mouth, they could have had a modest hit on their hands. It's done so perfectly in tone, and with exceptional casting. Robert Downey Jr. Has returned from the dead, and it is welcome. I've always felt like he could be something fantastic if he just stopped fucking himself up. Also of great note is the gorgeous emergence of Michelle Monaghan, who we will undoubtely be seeing a lot more of very soon. Here's to the most quotable and hilarious film I've seen in a long time, and a film that doesn't ASK to be a cult classic...it's just made for it. Be sure to catch it on video in March, as I doubt you were one of the twelve that went to the theater.
5) Munich
Spielberg's latest Jewish opus. I mean that in the nicest way. Chock full of suspense, death and bloody good terrorism. Relevant and prevalent in today's world, in poses a lot of questions and gives very few answers. It doesn't choose sides or play favorites. It doesn't pander or show sympathy for terrorism...it simply presents ideas. It does so while also maintaining an atmosphere of dread, and levels of suspense that beg to ask how this might have really happened. Eric Bana is just electric! The guy lights up the screen every moment, with every icy glare. Why after so many tremendous performances, even in dreck like "Troy" and "The Hulk," that he isn't a household name is an utter mystery. Michael Lonsdale, Mathieu Kassovitz, Geoffrey Rush, and future Bond Daniel Craig throw in solid, and often smarmy, support work. This is an outstanding production for something thrown together so quickly. From production to screens in less than six months, and looking this good? Only Spielberg could do it. The script is a little meaty, but is a good first time effort for playwright Tony Kushner. And it's one of Spielberg's most shining moments throughout the overly long film. Bare in mind -- like most of Steven's recent flicks -- that if you can muster the strength to disregard the ending and you'll find that it was much better without it.
4) Grizzly Man
A portrait of insanity. A portrait of lost humanity. A nature document. A mockumentary with subtle comical undertones. A Herzog film. "Grizzly Man" is all of these things, and so much more. This one surprised me, as I don't often get involved in documentary work on a personal level. The way this came about, and how it's put together with Herzog's narration, creates feelings that are indescribable. It's hard to say more. I didn't see anything more interesting and bizarre in 2005. A portrait of great film.
3) Mysterious Skin
Alien abductions, male prostitutes and suppressed memories? Count me in! Greg Araki's other films have left me cold, bewildered, bothered -- generally just all around unimpressed. Surprisingly, he's grown up and made a real piece of work. Dramatically, there was no other American film that stuck with me quite as much as this one did, and not just in 2005. This is a keeper for the future. With very few likable or meaningful characters, it's a mystery how this works so well. It's the haunting storytelling, with a wonderful and tragic performance from Joseph Gordon-Levitt that certainly makes up for his god-awful turn as a wigger in "Havoc." Look for another great one from him coming this year in "Brick." Mark my words.
2) Oldboy
Park Chan-wook's Korean masterpiece that saw a release in 2005. Hell, I could include "Sympthy For Mr. Vengeance" as well if I really wanted to. This was my number one pick of 2004, so technically I'm cheating. Technically, I don't care. If I had been able to see something better this year, maybe it would have been bumped. Besides, nobody even saw my list last year. "Oldboy" is fucking amazing, and not just for the weird subject matter with some incestual undertones. Not just for the dark humor, and a memorable hallway fight using a balpine hammer. It's the experience. The whole package. For the first thirty minutes, you'll likely be completely confused and disoriented. The way it unfolds, and the level of your confusion, only manage to enhance the payoff, and I've never seen a picture do it quite like this. It's a tale of redemption and revenge, that starts from a mysterious fifteen year imprisonment, and that's all that anyone should hear about it before viewing. OH! There is a queasy octopus scene that you may also hear about. There is nothing like watching this film for the first time, completely unaware and uncompromised. It is trumped only by the unaware and uncompromised viewing of my #1 in terms of film experience. And so...
1) Lady Vengeance
Park Chan-wook is the best director working in film today. In any country, in any language. I will defend this up and down. While he may appear on the surface to be a one note filmmaker, dabbling in extreme violence and excess, dig deeper and you discover much more. A masterful storyteller, only four films into his career. MASTERFUL. Each film grows increasingly better. So much so that I fear he has already trumped himself, as this one is hard to top. For the first time ever, my list has two films from the same director in the top ten. In the top two spots, even. In a perfect world, we'd all get movies at the same time, no matter what country it's from. Unfortunately, that's not happening. So I have to settle for a bootleg from eBay. Yeah, it's not right. Yeah, I don't care. I got to see "Lady Vengeance" already, and you haven't. And it is magnificent. The final chapter of Park's trilogy of revenge films is the most dramatic and easily accessible, while also managing to be the most cruel and comical. The story is very unorthodox, while taking examples and ideas from revenge films of the past. The result is transcendent and glorious. What else? The cinematography with the giant, sprawling and sweeping shots. The gorgeous sets and unique editing techniques. The REAL snow falling. The epic symphony of a score. The grim, dazzling lighting. All this with an incredible revenge fable that unfolds unpredictably and in mesmerizing fashion. It's style with equal parts substance, and that's why it's my favorite film of 2005. Screw it if you don't like subtitles...Everyone with the stomach for some heavy violence, and the desire to see a true original, must see this in May when it sees a stateside release.
This was actually a tough list. The long story short? Other noteworthy things I saw in 2005: "Election" is another crime masterpiece by Johnny To that is needlessly and excessively brutal...In the best sense. "Batman Begins" reinvented a franchise so much that it actually managed to eclipse the original. "Serenity" beautifully endcapped a short lived, but all praise worthy, canceled TV show. "Broken Flowers" confused and confounded me, but left me thinking. "Roll Bounce" gave you everything you asked for, and a lil' bit more. "A History of Violence" breathed new life into an amazing filmmaker. "Tom Yum Goong" broke most every bone in everyone's body, Tony Jaa style. "Unleashed" let Jet Li break the rest, and showcased the awesome Bob Hoskins. "Hustle & Flow" made me root for a pimp, and bounce with him too. "Four Brothers" proved Singleton could sell out AND make a good exploitation homage. "Murderball" made me laugh and cry, which is noteworthy for a documentary. "Lord of War" made me REALLY like Nic Cage for the first time since "Raising Arizona." "Sin City" showed the height of literal translation and digital filmmaking's true potential that Rodriguez had previously only hinted at. "A Tale of Two Sisters" was released here this year and is the first truly frightening AND thought provoking Asian horror film. "War of The Worlds" was marred only by an awful and infuriatingly happy ending. "The Aristocrats" had me in pain. "The Corpse Bride" made me forget "The Nightmare Before Christmas." "Layer Cake" filled the British void, and has a killer ending. "Harry Potter and The Goblet of Fire" made me wish I read books. "Star Wars Episode III: Revenge Of The Sith" made up for the previous two. "Transporter 2" topped the original in being so ridiculous that you just let go and enjoy the ride. "The Chumscrubber" wins for trying to find a balance between "Donnie Darko" and "Intacto." "Thumbsucker" is a great first time feature and has some nice acting, especially Tilda Swinton. And finally, the indie darling "Junebug," which provides a superb break out performance from Amy Adams.
10) The 40 Year Old Virgin & The Baxter
Here's two different ends of the spectrum. First we have "The 40 Year Old Virgin," a mostly ad-libbed and improvised, broad comedy. Through an unusually long two hour running time, I very rarely went without laughing. This is a hilarious effort from the brilliant Judd Apatow, and showcases break out spots for Steve Carrell, Seth Rogan and Romany Malco to truly shine. Not only does it manage to be funny, it also becomes honest and sweet, and never does it shy into cheesy, tasteless romantic comedy bullshit. Not once, and that's partially due to Catherine Keener. And the "Alligator Fuckhouse." What could have been a mindless sex comedy became something more by trying to be something relatable, and Carrell worked wonders. On the other end, we have "The Baxter," which is extremely subtle and small. Michael Showalter, of the incredible "Wet Hot American Summer" and Comedy Central's show "Stella," has crafted together a wonderful concept about the "other guy" who is oft forgotten in romantic stories. While it may not have you rolling around instantly, lines will spring to mind later, and you'll want to watch it again. It's a sponge of a comedy that expands every time you watch it or talk about it due to the subtle innerworkings. You find many, many great things over time. Great performances from Michelle Williams and Justin Theroux seals the deal.
9) Cinderella Man
It's hard to get past being a sports movie. Try all as they might, sports films are traditional. Predictable, even. And while maybe they are passable exercises, and while they might not be bad by any means, sports deserve better. I fucking love sports. And so Peter Berg gave us "Friday Night Lights" last year to do that for football. Boxing deserves better, too. And so, boxing is given the gift of a great film now. Ron Howard has won acclaim in the past, but none more deserved than here. He directs with visual firepower, and showcases the best fights on film since "Raging Bull" blew everyone away. It's the performances that really make it shine, and that's thanks to Paul Giamatti and Russel Crowe. I don't even like Crowe, but I'll be damned if he didn't move me multiple times here. It's a feel good sports film, with a little more to it, and that's what got me. It's a shame this didn't get seen by more people, and it's a shame it'll go virtually unnoticed come award time. Or perhaps not. We shall see.
8) King Kong
Peter Jackson cements his status. Yes, it's overly long. Yes, it's full of some useless subplots. But it's a scope, and a vision, and it's a complete one. It's a solid one. Every once in a while, you see something that just enthralls you and keeps you glued down for the whole thing. This is one of those for me, and I saw all three hours of it at midnight while on four hours of sleep. That's saying something. It's huge, the effects are for the most part phenomenal, and the emotion between Naomi Watts and Andy Sirkis's motion captured ape is shockingly sweet and real. It's a theater experience, folks, and there really aren't many of these anymore. Catch it before it's gone.
7) A Bittersweet Life
Ji-woon Kim is an extremely interesting director from Korea, one of three that I've been enthralled by. Korean cinema has in the past few years turned from an industry on the verge of extinction into one of the best in the world. Kim nabbed a top spot on my list last year for "A Tale Of Two Sisters," a seriously creepy and twisted horror flick. Here he takes a simple premise and a formula that we've seen many times before, and churns out not only the most beautiful and glossy action film that I've ever seen, but something that transcends cliche. Seriously. These sets, the cinematography, and the use of light and color is simply magnificent. I've seen Hollywood productions that cost over a hundred million more that have never looked quite this good. It is matched evenly with Kim's sense of scope, and his magnificent eye for the unusual angle to give new perspective to something mundane. Like a hallway. Or a wall. The film starts with a deep proverbial message, which makes you want to dig deeper into the meaning. It LOOKS so fucking good that you're dying to find something else in it. But there isn't anything there. It's hollow, and that emptiness makes it all the more thought provoking. It is primarily a thriller, a revenge story, a love story, with some jaw dropping set pieces. The camera veers dangerously close to the fights, which are realistic, fast and brutal. They are shot and edited in a fashion which I have never seen before. It's hard to explain why I like this thing so much, but it taps into my every vein and infects me. I want to spread the infection. I'll let you borrow it as I haven't seen any plans for an American release thus far.
6) Kiss Kiss Bang Bang
Shane Black's snappy writing finally arrives in an unfiltered form, delivered the way he wrote it. He's been notoriously watered down in the past, giving way to some minor action classics like "Lethal Weapon" and my favie "The Long Kiss Goodnight." It also led to things like "Last Boy Scout" and "Last Action Hero," which only felt like interpretations of work shown through someone else's blurry glasses. Black is credited at one time to be the highest paid writer in Hollywood. It's a screenwriter's dream to get to adapt your own work, and he's really done it to perfection. It's modern day film noir, though self aware. And it's a black comedy. Warner really dropped the ball on this one. Haven't heard of the movie? That's why. Limited releasing and virtually no advertising, after a year of sitting on the shelf. With proper screenings and word of mouth, they could have had a modest hit on their hands. It's done so perfectly in tone, and with exceptional casting. Robert Downey Jr. Has returned from the dead, and it is welcome. I've always felt like he could be something fantastic if he just stopped fucking himself up. Also of great note is the gorgeous emergence of Michelle Monaghan, who we will undoubtely be seeing a lot more of very soon. Here's to the most quotable and hilarious film I've seen in a long time, and a film that doesn't ASK to be a cult classic...it's just made for it. Be sure to catch it on video in March, as I doubt you were one of the twelve that went to the theater.
5) Munich
Spielberg's latest Jewish opus. I mean that in the nicest way. Chock full of suspense, death and bloody good terrorism. Relevant and prevalent in today's world, in poses a lot of questions and gives very few answers. It doesn't choose sides or play favorites. It doesn't pander or show sympathy for terrorism...it simply presents ideas. It does so while also maintaining an atmosphere of dread, and levels of suspense that beg to ask how this might have really happened. Eric Bana is just electric! The guy lights up the screen every moment, with every icy glare. Why after so many tremendous performances, even in dreck like "Troy" and "The Hulk," that he isn't a household name is an utter mystery. Michael Lonsdale, Mathieu Kassovitz, Geoffrey Rush, and future Bond Daniel Craig throw in solid, and often smarmy, support work. This is an outstanding production for something thrown together so quickly. From production to screens in less than six months, and looking this good? Only Spielberg could do it. The script is a little meaty, but is a good first time effort for playwright Tony Kushner. And it's one of Spielberg's most shining moments throughout the overly long film. Bare in mind -- like most of Steven's recent flicks -- that if you can muster the strength to disregard the ending and you'll find that it was much better without it.
4) Grizzly Man
A portrait of insanity. A portrait of lost humanity. A nature document. A mockumentary with subtle comical undertones. A Herzog film. "Grizzly Man" is all of these things, and so much more. This one surprised me, as I don't often get involved in documentary work on a personal level. The way this came about, and how it's put together with Herzog's narration, creates feelings that are indescribable. It's hard to say more. I didn't see anything more interesting and bizarre in 2005. A portrait of great film.
3) Mysterious Skin
Alien abductions, male prostitutes and suppressed memories? Count me in! Greg Araki's other films have left me cold, bewildered, bothered -- generally just all around unimpressed. Surprisingly, he's grown up and made a real piece of work. Dramatically, there was no other American film that stuck with me quite as much as this one did, and not just in 2005. This is a keeper for the future. With very few likable or meaningful characters, it's a mystery how this works so well. It's the haunting storytelling, with a wonderful and tragic performance from Joseph Gordon-Levitt that certainly makes up for his god-awful turn as a wigger in "Havoc." Look for another great one from him coming this year in "Brick." Mark my words.
2) Oldboy
Park Chan-wook's Korean masterpiece that saw a release in 2005. Hell, I could include "Sympthy For Mr. Vengeance" as well if I really wanted to. This was my number one pick of 2004, so technically I'm cheating. Technically, I don't care. If I had been able to see something better this year, maybe it would have been bumped. Besides, nobody even saw my list last year. "Oldboy" is fucking amazing, and not just for the weird subject matter with some incestual undertones. Not just for the dark humor, and a memorable hallway fight using a balpine hammer. It's the experience. The whole package. For the first thirty minutes, you'll likely be completely confused and disoriented. The way it unfolds, and the level of your confusion, only manage to enhance the payoff, and I've never seen a picture do it quite like this. It's a tale of redemption and revenge, that starts from a mysterious fifteen year imprisonment, and that's all that anyone should hear about it before viewing. OH! There is a queasy octopus scene that you may also hear about. There is nothing like watching this film for the first time, completely unaware and uncompromised. It is trumped only by the unaware and uncompromised viewing of my #1 in terms of film experience. And so...
1) Lady Vengeance
Park Chan-wook is the best director working in film today. In any country, in any language. I will defend this up and down. While he may appear on the surface to be a one note filmmaker, dabbling in extreme violence and excess, dig deeper and you discover much more. A masterful storyteller, only four films into his career. MASTERFUL. Each film grows increasingly better. So much so that I fear he has already trumped himself, as this one is hard to top. For the first time ever, my list has two films from the same director in the top ten. In the top two spots, even. In a perfect world, we'd all get movies at the same time, no matter what country it's from. Unfortunately, that's not happening. So I have to settle for a bootleg from eBay. Yeah, it's not right. Yeah, I don't care. I got to see "Lady Vengeance" already, and you haven't. And it is magnificent. The final chapter of Park's trilogy of revenge films is the most dramatic and easily accessible, while also managing to be the most cruel and comical. The story is very unorthodox, while taking examples and ideas from revenge films of the past. The result is transcendent and glorious. What else? The cinematography with the giant, sprawling and sweeping shots. The gorgeous sets and unique editing techniques. The REAL snow falling. The epic symphony of a score. The grim, dazzling lighting. All this with an incredible revenge fable that unfolds unpredictably and in mesmerizing fashion. It's style with equal parts substance, and that's why it's my favorite film of 2005. Screw it if you don't like subtitles...Everyone with the stomach for some heavy violence, and the desire to see a true original, must see this in May when it sees a stateside release.
This was actually a tough list. The long story short? Other noteworthy things I saw in 2005: "Election" is another crime masterpiece by Johnny To that is needlessly and excessively brutal...In the best sense. "Batman Begins" reinvented a franchise so much that it actually managed to eclipse the original. "Serenity" beautifully endcapped a short lived, but all praise worthy, canceled TV show. "Broken Flowers" confused and confounded me, but left me thinking. "Roll Bounce" gave you everything you asked for, and a lil' bit more. "A History of Violence" breathed new life into an amazing filmmaker. "Tom Yum Goong" broke most every bone in everyone's body, Tony Jaa style. "Unleashed" let Jet Li break the rest, and showcased the awesome Bob Hoskins. "Hustle & Flow" made me root for a pimp, and bounce with him too. "Four Brothers" proved Singleton could sell out AND make a good exploitation homage. "Murderball" made me laugh and cry, which is noteworthy for a documentary. "Lord of War" made me REALLY like Nic Cage for the first time since "Raising Arizona." "Sin City" showed the height of literal translation and digital filmmaking's true potential that Rodriguez had previously only hinted at. "A Tale of Two Sisters" was released here this year and is the first truly frightening AND thought provoking Asian horror film. "War of The Worlds" was marred only by an awful and infuriatingly happy ending. "The Aristocrats" had me in pain. "The Corpse Bride" made me forget "The Nightmare Before Christmas." "Layer Cake" filled the British void, and has a killer ending. "Harry Potter and The Goblet of Fire" made me wish I read books. "Star Wars Episode III: Revenge Of The Sith" made up for the previous two. "Transporter 2" topped the original in being so ridiculous that you just let go and enjoy the ride. "The Chumscrubber" wins for trying to find a balance between "Donnie Darko" and "Intacto." "Thumbsucker" is a great first time feature and has some nice acting, especially Tilda Swinton. And finally, the indie darling "Junebug," which provides a superb break out performance from Amy Adams.
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