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Cbabbitt On THE HIDDEN BLADE, MATCH POINT, And His Favorite Films Of 2005!!
Hi, everyone. "Moriarty" here with some Rumblings From The Lab...
Cbabbitt’s one of our newer spies here at AICN, but he’s had a good year at the site, and we’re hoping we’re going to see a lot more of him in 2006. Harry and I are always looking for younger guys who are as drunk on film as we are, and after ten years of running AICN, we’re ready to see some new voices establish themselves as crucial pieces of the puzzle. I’m hoping Cbabbitt’s one of those guys who is going to be around for a while, and today, we’ve got a hat trick of reviews from him.
We’ll start with the most obscure of the reviews, for a movie that will get a limited release in the US in 2006:
Contemporary Japanese cinema is dominated by a visceral edge not remotely dared in America, and that edge is powerfully attractive and reputable in the states. Names like Takashi Miike, Kiyoshi Kurosawa, Takeshi Kitano, and Ryuhei Kitamura are best known and followed by most Asian film-lovers for good reason. The limits many of these filmmakers push is particularly extreme, unique, and exciting, but slightly overwhelming to the quieter, subtler, yet equally accomplished smaller films. Movies like Ping Pong, The Taste of Tea, and Yoji Yamada’s Twilight Samurai are unfortunately overlooked or simply unknown in this country. It’s a shame considering these films, among others, are exceptionally well-done and even more accessible to a wider audience. The market for foreign films in America is terribly limited, and it’s unfair that so many excellent movies are so difficult to track down. Yamada’s Twilight Samurai was a critical success when it was briefly released last year, but too few people ended up seeing it beyond the ardent AICN reader. The film was a moving samurai drama more interested in character development than explosive swordplay and carnage. With his follow-up, The Hidden Blade, Yamada proves that his veteran heartfelt sensibilities are just as exciting as any other style of Japanese filmmaking, and hopefully a larger, informed American audience will appreciate it sometime in the near future.
The Hidden Blade is an old-fashioned samurai drama extremely reminiscent of its predecessor, yet surprisingly more elegant and potent. Yamada basically follows the exact same structure and tone of Twilight Samurai, and improves on what was already successful. Since he already established a solid formula for telling a deeply personal story set against an epic backdrop, he might as well continue to utilize it for his thematic purposes. If you’ve seen Twilight Samurai, you already know much about The Hidden Blade. The characters are similar, the emotion is honest and strong, and the cultural comments are significant. Yamada quietly builds a memorable story of romance, honor, deception, and tragedy, beautifully told during a changing era in Japanese history. The Hidden Blade is layered with profound content and carefully nuanced for the upmost dramatic feeling.
Munezo Katagiri (Masatoshi Nagase aka Maiku Hama!) is a low-ranking samurai that serves his duty for his lord and attends his home and family. His younger sister is recently married to his friend and fellow samurai, and the woman he loves, Kie (Takako Matsu), marries into a merchant family, keeping him from personal attachment. Katagiri is loyal and honest, never relying on his sword to settle matters even though he’s been sufficiently trained. At the outset of the film, he and his brother-in-law watch their samurai friend, Hazama (Yukiyoshi Ozawa) set off to Edo to serve their lord. Hazama was always regarded as the deadliest swordsman of their clan. After a few months pass, Katagiri is informed that Kie, who used to be a servant in his house as a child, is dying of sickness. Distressed by this troubling news, he takes off for her new home where he discovers the horrific abuse her family has inflicted upon her. Defying his principles as a samurai, he rescues Kie from her torturous situation and insists that she stay with him as a worker. This is uncommon for a samurai, and causes controversy in their town. Yamada keeps the focus on the relationship between these two shy and sweet characters for a good portion of the film. The romance is subtle and engaging, and well....romantic! Their chemistry is, as James Lipton would say, a delight.
In the meantime, Japan is undergoing a significant change. The way of the samurai is quickly becoming overwhelmed by new artillery from the west. Cannons and guns are replacing swords and honor. Samurai ethics are being torn apart by the powerful possibilities of these technological terrors. Katagiri is doing his best to adjust to western sensibilities, but his loyalty to Japanese honor is what guides him, and ultimately tested when his friend Hazama returns from Edo as a traitor and prisoner. Hazama is charged with betrayal by their nasty senior retainer (Ken Ogata aka Mishima!) and the very code and glory of samurai principles is put into question. And yeah, I realize it might seem like I’m describing the entire film, but believe me, there is so much more to it.
Yoji Yamada’s vision reminds me of Hiroshi Inagaki. Like Inagaki, his samurai adventures are more interested in the personal struggle of each character rather than piling up sliced bodies. And that’s not to say The Hidden Blade (or Inagaki’s films) have no violence. Yamada builds an almost nervous intensity during the final duel. It’s quick, emotional, and grisly. The entire film carries an emotional weight that gets heavier and heavier as it progresses. Everything about the story and characters is absorbing, and Yamada makes sure the narrative is smooth, concise, and compelling. Technical credits are superb. The cinematography is beautiful, just like Twilight Samurai.
The Hidden Blade is a great film. Hopefully it reaches a wide audience when it’s released in the states. It certainly deserves one.
Well, I dug the hell out of TWILIGHT SAMURAI, so I’ll definitely be looking for THE HIDDEN BLADE. Now, I’ve already reviewed MATCH POINT, but it’s playing in limited release now in NY and LA, so Cbabbitt’s had a chance to check it out and... well, you can see for yourself what he thought of it...
Sometimes a movie comes along that reaches deep and unexpectedly strikes with an intelligence, immediacy, and intensely brutal honesty, leaving its viewer shocked, shaken, and dizzy on the potential of truly brilliant filmmaking. These movies happen infrequently, at times sporadically, but every once in a while in sudden and inspiring succession to audience’s great enjoyment. As the year approaches its conclusion and enters the stage of being inevitably analyzed, scrutinized, and critiqued, the world of film is enjoying a surge of exceptional work that validates its overall yearly success and sparks excitement and wonder at what the future holds. This is a time for movie-lovers to be grateful and enthusiastic, because great film after great film are being released by the week. And a truly magnificent piece of film, one that demands to be seen as quickly as possible has just been delivered thanks to Woody Allen. The veterans of the 70’s are showing their worth in a new era of filmmaking, and that worth is incredibly important for the stability of the medium. Woody Allen, one of the greatest and influential minds of the last thirty years has brought us a perfect example of why classical storytelling is the essence of cinema in a time when technology is running rampant throughout the industry. His new film is a powerful reminder of how edgy and bold movies can be, and how quintessential intellectual storytelling is at a time when so many filmmakers insist on safe, simplistic formula. He’s not the only director that has succeeded in proving this point in the last year or so, but his work seems like the most forceful and ingenious representation of it. His new film, Match Point, is a near flawless work of emotional upheaval and morality, with an especially dark outlook on personal anguish and happiness.
Christopher Wilton (Jonathon Rhys in the best performance of the year) is a young tennis instructor and former professional who gives lessons for a modest living, but has larger plans for a successful future. We’re introduced to a confident, well-spoken (who isn’t in a Woody Allen film?), but ultimately unsatisfied man from a lower-class family who dreams of accomplishing something important and significant to the world. He’s smart and knowledgable, the kind of Dostoevsky-reading (two books at a time) opera-loving idealist that represents many of the characteristics we’ve come to expect from Woody Allen. However, he’s also extremely charming in a steely sort of way, much more forward and brash than the typically neurotic Allen lead. He’s unsure and conflicted, but not entirely insecure. At the outset of the story, he meets Tom Hewett, a wealthy young man in need of serious tennis lessons, and ends up casually bonding over similar interests, most notably opera. After a friendly chat, Tom invites him to the opera with his family, where he’s introduced to his father (Brian Cox), mother (Penelope Wilton), and sister (Emily Mortimer), who immediately takes a liking to him.
They start a very sweet relationship that pleases her family and provides Wilton with some excellent financial opportunities. At a lovely day-time gathering at her family estate, Wilton is introduced to many friends and wealthy individuals, but one particular person catches his eye. He finds a beautiful young American woman (Scarlett Johansson) at a ping-pong table beating up on guests. He’s stunned and fascinating by her presence, and immediately risks embarrassment to make an aggressive pass at her only to find out she’s engaged to Tom. Ouch. He handles the situation smoothly, but is forever changed by his necessity to have her. This of course, is the first of many complications. Time passes and he does everything he can to see her. This leads to a conversation they have over drinks, which is the turning point of the movie. It’s clear that both of them share a lustful reaction to each other, but understand the consequences of putting their personal lives in jeopardy. Or do they? As the story continues, Wilton realizes how uncertain his personal strength might be when faced with what he truly desires. The more time passes, the more he lusts for Johansson, which leads to a classic sequence in the gardens of the family estate in the torrential rainfall. This passion fizzles away quickly though, as Johansson considers the consequences and detaches herself from anything that has to do with Wilton. Then, suddenly, she and Tom call off the marriage and break-up, and she disappears.
In response, Wilton marries Chloe (Mortimer) to continue his sweet, pleasant relationship that allows him to join her father’s business and make tons of money. He enjoys his successful life, and finds comfort in having the wealth and family that supports him. As the story continues, Wilton’s personality is slowly revealed to be somewhat depraved. Chloe wants a child, and he’s obviously hesitant since he enjoys her company in a friendly manner rather than a passionate lover. And when Johannson returns and a full-on affair ensues, Match Point becomes an entirely new monster, something much darker and tragic than one might expect. Woody Allen crafts an unforgettable tale of morality, consequences and the major role that luck plays in our lives.
Match Point is brilliantly complex and structured - paced with such precision and detail it becomes overwhelming. The tension builds and builds and builds, and never stops. Allen doesn’t allow a breather, a moment’s rest or any unrealistic, compromised sequence to break the relentless narrative and disturbing emotional brutality. This is the most dramatic of drama’s, the most thrilling of thrillers. The cinematography is superb, the direction as commanding as anything he’s ever done. The performances are amazing, and the actors deserve heaps of praise for delivering Allen’s dialogue and nuance with tremendous power. Jonathon Rhys is simply mesmerizing as Wilton. This is the performance of the year. What he does is nothing short of stunning.
Match Point isn’t just the best Woody Allen movie of the last decade, it’s one of his absolute best films, period. This is the best film of 2005.
But wait... is it really? You want to tell us what you thought of the whole year, Cbabbitt, and let’s see if you really felt like MATCH POINT was the best of the best?
Making a list of the best movies of the year is admittedly the most enjoyable article I’ve had the pleasure of writing for AICN, even if it’s ultimately trivial since you’re probably wondering who the hell I am, exactly. I figure, a best-of list is basically a way of recommending the most personally significant movies of the year for future reference, like when renting or buying movies, or looking back on which experiences were the most moving. And, well, every list is different, and there’s a few obscure titles I’d like to highlight and few event movies I’d like to praise. Instead of doing an extensive look at what made 2005 a fairly strong year of film, I’ll be focusing on the ten movies that best represent how interesting and thrilling this year has been. What follows are my favorite movies I saw theatrically this year, counting down from ten.
10. Kiss Kiss, Bang Bang - Shane Black
This an event movie in every way. It may be have been overlooked and neglected by general audiences, but Shane Black’s latest dose of cinematic madness is certainly the rousing entertainment that works up its audience into a frenzy. This is destined for cult-classic status, and deservedly so. This is easily one of the most quotable movies of the year with unforgettable performances by Robert Downey and Val Kilmer. It’s hysterical, brutal, and uncompromising. Oh, and it’s extremely smart.
9. Steamboy - Katsuhiro Otomo
This is one of the extravagant visual masterworks of the year by a storyteller in complete command of his abilities. Steamboy is epic. Absolutely epic. Otomo crafted a startling world with such intense detail it takes a few times to appreciate just how meticulous and exemplary the animation is. What Otomo and his animators accomplished with this film is staggering. As an adventure, it’s comparable to the titans of the genre. This movie is literally soaring. The characters are charming and heroic, especially the title character, Ray Steam. This is a movie of dreams that only animation can tell so successfully. The story is gripping, the score is sensational, and the journey is colossal. Steamboy is grand escapism in year that was particularly strong in that category. Amazing.
8. The New World - Terrence Malick
About an hour into Malick’s newest opus I thought it was my favorite movie of the year. It has a way of sweeping you into another time and place so effortlessly that you can’t help but get lost inside it. It obviously didn’t end up being my favorite, but it’s still pretty close. The New World is the most sensual and beautiful film of 2005. It inspires awe and wonder in a way that only Terrence Malick can do. His movies don’t appeal to everyone, and that’s understandable. His vision is quiet and subtle, his pacing slow and subdued. But what he captures on film is so vivid and mesmerizing it overwhelms the senses. In The New World, he takes you to arguably his most fascinating setting yet, and presents a story of absorbing passion and heartfelt beauty. The performances in The New World are astonishing. Pocahontas is perhaps the most innocent and lovely face seen on film this year. She’s wondrous. I’m simply grateful to be alive when Malick is still releasing his work in theaters. This is a masterpiece.
7. Broken Flowers - Jim Jarmusch
Jim Jarmusch has always been a more esoteric storyteller than many of his peers. His movies focus on the eccentricities and subtleties of human behavior and constantly deviate from the formulaic Hollywood narrative. Because of his unusual cinematic presentations he has created several intriguing films and garnered a tremendous amount of respect and love from the more ardent cinastes. Jarmusch is everything Soderbergh wishes he was without any hint of self-importance and pretension. His films are intellectual undertakings that challenge and fascinate the viewer, while being concise, entertaining, and at times extremely offbeat. This is certainly the case with his newest film Broken Flowers - a quiet, introspective, and moving human drama that just might be his greatest accomplishment yet. The narrative is perfectly ambiguous and uniquely his own - often times hilarious and surprisingly touching and a prime example of the power of cinematic tranquility. With Broken Flowers, Bill is perfectly cast as a lonely, disassociated, middle-aged bachelor. Not another actor working today could carry this role like Murray does. He's one of the few people that can successfully engage and entertain the audience even if the only thing he's doing is sitting on a couch contemplating his decisions in life. Bill is an uncanny talent. A mere glance of his eyes or his subtle body language expresses everything you need to know about his character. He has a way of affecting you no matter what, whether it's Stripes or Kingpin or Broken Flowers, you immediately identify with his character. It's a talent. I love this movie.
6. Otakus in Love - Matsuo Suzuki
I wanted images from this film to do some talking, but I couldn’t find any good ones online. At least, nothing that represents how truly inventive, energetic, and brilliant this love-letter to geekdom is. Otakus in Love is about people like us. Dreamers, fanboys, struggling storytellers, idealists, and romantics. It’s the best portrayal of young love that I’ve seen on-screen in a long, long time. I’m sure this movie will seem bizarre and incomprehensible to many people since it’s so brazen, offbeat, and unique, but it’s also a strangely touching story about having an artistic voice. What initially seems like a simple entertainment is actually something much deeper and moving than one might expect. At least it was for me. This was screened at the Fantasia International Film Festival, which is essential for all obscure and foreign movie-lovers.
5. Batman Begins - Christopher Nolan
Wow. Nobody was expecting this. Nobody. Nolan basically eviscerated the concept of what this genre can accomplish, and now every other filmmaker, including Sam Raimi, has a lot to live up to. Batman Begins is an instant classic. There’s really no better way to express how astonishing this experience is. Everything is done right. Batman is frightening. The world feels real and tangible. The villains are smart and horrific. Batman Begins is a great film.
4. The Taste of Tea - Katsuhito Ishii
This is why Montreal is the place to be in the summer. You go the Fantasia fest and you’ll see some of the best movies of the year. Movies that are extremely difficult to find. Movies that will unfortunately never come out in the United States. It’s inevitable. They find remarkable movies and should be praised accordingly for doing so. The Taste of Tea is one of the best Asian movies of the decade. And no, it’s not Oldboy, Sympathy For Mr.Vengeance, Ichi the Killer, Gozu, The Isle, or any other ultra-violent thriller that has become synonymous with Asian film. In fact, it’s surprising that the director of Sharkskin Man & Peach Hip Girl would even consider doing something as sweet and innocent as The Taste of Tea. The movie is a straightforward comedy/drama, and an extremely honest and emotional one. It’s a story about a family and the different lives each of them lead. It’s light, yet profound. I think its success has a lot to do with how funny and charming it is and Ishii’s absolute refusal to rely on melodramatic nonsense. Everything is so delicately handled. The performances, cinematography, score. It’s brilliantly directed. I love this movie deeply.
3. Munich - Steven Spielberg
Munich is the movie 2005 will be remembered for. This is the most provocative, debatable, and daring movie of the year - a tremendous work of thematic importance and striking immediacy. It’s also one of the best thrillers of the decade. Munich is jolting. It relentlessly assaults you with violence and the moral, religious, and political ramifications of that brutality. It challenges you. It challenges your views and beliefs, and desperately cries out for change. Munich isn’t about presenting the definitive answer for peace, it’s about searching for new ways to communicate and taking new directions when dealing with terror. This movie is unforgettable.
2. Match Point - Woody Allen
I’m still stunned by this movie. Stunned. Woody Allen’s confidence and mastery of the craft is so completely enthralling it’s perplexing to believe he’s been out of it for so long. Where did this movie come from? Allen’s been making subpar comedies for the last few years, all of which have this depleted energy and enthusiasm. And now he’s suddenly been reinvigorated to everyone’s pleasant surprise. Match Point is shockingly good. It gets underneath your skin and continuously disturbs you until you can hardly take it. It’s breathtaking. It’s alive. The chemistry in Match Point is what classic filmmaking is all about. This film is lean, erotic, visceral, and extremely intense. I love it that Woody Allen has brought the most commanding, dark, and unsettling movie of the year. This is truly among his finest achievements, and the absolute best movie released in 2005.
However...
Best does not mean favorite. Match Point may be the best movie I’ve seen this year, but it’s not my absolute favorite. There’s still one film I love more. One film I’ll revisit the most. One film that truly defines my experience in 2005......
1. Star Wars Episode III: Revenge of the Sith - George Lucas
This was it.
-Cbabbitt
Ahhhh... I see. There’s a reason I don’t do “best of” lists m’self, man. It always comes down to what you personally responded to, and “favorite” is the best you can hope to do when making a list like this. Thanks for all the reviews, Cbabbitt, and thanks for joining me earlier today for a theatrical viewing of KINGDOM OF HEAVEN: THE DIRECTOR’S CUT, an experience that I’m working on writing up at the moment. Until then...
"Moriarty" out.
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Cbabbit,
Agreed, movies can be personal, but...
What do you prefer? Doing a real chick or a blow-up doll?
You choose all 'human films', and you end with wooden droids (oops, I mean actors) as your fave!!!???
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And with the last sentence he completely invalidates everything he said before. Yes, I know it's a personal, subjective list but really... Ah, what;s the point? Badmouthing Star Wars now is like punching a nun it's so easy.
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Dec 30, 2005 5:29:08 AM CST
A shame for such a new face to lose all credibility so quickly.
by industrykiller
Episode 3 is the film you'll revisit most? Must be a sadist. His list was a bit shaky to this point but Jesus. Well the 13 year olds on the site will be happy. At least every credible film critic on Earth left it off their list completely. Oh and the praise for Batman Begins is also a but too effusive. If you liked it that's one thing but genre changing and instant classic it is not.
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Because given the lack of spy reports along with Harry not being able to write anything without inserting politics into it, and "Daring" us to see the Munich flop, AICN sure has been sucking lately. Well as long as you and Quint keep writing for AICN I'll stay onboard.
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Great, I've been waiting to hear about the Director's Cut and I'm glad it's really happened and should be out on DVD this year. And great for Star Wars, feel the love. Glad someone has the balls to actually pick a favourite film on this site, because that's what best of lists should be, a reflection of your taste and emotion. My top 3 "favourite" films this year were 3. Serenity, 2. Batman Begins, 1. Revenge of the Sith. Would those make a "Critical Top 10"? Possibly Batman, but I watch movies for all kinds of reasons and enjoyment is the top factor. It's the reason I don't think I'd ever want to see The Pianist again, it was a fantastic film, frightening, gut-wrenching horror, a tremendous work, but it's just not something I'd ever sit down and watch again. Same goes for this year's Downfall (the German film), or Schindler's List (oh, notice how they're all of a similar theme?). What's my point? Hmmm, I don't really have one. Funny thing this talkback, gets you typing all kinds of shite.
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Dec 30, 2005 6:02:10 AM CST
Seriously. Episode III was disapointing, but as much as WOTW was
by derlanghaarige
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"What do you prefer? Doing a real chick or a blow-up doll? You choose all 'human films', and you end with wooden droids (oops, I mean actors) as your fave!!!???" <--- Classic. I probably shouldn't be so hard on Cbabbitt. You coo, man... you coo. Good reviews.
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Great job! Look forward to reading more from ya! BTW- The Hidden Blade score is simply marvelous folks. The overture literally inspires me everytime I hear it. Beautiful music.
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1) Kingdom of Heaven: Director's Cut. Wow. Can't wait. It is much needed! The theatrical was good but the 'holes' were SO very apparent. I can't wait to hear your take Mori and eventually see it myself. 2) I, like everyone else loved Batman Begins. But I'll be honest, I thought the first part of the movie- up until he becomes Batman was simply classic. However, once he became Batman I felt the movie took a little dip. Still loved it, but I thought the movie became uneven based on the strength of the first half of the flick. I thought the final act paled in comparison to what transpired before it. Still, great movie.
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If it's your favourite flick of the year, don't be afraid to say it. I thoroughly enojoyed ROTS despite its flaws and its great to see someone this late after its release not giving a fuck what anyone else thinks and being honest! Especially on this site, which is full of angry retards. Fair fucks to you Cbabbit! I'd personally have ROTS in my top 10 but not sure if it would be number one. Probably put it around 5. That said though the last hour of that film is one was one of the most exciting things I've seen at the cinema all year. Fuck anyone who criticises you for for have this as your number 1. The bitterness that comes out of people who didn't like the prequels is an odd thing to behold. Why do they get so angry about these films? I think they have emotional issue, but I guess each to their own...I commend you for your honesty. ROTS #1 is fine by me! I am so dying to see Munich!!!
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...you get the German word for snot. ;D (No, I'm not REALLY bashing Episode III. It was an okay film.[but it could have been much better, anyway])
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Is it truly necessary to CRUSH someone who differs with your opinion? You didn't care for Ep III? Good for you. Everyone gets something different out of every movie. I mean, look at the difference of opinion over the movie 'Crash'...some love it, some loathe it. With Cbabbit, he's put Ep III as his number one movie. I happen to disagree with that standing, but I'm happy for him that he got more enjoyment out of the movie than I did. I agree that it wasn't a total loss, and the last hour was quite a bit of fun and almost a return to form. For me, I'd put 'Batman Begins' as my number one movie of the year. I know that some of you would DISAGREE with me on that, and that's fine as long as you have valid reasons that you can justify to YOURSELF...if you want to CRUSH me for putting it as my number one movie just because YOU'RE RIGHT and everyone else is an idiot, I'll encourage you to take your head and perform a reverse bowel movement with it.
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Specifically with subjects like Star Wars and Joss Whedon, but in general too. It appears most people either totally hate something or worship it. That means that any chance at intelligent discourse on a subject is slim since most of the conversation will be the haters attacking the lovers and visa-versa.
This site used to be full of REAL news. Now it's stuff culled from other web pages and from the week old trade mags.
There used to be "spy reports" that actually had secrets in them. Now we get links to the movie's official web site so we can be kept "up to date" on the production.
There used to be objective reviews. Now we get Harry pumping crap for his friends or reviews by plants and/or ass-kissers that pump up anything the industry decides to vomit onto our plates. -
Mori and Harry don't have time to write anymore ("Goblet of Fire" review, anyone?), so now anyone can submit a "Top 10/50/217/whatever" list I guess. I'm all for encouraging "new voices" at AICN, but you need to earn your stripes before we give a damn about your top films of the year.
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Aye! Well said! I was trying to get at the same thing but just had some asshole CRUSH me in another talkback for liking SITH so my post was a tad more incensed than yours. There are weird people on this site who not only insult people for liking a movie, but seem to feel the need to convince people not to like it. And this seems to happen more with the new Star Wars prequels than anything else...major bizarro!
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Rather than offering an intelligent opinion, or contributing to a discussion with a point of view that you don't necessarily agree with? It would be a boring world if everyone liked all of the same things...movies, music, authors, sexual positions, whatever. There's plenty of room for everyone's opinion, and if you don't agree with someone it's ok. Just, have a reason for disagreeing, a valid point of view. To CRUSH someone as an idiot because they aren't as 'enlightened' just makes you look like an idiot and renders your opinion moot. If you want to give your opinion, back it up with reasons other than 'you fucking suck', 'you're a fucking idiot', 'how could you possibly like this fucking movie'. I'll be stepping off of this soapbox now. Thank you to those talkbackers who support me on this. Fuck all of you CRUSHERS.
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Screw the Goblet of Fire, where's Moriarty's review of The New World? I know he wanted to take some time to process his viewing experience, but how could a film lover not feel compelled to speak about it? BTW, I was also at the Los Angeles theatre showingthe Kingdon of Heaven Director's cut, but I must have been at a later showing becuase I didn't see Mori there. It's a MUCH better film; the quieter moments help to make the story the epic it deserved to be. I wouldn't call it Ridley Scott's masterpiece but it many ways it's a lot more legitimate than Gladiator, even if it doesn't kick as much ass in the action scenes.
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I'm also looking forward to this. Watching the theatrical release, you could just sense that there was so much more that needed to be said. I suspect that Lazarus Long's perspective will mirror mine when I finally do see it...it won't be Ridley's masterpiece, but it will be redeemed. Ridley STILL has his masterpiece to direct, and I sincerely hope that he'll be able to catch lightning in a bottle when that right script hits his desk. I'd love for that script to be a major science fiction story, but I will see it no matter what. Geeeeeez, I'm posting alot this morning...
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But it's not number one on my lisst Esily #3 or 4. But still, he's right... ROTS is his number one movie.
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Dec 30, 2005 11:40:22 AM CST
The Kingdom of Heaven Director's Cut could make it much bett
by scrumdiddly
but I still can't imagine caring enough to watch it. "Little miss mouse fart."
But dude, ROTS is the best film of the year? No. Even people who like it wouldn't say that... -
C'mon, man. Any episode of GITS:SAC blows that flick away. It was no "Akira".
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Way to perpetuate the stereotype! :)
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Alien = perfect.
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I agree. After arriving on the scene with huge critical buzz, it's kinda petered out. That's unfortunate, as I thought it was exellent. It's not my fav of the year, but it's in my top 5. And I'm not even a liberal!
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no 1 may be a shock at first sight, but at second glance you just have to pardon everything on a top ten whatever list. i think Cbabbit is a great and long needed enrichment to the aicn staff. i think what aicn needs is a devin faraci, some additional writers with provoking THOUGHTS (precluding that these writers think, which is an important ability). great way to go, looking forward to the year ahead...
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Jan 01, 2006 11:49:03 PM CST
2005 will be "remembered by munch", match point is the best film
by windowlicker74
you couldnt be any clearer
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You know... this film got shot down before it even got on its feet. Poor man's Gladiator! Poor man's Gladiator! Oh get over it! Sure it wasn't up to that film's snuff, but Honestly I really enjoyed it. I love the character be they acurate or not. The whole story really appealed to me. I look forward to seeing Scott's cut. I only wish there could have been some scenes with Liam and Irons. That would have been film geek bliss for me. Peace.
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Not sure if it would make my list or not... but I most say it was one of the best origin films I've seen in a while... with respect to Batman Begins. I mean... Steam Boy 2 would probably be the most anticipated anime for me right now, were it to come to pass. Peace.
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Jan 02, 2006 10:53:34 PM CST
After those other 9, putting ROTS at number 1 was like detonatin
by darthcorleone
Not that I have a problem with it, unapologetic Star Wars geek that I am. Anyway, I still have some films to see, but Munich is my number one at the moment.
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What a great movie and Hiroyuki Sanada made it even better. When the director of The Memoirs of a Geisha says he couldn't find good enough Japanese actresses to cast, I had to laugh. Obviously, he hasn't been looking at some of these latest movies. Thanks for the list. Guess I better go see Munich before it disappears.
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If any of you geeks have region free DVD players, the Japanese DVD release of this has English subtitles. It's worth owning - it's emotional in a refreshingly subtle way.
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But that just makes me respect his list more. Honesty, y'see. And great to see Batman Begins getting its due.
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