Before we begin my fifth "look at me, I'm all film buff-y" official top ten list, there's something I'd like to address. It's true that there wasn't a film I saw in 2004 that bowled me over like The Return of the King, The Pianist, Moulin Rouge (after a view added viewings, that is) or Crouching Tiger, Hidden Dragon had in the past four years. I am not suggesting, however, that this "wasn't a good year for movies," a refrain that has become so common year-to-year that it raises the question: what constitutes a "good" year, anyway? Such a subjective declaration deserves, I think, a rather objective answer; it is a good year for movies if you’re tearing out what hair you have left just trying to fit only ten films into a Best of the Year list, and by that measure, 2004 was indeed a very, very good year for movies. (2000 on the other hand...eh.)
Which is to say, 2004 wasn't exactly great. No, a great year is when a bounty of vastly influential, for the ages, buzz-your-head-and-burst-your-heart flicks flood the theaters and you weep and laugh and cheer over the wealth of your bounty. Some recent, in-my-lifetime examples: 1982, the year of E.T., Tootsie, Blade Runner, The Road Warrior, Star Trek 2 (go ahead, laugh, I'm used to it), The Verdict and Fast Times at Ridgemont High. And 1999, the year of American Beauty (and I can already hear you contrarians harrumphing over that flick, so keep quiet), The Matrix, Run Lola Run, Boys Don't Cry, The Sixth Sense, Toy Story 2, Being John Malkovich, All About My Mother and South Park: Bigger Longer and Uncut. I have a sneaking suspicion that 2003 may fall into this category (American Splendor, Finding Nemo, the beginning of Kill Bill and the end of Lord of the Rings quite the auspicious year make, and that’s not even counting the I'll-wait-and-see-if-it's-truly-overrated Mystic River), but only time will tell.
Okaaaaay, now that I have that out of my system:
THE TOP 10 MOVIES of 2004
1. BAD EDUCATION (Pedro Almodóvar)
You'll note my inclusion of All About My Mother as one of the great films of 1999. It's because that film introduced the true promise of Pedro Almodóvar, a promise that was fulfilled this year with his dazzling blend of film noir and the best of Hitchcock, a masterpiece that could very well redefine its genre. The darkly coruscating plot is far too complex, and far too fun, for a retelling here, but I'll give you the hook: In 1980, a young Spanish filmmaker (Fele Martínez) is paid a visit from an old friend from Catholic boarding school (Y Tu Mamá También's Gael García Bernal, as you've never seen him before). The friend drops a story on the director's desk about blackmail, lost love and a pedophilic priest that may, or may not, also happen to be true. What unfolds is at turns harrowing, funny, deeply moving and bracingly dark and sexual -- though its NC-17 rating, for suggested gay sex, is absurd when considering the wincingly explicit blood-and-gore in the R rated The Passion of the Christ, but I digress. Up until All About My Mother, Almodóvar was celebrated for brightly colored pansexual romps that seemed at times to be deliberately alienating -- intellectual exercises that were as wickedly pleasurable to watch as they were hollow of real feeling. With 'Mother ,' 2002's Talk to Her and crowned by Bad Education, Almodóvar has finally matched his one-of-a-kind visual skill with the deep well of emotions his fans always suspected was there, and in doing so he's earned at last his last-name-only reputation.
2. ETERNAL SUNSHINE OF THE SPOTLESS MIND (Michel Gondry)
I don't know where to start with this movie. Should I talk about Jim Carrey, submerging his spastic id inside a shy, self-loathing Long Island artist with such utterly disarming realism we actually forget we're watching Jim Carrey? Or what about Kate Winslet, all nervous insecure energy turned winning and even adorable under a mop of ever-changing colored hair and a barely hidden, all-consuming need to find her own piece of mind? (There's no time to discuss co-stars Kirsten Dunst, Tom Wilkinson, Elijah Wood and Mark Ruffalo other than to say superlative performances all.) And then there's screenwriter Charlie Kaufman (a one-man genre if there ever was one) and director Michel Gondry. They’re both known for their respective flights of storytelling and visual whimsy, but they ground this film with an unironic, hand-held pragmatism that lets us believe every single frame, especially as we enter the dreamscape of Carrey's memories. It's there the film taps into forces surreal, primal and Freudian, speaking to fears and hopes we'd forgotten we even carried with us. Or, OK, how about the movie's climatic scene, delivered by Winslet and Carrey in the cold truth of the real world with winsome and heartbreaking grace? It's in that scene that the great irony of true, romantic love comes crashing down on top of you: even when it is absolutely wrong, you will always keep coming back for more.
3. SIDEWAYS (Alexander Payne)
A.O. Scott of The New York Times wrote an essay a few weeks ago calling this film "the most overrated movie of the year" (and meanwhile the piling of praise onto Clint Eastwood's latest lumbering exercise in well-acted genre melodrama as the Next Great Coming of Cinema is...what? Showing restraint?). Actually, Scott's point wasn't that Sideways was an unworthy movie, per se, but that film critics as a group glommed onto the film due to its winking affirmation of the critical temperament as seen through the character of Paul Giamatti's Miles. He's an oenophile (to borrow Roger Ebert's assessment), see, so desperately in love with wine that he holds it to exacting standards mere mortals would find obscene. Which I can totally identify with, sure -- did you read my introduction? -- but that's not why I loved Sideways. Movies rarely embrace truly real people, people with contradicting faults who can be tear-jerkingly funny and still make you livid with their stubborn pride and hubris, people captured and presented so accurately that you find yourself nodding your head along with them in the theater -- "YES! I know that guy!" or maybe even "NO! I am that guy!" Sideways is not only filled to the brim with those people, it is, in its own imperfect, ultimately hopeful way, the embodiment of those people. And look, I made it through without ever comparing it to a complex bottle of wine…d'oh!
4. THE INCREDIBLES (Brad Bird)
What else is there to say about Pixar other than theirs is a golden age of filmmaking we'll remember dearly, like film buffs of years past who got to live through the heady days of Disney and Warners, or Ford and Capra, or Truffaut and Godard, or Scorsese, Coppola, de Palma and Malick. And no, my tongue is nowhere near my cheek; those disparate filmmakers may not share styles or methods, but in their day they all made their films with the kind of breakneck inventiveness and joy for the medium that I think we can all agree embodies Pixar thoroughly. Unlike almost any of those filmmakers, however, Pixar crafts their movies for just about everyone; I cannot think of a single person I know who wouldn't at the very least appreciate the story of a family of superheroes struggling to live in a world that no longer has use for them. The Incredibles is without equal this year as an entertainment, an accolade I mean only as the highest compliment; that its visual acuity and "let's-celebrate-excellence" ethic approach the top heights of pop art is, I think, only the smoothest of gravy.
5. SUPER SIZE ME (Morgan Spurlock)
Speaking of food, this movie made me quit fast food, cold turkey. Were that its only accomplishment, it still would be something (how many movies literally make you change your life?), but Spurlock's documentary about his only-McDonalds-for-30-days diet is more than just a one-trick stunt. Perhaps his fast food nation target is as easy to hit as the country's ever-expanding waistline, but he hits it dead on in a genuinely entertaining, literally gut-wrenching, effortlessly well-constructed argument that said more to me about this country's highly dysfunctional attitude about its own well-being than another, much higher-profile "cinematic op-ed" that captured all the major ink. (Any irony concerning the ever-expanding waistline of one Michael Moore is strictly intentional.)
6. HOUSE OF FLYING DAGGERS (Zhang Yimou)
Swish go the surging coral pink sleeves of silk, thwack go the interlocking shoots of pale green bamboo, plink-and-thud go those silver dead-accurate flying daggers, and beat beat beat go our chests. The eyes, meanwhile, dare not blink, lest we miss but a second of Zhang Yimou's visually sublime follow-up to the more epic, less accessible Hero. Don't see it expecting another 'Crouching Tiger' -- that's like going to a mob movie and hoping for a new 'Godfather.' Do see it for Ziyi Zhang's peerless beauty and Takashi Kirasharu's fluid charm, all swirling inside Zhang's piercing mix of color and movement.
7. THE BOURNE SUPREMACY (Paul Greengrass)
This movie did better on its opening weekend than any movie in the history of the James Bond series ever has. The best popcorn flick in an exceptional summer of popcorn flicks, it's not hard to see why: fleet, efficient, visually propulsive, with a secret agent hero that makes crystal clear sense for the times. As Matt Damon's Matthew Bourne turns his anonymous-but-lethally well-trained eye onto the very system that made him (a system so secretive, most who work inside it have no clue he exists), we're invited to contemplate a military-industrial complex as desiccated, cutthroat and self-serving as any Enron or Tyco. That is, after you've left the theater. The movie itself doesn't let you catch a breath.
8. BEFORE SUNSET (Richard Linklater)
The "romantic comedy" -- hell, just the "romance" -- has been so denuded of spontaneity, of recognizable human beings dealing with recognizable human problems, that it took a film that was literally two people talking for 80 minutes as they stroll through a perfect summer day in Paris to remind me of the magic a simple movie love story can cast over its audience. (Eternal Sunshine, if your wondering, is anything but simple.) Linklater's sequel to his 1995 walker-and-talker Before Sunrise revisits the story of Ethan Hawke's American writer and Julie Delpy's French activist, who meet in Paris for the first time since spending an evening falling in love in Vienna nine years previous. What a delight it is to discover that Linklater, Hawke and Delpy have all grown into more assured and confident artists; they prove that life only gets more interesting, if not any easier.
9. KINSEY (Bill Condon)
Besides being the year of Jude Law and Ben Stiller, 2004 was the year of the biopic -- a quick count comes up with nine of them, ten if you count Mr. Mel's The Passion -- but only 'Kinsey' really got it right. It's not an easy job, the biopic; movies usually demand the stories they tell to flow with a well-paced pitch and tone, whereas even the most cinematic of actual lives (Howard Hughes, Ray Charles) are ungainly things, full of nettlesome, goes-nowhere detail and loooooong stretches of terribly boring day-to-day banality without any nice-and-tidy ending. What writer-director Condon discovers in his subject is a man whose life's work and life are, in essence, one and the same, and he presents both with an exacting eye for efficient, truly illuminating detail that would make Dr. Kinsey himself quite proud. Meanwhile, the content of Kinsey couldn't be more relevant; watching it, one sees plainly how much things have changed while still remaining exactly the same. (The FCC has prevented me from discussing the film any further.)
10. KILL BILL VOL. 2 (Quentin Tarantino)
Where the first volume of 'Kill Bill' was a superfun kung-fu ballet, this concluding chapter is more deliberate, slower and talk-y. And what great talk! Bill's story to Ms. Beatrix Kiddo about their daughter, death and goldfish is right up there in Tarantalk with "Royale with cheese" and "I'm trying hard to be the shepherd." If the payoff -- it's right there in the title -- isn't quite the revelatory moment one's expecting, the journey there certainly makes up for it, and then some. Now let's just hope it doesn't take another six years for Tarantino to make his next film.
HONORABLE MENTIONS (in descending order of liking-ness):
We Don't Live Here Anymore, Shawn of the Dead, The Aviator, Napoleon Dynamite, Million Dollar Baby, Fahrenheit 9/11, Spider-Man 2, Garden State, Harry Potter and the Prisoner of Azkaban, The Merchant of Venice, The Door in the Floor, Collateral, Ray, Ghost in the Shell 2: Innocence
AND FINALLY (finally!):
My predictions for the Academy Award nominees for Best Picture (announced this Tuesday) are...
The Aviator
Eternal Sunshine of the Spotless Mind
Finding Neverland
Million Dollar Baby
Sideways
Thank you -- especially if you've read this far! -- and good night!
(Oh, and if you disagree with any of the preceding, leave a comment! If you agree, leave a comment! If you want to list your own top ten, or five, or three, leave a comment!)