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THE BEST FILMS OF 2006

FINALLY. I have broken my choices into three categories, as decoded by the favorite of the three Chipmunks – the best (my top 20), just missed (maybe in another year...), and the rest (I liked ‘em, but they don’t belong). The themes this year appear to be realism (or surrealism), a mean spirit, and intensity. Overall, I was supremely happy with 2006, even if I had to wait until December or January to see many of the films that made the top. Be sure to comment, or you’re a filthy butt-slut.

THE BEST:

20) Alpha Dog (USA, 2006, dir. Nick Cassavetes)

What’s with the cold reception of this, guys? It premiered about a year ago at Sundance to lukewarm reviews (yet praise for Timberlake), and I’m absolutely baffled. Despite the strange storytelling, an awful fat suit on Sharon Stone (which recalls Jimmy Glick), and some questionable moves by Cassavetes in terms of direction, I was completely drawn in to this true-life tale of a kidnaping gone awry (is there any other kind?) in west Hollywood. This is a character movie, first and foremost, and assembles the best cast of young actors in one place that you’ll see this decade. No, seriously. Timberlake’s character is the core of the movie, which is a bit odd considering that he’s NOT the mastermind of the situation and after some rocky first scenes, he finally manages to find his feet, and doesn’t become a distraction that one might assume. Also of note is the strong work by Ben Foster, who underwent extensive research into playing a meth-head (and succeeds with flying colors), and Huff’s Anton Yelchin as the "stolen boy," who has serious potential to become a superb actor. The level of intensity that the film reaches at one point far surpasses any other movie from 2006, and it works as a whole to make up for the faults of the similar Bully. Not unlike Larry Clark’s film, and his Kids for that matter, this showcases youth gone wild in a light that is rarely seen (virtually parent-less) only this time it feels all too real as opposed to Clark’s vision of a hyper-glamorized reality. Nobody should walk out of this movie happy, and that was what made me the most happy of all.

19) The King (USA/UK, 2005, dir. James Marsh)

Why we didn’t get the opportunity to see this until 2006 beats the shit out of me, but it’s a DVD release that I was quite pleased I got the chance to see. Great direction is the key. This is a nerve crunching experience, and not because of suspense – it’s the evil in the air. Gael Garcia Bernal is a hauntingly empty soul who reemerges into the life of minister William Hurt as a long forgotten son. Great performances all around, especially Paul Dano and Pell James, but it’s Hurt that surprised me the most. For some reason post 80s, Hurt likes to ham it up (see The Village, Lost in Space), but his quiet, nuanced performance here is quite impressive. To say much more about the film would be ruining the thing, but do know that by the end you’ll likely be disturbed, jaw firmly planted open.

18) Half Nelson (USA, 2006, dir. Ryan Fleck)


Drug addiction movie. Snore. But no! Ryan Gosling and Shareeka Epps deliver two of the finest performances of the year, and Fleck’s film decides not to preach, but simply to show. I LOVE that. Every flaw, every scar, every mistake, and no solutions. Gosling plays a crack addicted middle-school teacher who gets caught doping up by one of his students. It’s refreshing to see a drug movie that doesn’t produce negative consequences to teach a lesson, and doesn’t try to give answers to the complexities of the situations. It's realism. Gosling's brightened his future quite a great deal by taking a step back and doing something small and character based to really give him a showcase. Remember Edward Norton in American History X? Its like that kind of revelation, only without the manipulation. It’s also refreshing to see a realistic teacher/student relationship that isn’t schmaltzy and manipulative (see Dangerous Minds and its sister film Sister Act 2:Back in the Habit). Meanwhile, it’s got things to say along the way about the school system, social classes, good and evil, etc. Great little film. Awesome soundtrack by Broken Social Scene, too.

17) Miami Vice (USA/GER, 2006, dir. Michael Mann)


Unfairly labeled as an action film, this is one of the best directed efforts of 2006. It bares little resemblance to the cheesy TV show, and is one of the few successful jumps from small to big screen. I’ve talked about how awesome Gong Li is, but I don’t think I’ve mentioned how good the principle leads are. Jamie Foxx manages to save himself from being remembered as "that black dude from Stealth" in the wake of his Oscar and Globe wins, and oozes out a little bit of cool. Colin Ferrel (with his "is it a mullet" haircut and trash stache) finds another opportunity for me to briefly call him a "good actor." He’s fucking solid. Also of note is John Ortiz’s subtle, menacingly cool villain. This will open more doors for an actor I’ve never noticed before. Fucking see this movie with an open mind and don’t expect guns blazin’, and there’s no reason that you shouldn’t be wowed. It’s better than you want to imagine.

16) Little Miss Sunshine (USA, 2006, dir. Jonathan Dayton & Valerie Faris)

and

Gwoemul (aka The Host) (KOR, 2006, dir. Joon-ho Bong)


Road trip movie and Korean monster flick get lumped together? Odd choices, but I dare you to deny the similarities between the two. Of course, you actually have to have the CHANCE to see The Host first (gloat, gloat). Sunshine may not have been a great film, but its charm is virtually undeniable. The Academy voters certainly noticed. It’s what I like to lump into a giant category called "my big fat indie darling." Every year, there’s at least one of these small budget pictures that manages to turn a major profit for the studio that picked it up at ______ film festival. Word of mouth carries it, then YOU see it and end up going "eh." Sunshine is better than most of those. It’s sitcom "formula" characterization is both a blessing and a curse. They’re a dysfunctional family to the very core, and they act only within those stereotypes...but through the gift of acting sometimes rise above the source material, because they’re forced to. Steve Carrell is fantastic and subdued, and Paul Dano finally gets to come into his own and show a little explosiveness along with his quiet implosiveness. Of course, that adorable Abagail Breslin is the highlight of the whole thing, and doesn’t feel as over imposing or fake as similar young breakout roles (you know who they are, I don’t feel like listing them). By the time the group reaches their destination, the beauty pageant becomes some type of glorious punch line even before they GET to the punch line. Perhaps it’s unintentionally hilarious, but watching it the second time had me in stitches from nearly every absurdity on display. Even if it’s not great, it’s still so much better than any other "indie darling" of the past few years that I'm actually happy for its success.

Similarly strange and hilarious comes ANOTHER dysfunctional family in The Host. This movie is chock full of Korean/American social commentary, sitcom stereotypical characters, and dark humor. Oh, and a creature that is some sort of giant, mutated, aquatic beast. So THAT'S what Sunshine was missing! It’s likely the most unique movie on this list, and is also flawed (this time in a bit of pacing). Regardless, this family is out to help out a little girl as well (who isn’t as cute), and many people are eaten. It walks a fine balance of comedy and intensity, AND it has something to say. How often do you get the opportunity to be prodded into thought, laughter, and fear all in one fell swoop? It’s a shame that the planned American remake will somehow manage to ruin all three, and that the general public won’t get the chance to see one of the best horror flicks of 2006.
In a few months when The Host gets a DVD release, you’ll have yourself a lovely double feature night. You can thank me then.

15) Volver (SPA, 2006, dir. Pedro Almodovar)


My experience with Almodovar thus far has been with Bad Education. Yeah, that’s it. I anticipate getting a shot at watching the box set that comes out soon so I can see what I’ve been missing and hearing so much about. I hate pull quotes with a passion, almost as much as I hate Peter Travers himself...but his quote "Almodovar doesn’t just make movies – he IS the movies" is far too accurate to dismiss, given what I’ve seen. This is a marvel if for no other reason than its ability to have me fall in love with Penelope Cruz, whom I so loathed pre-nose job. That’s not to say her nose job helped me like her more, but it was a major distraction. She is the heart of the film in every way, and it’s a shame the best actress competition will leave her in the dust. Volver’s ranking may have been higher had the ending not left me just a tad bit cold, but I was charmed and moved by this tale of family, secrets, redemption and ghosts as told only the way Almodovar could. So I assume.

14) Slither (USA/CAN, 2006, dir. James Gunn)


It’s a silly, messy affair, and it’s decidedly not for all tastes – but how can you NOT show the (hometown) love for someone who has their finger directly on the pulse of what a fun horror flick should be? James Gunn took his earnings from the highly successful Scooby Doo flicks and pumped out something he really wanted to do. One could only hope to do so much in Hollywood. It’s an 80s alien invasion throwback filled with wacky effects, lots of gore, and lots of tongue-in-cheek comedy, and it works brilliantly. How this wasn’t a hit, and didn’t turn Nathan Fillion into a star, is a mystery. It should find a nice cult following on DVD, and I’ll now follow Gunn’s work religiously. Read his highly entertaining blog over at www.myspace.com/slithermovie .

13) Naboer (aka Next Door) (DEN/SWE/NOR, 2005, dir. Pal Sletaune)


Alright, so it’s probably the sloppiest written thriller of the year, and a lot of it doesn’t make much sense. Hell, it’s almost poorly written. The ending sucks the life out of the picture, much like last year’s Haute Tension. But also like Haute Tension, the rest of the thing is shot to perfection. The lighting and the framing is some of the best I’ve seen in an amateur production, and the disturbing subject material leaves it on a higher tier. Sletaune’s work brings to mind some of the suspense masters like DePalma, Lynch (especially its dream/fantasy-like qualities), and Verhoven, and not in such a fashion that you feel the need to compare him or the film to them or their work. The music by Simon Boswell wraps the picture in a beautifully creepy blanket, and the performances are uniformly great. This could have been a sloppy mess, and it sorta is, but I’ll be damned if I didn’t love it despite its shortcomings.

12) Casino Royale (US/GER/UK, 2006, dir. Martin Campbell)


I’ve spoken about this beauty before, and I feel no need to hammer into your head how awesome this picture was – chances are, you already know. It’s incredibly refreshing to see Bond start from scratch, instead of following the absurd trend they were heading into (FIVE Bond girls! A sidekick spinoff for Jinx! Now Bond has an invisible suit! Now Bond has a teleporter in his car! Now Bond has a dildo watch in case he needs help pleasuring the ladies, or the fellas!) I’d instead like to fill this space by offering my casting choice for Q, should they feel the need to include the character in the future: Ricky Gervais. Brilliant? Indeed. If you have HBO and aren't watching Extras, you should be shot.

11) L’ Enfant (aka The Child) (FRA/BEL, 2005, dir. Jean-Pierre and Luc Dardenne)


Irresponsible, child like couple end up having a baby and the man decides to sell it. It’s all downhill from there. What an unforgettable premise that is equally matched by its unforgettable execution. Its realism only heightens how scary and unpredictable this thing gets. Often tough to watch, and at times quietly intense to no end, L’ Enfant is more of an experience than a film. The unspoken moments are the best, when you can get every feeling from the characters without them having to say anything, and yet you have no idea if or when they will explode. That’s what film, and good acting, is all about.

10) Thank You For Smoking (USA, 2005, dir Jason Reitman)


Also known as Thank You For NOT Smoking, if you work at a video store (they apparently don’t get irony). I certainly enjoyed this the first time through, but it wasn’t until the second viewing that I officially fell in love with this one. Razor sharp satire is hard to come by, but leave it to a first time filmmaker (son of Ivan Reitman) to get it right in every way. This script doesn’t pander or preach, it simply presents itself, and lets you decide which side of the fence you’re going to be standing on. Aaron Eckhart turns out the best performance he’s had since In The Company of Men, playing a morally ambiguous (yet sound) anti-hero with all the charm and animal magnetism that a character of this caliber demands. His supporting cast, especially creepy Cameron Bright, William H. Macy, J.K. Simmons and the thinkin’ man’s "cable guy," David Koechner, is probably the best of the year. I anxiously await whatever Reitman plans on doing next, as he’s one of the best and brightest debut filmmakers I saw all year.

9) Little Children (USA, 2006, dir. Todd Field)


Alright, so I forgive Patrick Wilson for Hard Candy. Still waiting on Ellen Page. The title can refer to many things, but mostly refers to the principle leads engaging in a foolish affair for various reasons, mostly the boredom of suburban life. It’s darkly comical, often hilarious (thanks to the success of a narrator voice over that probably shouldn’t have worked), and sometimes it manages a light-hearted tone. The film is mostly dramatic, occasionally pitch black and bleak. It works best whenever Jackie Earle Haley shows up to darken things a bit more as a convicted sex offender. Somehow, everything comes crashing together in the end (and in a much better way than Crash) and we’re left with a possible sense of hope. Or maybe not. It’s a layered film that deserves a second viewing to grasp everything that’s going on under the seams. Oh, and Kate Winslet is fantastic.

8) Brick (USA, 2005, dir. Rian Johnson)


Easily the best original script in a long, long time. A neo-noir set in a California high school probably doesn’t sound good, and it’s a tough sell for a lot of people, but I highly doubt that they’ll find themselves disappointed by the end. I’ve yet to find anyone who wasn’t impressed, and they’re even more impressed to learn that this was Johnson’s first film. He handles a camera and the drama as if he’s been doing it for years, even if there’s a few bumps here and there that are decidedly first time mistakes. Hell, just look at that shot. Look at the colors, or the lack thereof, through the whole picture. Also, this further cements that Joseph-Gordon Levitt is no longer "that kid from 3rd Rock," and is one of the best young actors working today.

7) Shortbus (USA, 2006, dir. John Cameron Mitchell)


I didn’t find another film this year that managed to make me feel and reach me on an emotional level as well as Mitchell’s did. The real sex is a bit of a sore thumb at the beginning of the movie, but it takes only a moment to get over the shock and realize that the sex is the last thing you’ll end up remembering about this relationship piece. Unless that "Star Spangled Banner" being sung into a man’s asshole becomes your highlight. It's better to see than to be told, so see it in March on DVD. The best anecdote I heard lately was that Samuel L. Jackson caught this at Sundance last year. He allegedly left after the self-assisted fellatio in the first five minutes had ended. Sam Jackson watching a man cum on his own face. Let your imagination fill that in. I assure you, it’s a hilarious moment in my head.

6) The Descent (UK, 2005, dir. Neil Marshall)


I love modern creature-features. LOVE THEM. Group of people trapped in _____ are suddenly attacked by _______. I’ve seen them all. But believe me when I say that this is not your ordinary creature-feature. The reason? The set-up of the film in a cave system before the creatures get there is easily as intense and scary, if not more so, as when they do. This stands out as probably the all around best horror movie of the decade, and it’s certainly the most tense I’ve been watching something in a number of years. Marshall may have made a bit of noise in the horror world with his "Aliens in the woods with werewolves" flick Dog Soldiers, but he’s now officially the one horror director to watch.

5) Severance (GER/UK, 2006, dir. Christopher Smith)


I’m a sucker for a mean-spirited film. Nothing quite makes you feel better about your own life than seeing someone go through the ringer with little to no apology for the whys or the whos. Even better? When it’s done as a comedy! Severance walks such a fine line of being intense and being hilarious that it’s almost hard to classify the movie as a comedy or a horror film. Much like Shaun of the Dead, it’s constantly "working" despite all the reasons that it probably shouldn’t. The comedy varies from being as dark as it gets to downright slapstick. When you get the chance, see this movie. You may not like it, as the group I saw it with didn’t as much (to their credit, it was late, and hot off the heels of another film), but perhaps you’re enough like me to feel like laughing at the most bleak and dark..

4) The Prestige (USA/UK, 2006, dir. Christopher Nolan)


Oh, and speaking of mean spirited, meet The Prestige. Two magicians battling to be the best and most renowned, at any cost. Hugh Jackman and Christian Bale in the same film should have been enough to bring people out in droves, and it did well enough, but I can’t believe that the word of mouth didn’t carry this to super success. Perhaps it was a bit too mean spirited, a little less formulaic? This opened to some split reviews. Heads are up asses, apparently, because I loved every minute of this movie. It, to me, is the height of a storytelling movie. Every moment is precisely where it should be, every sequence that is told out of order becomes clear by the end. Who better to achieve such a task than the man who brought us Memento? Jonathan and Christopher Nolan have adapted a novel so perfectly and rich in character that I can’t imagine the book being as good. Not once does it ever get boring, nor are you able to see everything coming a mile away. Even if you do see the big twist coming at the end, and even as trite as it probably should be, it’s magical that it’s such a fucking revelation. The best part is that there is no apology for all the vicious things the men have done to each other. There’s no redemption; it’s just cold. How often does a major Hollywood picture let you go without teaching you a lesson, or redeeming bad behavior by punishment? Not fucking often, and you should embrace that freshness.

3) United 93 (USA/FRA/UK, 2006, dir. Paul Greengrass)


Congrats again to Greengrass for the Oscar nod. If you haven’t seen this yet, do yourself a favor. It’s not enjoyable, but it’s fucking amazing.

2) El Laberinto del Fauno (aka. Pan’s Labyrinth) (SPA/MEX/USA, 2006, dir. Guillermo del Toro


Adult fantasy is a tough one to come by, unless you’re looking for porn. Fortunately, this isn’t porn, and it’s superb. Del Toro has always been a critically acclaimed filmmaker who steps his foot into the commercial waters from time to time. He makes money to do things like this, and along the way he makes some pretty entertaining popcorn flicks, like Hellboy and Blade 2. He’s one of the funniest and most genuine guys to hear talk, he has an infinite love for film, and has a true adoration for all things gothic and horror. He’s one of the guys who actually gets it; he has a clear, crisp vision of fantasy. So when he decided to return to the familiar territory of The Devil’s Backbone and deal with the Spanish revolution, I was ecstatic. Backbone is a gorgeous movie, with emotional heft and dark fantasy elements. I still had no idea how powerful and moving this one would be, though. Though it may not be obvious to connect emotional damage with a fantastical labyrinth, once the connections are made you’re willing to go with it. Del Toro pushes you into believing everything is happening with a sure hand and a beautiful eye. Were it not for the surprisingly brutal violence (including an homage to Irreversible), and the adult subject matter, this could be a fantasy film for all ages. However, we’re left with something that’s just for us – for the kid AND the adult that we all have inside. Did I mention how much I loved this?

1) Children of Men (USA/UK, 2006, dir. Alfonso Cuaron)


This is how you do sci-fi. This is how you do drama. This is how you do an action film. This is how you do a suspense film. This is how you do a horror film. This is how you do a dark comedy. This is everything all wrapped up in one astounding package, immersed in realism. Last year Korea dominated the top 10 list, but this year it’s certainly all about the Mexicans. Viva! Del Toro’s good friend Cuaron also has a superb vision of establishing fake worlds that feel entirely real. In fact, I’d go so far as to say this is the best job I’ve ever seen creating a future that is possible and feels immediately real in every single fucking way. There’s no flying cars or special laser weaponry, just what looks like an advancement in time if things were to go poorly. Everything is dirty, broken. There’s no curtains or strings attached either, no seams to spot to pull you out of what you’re watching. It’s the problem I always have with sci-fi; too much thought is often put into how to make the world more visually appealing and advanced. Truth is, if and when it all goes wrong, THIS is what it’ll look like. And while the visuals certainly outweigh the story itself, over time after viewing, the story begins to take over your thoughts. It’s a marriage of both that make the piece work more than anything, and that’s what film should always be about. The script doesn’t overpower the visuals, and the visuals don’t take away anything from the script. The script never manages to overpower itself by trying to make too many statements or to make you think well until it’s over. There’s no room to breathe, and the fear and intensity, the suspense, is the most powerful weapon of all. It’s probably a perfect film in every way. While critically lauded, it was virtually a no show when it came to awards. In less than ten years, this will be heralded as a classic. As for right now, it’s the best film of 2006.

JUST MISSED:

Inside Man and The Departed - Two auteurs go commercial, make money, and entertain better than they have in over a decade. Inside Man didn’t hold up as well on second viewing, though is still an excellent thriller, and I felt I had already seen The Departed (which I had, when it was called Infernal Affairs, and it was better in many ways), but they were still quite good.

Somersault - Abbie Cornish is a sexy revelation, and her character’s evolution is totally compelling and realistic. Didn’t resonate with me as much over time, but it’s still awesome.

The Proposition - Nick Cave’s western is like a visual song. With lots of bloody violence. It didn’t make the cut because I still haven’t found the time to see it again, though note that it probably would have.

Talladega Nights: The Ballad of Ricky Bobby - The best comedy of the year, there was just no room for it on the list. Stick with the theatrical cut, though.

Borat - Quite funny, but I felt I had seen most of it before. I appreciate it for exposing America’s best and worst, though, and giving acclaim to Sasha for being the genius that he is. Also, teabagging.

Stranger Than Fiction - Comparing this to a Charlie Kaufman story is the wrong way to think. A dramatic-comedy that shouldn’t work at all, but somehow manages to.

Calvaire - It never lets up in making you feel uncomfortable and terrified even if you have no idea what’s happening. The spiritual successor to Deliverance.

Shadowboxer - Fucking terrible! It’s awesome!

Behind the Mask: The Rise Of Leslee Vernon - Half of a superb satire/parody, and half of a mess, but I loved it all the same.

Bandidas - Super sexy Latinas (Salma AND Penelope) with guns in the wild west! Comedy! Action! Steve Zahn! Dwight Yokham! How did this not come out in theaters? The Matrix-like shootout at the end in a cramped train car is way cooler than I would have imagined. A hidden gem.

AND THE REST:

Running Scared - Hyper-violent, super-stylish, modern day fairy tale that you can’t take your eyes off of. Vera Farmiga’s awesome.

The Devil Wears Prada - Meryl Streep’s devilishly complex character, and Emily Blunt’s cold-hearted assistant elevate what is otherwise a Lifetime film.

Brothers Of The Head - A rock-mockumentary that can convince you it’s real is must-see stuff.

Apocalypto - Essentially a remake of First Blood with Myans, but it’s a bit deeper than that. Beautiful action flick.

The Heart Is Deceitful Above All Things - Fascinatingly strange film that doesn’t always work, but I can’t stay away from Asia Argento, especially when Marilyn Manson has a role.

Dave Chappelle’s Block Party - Best documentary I saw in 2006.

V For Vendetta - Big budget with a soul = awesome.

Rob-B-Hood - Recaptures the madcap comedic talents of Jackie Chan from his 80s heyday.

Blackballed, Beerfest and Beer League - Gave me a case of the fratboy chuckles!

Dreamgirls - Jennifer Hudson and Eddie Murphy make it worth seeing.

Nacho Libre - Unfairly dismissed as stupid, actually often hilarious.

Cache - It didn’t make the list last year, and it fell in the cracks this year, but it would have broken the top five of 2005.

Lady Vengeance - Cause I wanna mention her again. Brilliant.

The Wicker Man - Campy-crap classic! I bought it! Who wants to get drunk?

DIDN’T GET TO SEE:
The Painted Veil
Babel
The Queen
Recycle
Seven Swords
The Myth
Notes On a Scandal
The Good Shepard
Rocky Balboa

Alright, that's all. I promise the posts are gonna start getting more regular, and I've got a bunch of fun lists lined up for the year. Tell your friends. And lube up.

-M