1. 2. 3. Lists.

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I'm more focused on the popcorn films I'm looking forward to this summer right now. There was a whole section at the local theater today that was just the movie posters for Thor, Captain America and Cowboys and Aliens. It was an awesome moment. But, Super 8 can't come soon enough.
 
Every Tony Scott Film - Tiered

Deja Vu
Top Gun
Unstoppable
Man on Fire
Crimson Tide
------------------
The Last Boyscout
True Romance
Revenge
The Taking of Pelham 1 2 3
Enemy of the State
------------------
The Hunger
Beverly Hills Cop II
Days of Thunder
Spy Game
Loving Memory/One of the Missing
Domino
The Fan
 
Last Boy Scout needs a rewatch to be honest. Sure to improve. As does Enemy of the State. Seen Unstoppable twice now though. Adore it.
 
Over the past year:
1/The Lovely Bones
2/Tim Burton's Alice In Wonderland
3/Eat, Pay, Love
4/ Remember Me

I can't remember if I've seen anything else. On Wednesday mornings my local cinema shows a screening of a film that has been released a few months earlier at cut prices. This week they are showing the squeal to Wall Street. I haven't seen the first film though. There's a few good films on at the moment.
 
Last Boy Scout is top tier. If not his best, period.

Holy shit, yes. Granted, I haven't delved into Scott's filmography as deeply as you have, but that film's a blast.

Apparently he's attached to the 24 movie. I wouldn't mind that at all.
 
Also, What I Saw At SXSW (in order of preference):

Attack the Block (Joe Cornish) *****
Tabloid (Errol Morris) *****
Being Elmo: A Puppeteer's Journey (Constance Marks) *****
How to Die in Oregon (Peter D. Richardson) ****
Cave of Forgotten Dreams (Werner Herzog) ****
Source Code (Duncan Jones) ****
The Innkeepers (Ti West) ****
FUBAR 2: Balls to the Wall (Michael Dowse) ****
Another Earth (Mike Cahill) ***
Super (James Gunn) ***
Detention (Joseph Kahn) **

Also, I caught the first FUBAR in a double feature with the sequel and the AICN screening of Matthew Robbins' Dragonslayer with Guillermo del Toro in attendance. That fucking ruled.
 
I thought it was a notable step up from Moon in both its construction and execution. Its able to transcend its plot and the mechanics of a "time travel/parallel universe" conceit and actually reach an emotional catharsis that's pretty sublime. There's a definite Hitchcockian throughline to how Gyllenhaal's character becomes obsessed with his mission and burgeoning love of Monaghan's character (because really, who wouldn't?) all bound by a series of tense set-pieces in the train. Those sequences are levied well by the segments involving Vera Farmiga, whose able to deliver some clunky exposition fairly well. There's a set of well-worn, but well-explored philosophical ideas at play. Any issues I had with it were the moments of exposition, Jeffrey Wright's miscalculated performance, and the direction it takes in the final 5 or so minutes. Aside from that, it's about as enjoyable of a "time travel" film as I've seen in ages.
 
That's rather encouraging. As I've made my case before, Moon definitely showed promise, and the cinematic passion of a young filmmaker, but was a rather flawed piece of work. So I'm not surprised to hear he's improved a bit with his next film. The trailer had something of a Twelve Monkeys vibe to it, plus trains+cinema are always a lot of fun.
 
The Gilliam vibe is certainly felt throughout... along with Groundhog Day. Jones not writing this film may be a reason for the step-up, too. Jury's still out on that.
 
20 Favorites American Films of the "Naughts"
(usual limit of one film per director - ordered alphabetically)

Before Sunset (Linklater)
The Brown Bunny (Gallo)
Collateral (Mann)
The Company (Altman)
Deja Vu (Scott)
Gangs of New York (Scorsese)
George Washington (Green)
A History of Violence (Cronenberg)
I'm Not There (Haynes)
Kill Bill (Tarantino)
Last Days (Van Sant)
The Life Aquatic with Steve Zissou (W. Anderson)
The Limits of Control (Jarmusch)
Mulholland Drive (Lynch)
The New World (Malick)
No Country For Old Men (Coen)
Old Joy (Reichardt)
Punch-Drunk Love (P. Anderson)
War of the Worlds (Spielberg)
Zodiac (Fincher)
 
Are we talking 2000-2009 or 2000-present?

I'm not going to make the obvious criticism here.

A handful of those would be on my list: Bangs, the Malick, I'm Not There, and maybe the Linklater and Kill Bill. And prob the Lynch.

I'd sub A Serious Man for NCFOM, Benjamin Button for Zodiac (I recently watched the latter and had swapped them, but then listened to Finch's commentary for the former and went back), and All The Real Girls for George Washington.
 
Well, 2000-2009 I suppose, but I don't think there's anything from last year or this one yet that would break onto that list, so it doesn't quite matter.
 
Interestingly I think Harris Savides is the only DP with two films on my meaningless list.
 
Over the past year:
1/The Lovely Bones
2/Tim Burton's Alice In Wonderland
3/Eat, Pay, Love
4/ Remember Me

I'm sorry. I forgot to include 1 other film I saw.

1/ The Lovely Bones
2/Alice In Wonderland
3/ Wall Street 2: Money Never Sleeps (saw it on the silver screen yesterday)
4/Eat, Pray, Love
5/ Remember Me
6/ Crazy Heart (this is the film I forgot to list. My mum fancies Jeff Bridges you see)
 
He made many films I quite like or admire in the past 11 years, but not one I'd put above so many others. None I'm really infatuated with, I suppose.
 
Some kid told me that Zodiac's one of the worst movies he's ever seen, then he went on a navel-gazing diatribe about Gregg Araki's Kaboom. That clown.

Under the same qualifications that you gave, my American List would look something like this:

A.I.: Artificial Intelligence (Steven Spielberg)
Adaptation. (Spike Jonze)
Children of Men (Alfonso Cuaron)
Eastern Promises (David Cronenberg)
Gangs of New York (Martin Scorsese)
The Incredibles (Brad Bird)
Inglourious Basterds (Quentin Tarantino)
Kingdom of Heaven (Ridley Scott)
Lost in Translation (Sofia Coppola)
Mulholland Drive (David Lynch)
The New World (Terrence Malick)
Road to Perdition (Sam Mendes)
The Royal Tenenbaums (Wes Anderson)
A Serious Man (Joel & Ethan Coen)
The Squid and The Whale (Noah Baumbach)
Synecdoche, New York (Charlie Kaufman)
There Will Be Blood (P.T. Anderson)
Traffic (Steven Soderbergh)
The Wrestler (Darren Aronofsky)
Zodiac (David Fincher)
 
Ridley Scott isn't American, punk. Nor is anyone in that cast other than Norton.

You could make a better argument with Road To Perdition, which at least has an American cast.

Also, Cronenberg is Canadian, FWIW. And Cuaron...
 
(no order)


A.I. (THE BERG!)
Solaris (THE BERGH!)
Youth Without Youth (THE COPE!)
The Man Who Wasn't There (THE BROS!)
There Will Be Blood (THE PEET!)
The New World (THE MAL!)
Gangs of New York (THE SCORE!)
I'm Not There (THE HAYN!)
All The Real Girls (THE GORD!)
Benjamin Button (THE FINCH!)
Kill Bill (THE T'RANT!)
Synechdoche, New York (THE KAUF!)


I'll finish later. For the record, I disqualified films by Gondry and Minghella.
 
Ridley Scott isn't American, punk. Nor is anyone in that cast other than Norton.

You could make a better argument with Road To Perdition, which at least has an American cast.

Also, Cronenberg is Canadian, FWIW. And Cuaron...

Since when did American films have to be made by American filmmakers?
 
Well what determines it, then? Where's it shot? Where the money comes from? Who wrote the script?

Eastern Promises was directed by a Canadian, written by a British guy and shot in London.

Children of Men wasn't shot here either.
 
I'm going with where the money comes from. If I messed up that part, then I'll edit the list.

Would you classify Hitch's post-1940 work as "American?"
 
Yes. Because he came here, and until Frenzy, stayed here. The money, the actors (mostly), the writers, etc. All Hollywood.

Scott is debatable, but like I said there wasn't much American about something like Kingdom of Heaven. And Cronenberg is very much a Canadian filmmaker.
 
All fair points. Take those off and replace them with:

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
Wonder Boys (Curtis Hansen)
 
Are you the person I "know" who really loves Wonder Boys? I couldn't remember. Thanks for the reminder to hit that up, it's one of those things that's always on the fringe of my mind to do so.
 
Nope, I love it too. Just screened it for some friends a month or so ago.

That film was idiotically categorized as a drama by the Golden Globes, and of course won nothing except the award for Dylan's song.

Amazing cast, script, direction, editing, etc.
 
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