Just for the sake of my own sanity and desperate need to have these written somewhere, I give you my favourite forty-two films of the past decade. There are at least fifty-six other films I would like to put onto a list, but I think I need to forcefully prevent any more decade-based listmaking as quickly as possible. So beneath is the top ten list, along with a sentence or two on each film and then thirty-two, out-of-list-order, films which I had to include.
In a column for the Guardian over the weekend, Joe Queenan used A Serious Man to stand in example of movies by directors which stand apart from the rest of their filmography. In the case of A Serious Man, Queenan writes:
A Serious Man falls into that category of films that, for whatever reason, do not have the same texture or mood as a director’s other films. It may be a decision the film-maker has made deliberately, or it may be entirely inadvertent, but these films stand apart from the other movies in a director’s body of work. It is as if the film-maker abruptly decided to take a holiday from his own personality and make a film in somebody else’s style.
He goes on to cite other examples of this theory for great directors. He notes Werner Herzog for Rescue Dawn (“…a well-crafted action picture. And nothing more.“), Spike Lee’s Inside Man (“…certainly doesn’t have the feel of any other Spike Lee film. It is work for hire.“) and Ang Lee with The Hulk (“…one of those catastrophes so bad that its sequel seems like the industry’s personal apology to the movie-going public for what has gone before.“)
He also cites a few examples of better one-offs, such as Scorsese’s Age of Innocence, Eastwood’s The Bridges of Madison County and, inexplicably, Peter Weir’s Green Card.
I’ll leave what he considers good or bad to the side (seriously though, Green Card?) and just comment on the mistake of characterising so many of these films as being far apart from the other work by directors.
The line-up for the Cannes Film Festival has been announced with a number of interesting projects set to bow in and out of competiton.
As all will already know, Pixar’s Up is opening the festival, the first animated and first 3D film to do so. The other most notable entry is The Imaginarium of Dr Parnassus, the Terry Gilliam-directed movie already set in infamy for being what Heath Ledger was working on when he died.
In competition, Quentin Tarantino comes with Inglourious Basterds, unlikely to repeat the Palme D’or-winning success of Pulp Fiction, while other past winners include The Piano’s Jane Campion with Bright Star and Ken Loach with his Looking for Eric. Loach won a couple of year’s ago for the excellent The Wind that Shakes the Barley and is presently among the favourites to take the top prize this year.
Also involved in competition is Michael Haneke with The White Ribbon, Irreversible’s Gaspar Noe with Enter the Void, Lars von Trier with his creepy-looking Antichrist, Johnnie To with Vengeance, Ang Lee with Taking Woodstock, Red Road’s Andrea Arnold with Fish Tank and Pedro Almodovar with Broken Embraces.
Also notable is the midnight screening of Sam Raimi’s Drag Me to Hell and the return of Alejandro Amenabar with the phenomenal-looking Agora.
Could be a mighty interesting competition this year, especially given the tendency in the past few years for the festival to pick out surprise winners so it’s quite possible that all the films above won’t be in with a shout when it comes down to it.
Martin stars in the film, an adaptation of the memoir by Elliot Tiber. It looks nothing like anything Lee has done before, which may or may not be a good thing. Check out the trailer below and let us know what you think.