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The SOMB Best Films Of 2008


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#61 James Iha

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Posted 17 February 2009 - 06:18 PM

nice!

now i guess all i have to do is root for 'step brothers.'

Can you please explain your love for this moive! I wanted to like it so much... I was stoked on the trailer and couldn't wait to watch it. But, honestly, it was sorta a let down. I'd love to hear your thoughts on it... maybe I missed something.

oh, you're probably not missing much. i would agree with pretty much any criticisms made of it. it's a total mess and basically just one sort of funny joke played out for way too long.

but for some reason i was immensely entertained throughout, laughing heartily and often. pretty much delivered on the promise of will ferrell and john c. reilly acting like jackasses, i would say... good enough for me.

'tropic thunder' and 'pineapple express' definitely had their fair share of flaws, too. at least 'step brothers' was reveling in its own stupidity.

i wouldn't attempt to convince a person who was let down by it to try and find what they were missing. then again i think that even the most "b" and even "c" grade ferrell pictures are somewhat enjoyable, and this was better than those.

not as funny as 'anchorman' or 'walk hard' or 'hot rod' but there's still something about it that i liked that sets it apart from those movies and makes me enjoy it on its own terms.

it almost goes out of its way to not let me see it as anything more than a 2 star film, but i really liked it anyway! watched it a second time and it was even more fun. although i would not go out of my way to recommend it to anyone. ya either think it's the stupidest shit ever or you say, "eh, who cares! it's funny."

who knows if that talk even belongs in this thread cause i can only recall one other person voting for it. maybe 2, tops.
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#62 Elemeno P.T.

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Posted 17 February 2009 - 06:22 PM

Word for word agree with the comments about Step Brothers...and that kind of analysis is exactly what this thread is about.
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#63 Ogawa

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Posted 17 February 2009 - 06:32 PM

Where's my point for the Elegy answer?

The song reference for Frozen River is "Out There On The Ice." In the film, the characters often drive an automobile across a frozen river. So they are out on the ice. Didn't care for the film. Any aspect of it, really.
Few beings have ever been so impregnated, pierced to the core, by the conviction of the absolute futility of human aspiration. The universe is nothing but a furtive arrangement of elementary particles. A figure in transition toward chaos. That is what will finally prevail. The human race will disappear. Other races in turn will appear and disappear. And human actions are as free and as stripped of meaning as the unfettered movements of the elementary particles. Good, evil, morality, sentiments? Pure ‘Victorian fictions.’ All that exists is egotism. Cold, intact, and radiant.

Michel Houellebecq

#64 Asher Ford

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Posted 17 February 2009 - 07:09 PM

Possible SOP answer (although I doubt it): The ticking of a bomb. The ticking time-bomb situation has been one justification for the possible use of extreme torture tactics such as those seen in SOP.

#65 theremin

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Posted 17 February 2009 - 07:13 PM

the problem is that people are in such a hurry to post the answers, they don't really want to stop and give a complete answer.

#66 undo

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Posted 17 February 2009 - 07:53 PM

"tick tick tick tick"

58. Standard Operating Procedure


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#67 Asher Ford

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Posted 17 February 2009 - 07:57 PM

Ha. Didn't think of that for some reason. Makes a lot more sense than my answer :P

#68 Slackmo

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Posted 17 February 2009 - 08:34 PM

"tick tick tick tick"

58. Standard Operating Procedure


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My usual litmus test for a documentary is this: would a 12-minute feature on 60 Minutes have been just as effective?


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#69 nole.kennedy

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Posted 17 February 2009 - 09:16 PM

nice!

now i guess all i have to do is root for 'step brothers.'

Can you please explain your love for this moive! I wanted to like it so much... I was stoked on the trailer and couldn't wait to watch it. But, honestly, it was sorta a let down. I'd love to hear your thoughts on it... maybe I missed something.

oh, you're probably not missing much.

JI, this is a great explination for Step Bros... sadly I was talking about JCVD.
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#70 Elemeno P.T.

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Posted 17 February 2009 - 10:44 PM

"I'll work circles around you..."

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54. Chop Shop

Directed by: Ramin Bahrani

http://www.imdb.com/title/tt0990404/

Roger Ebert's 4 star review:

Sometimes in a smaller theater, away from the searchlights and the 24-hour fans making privacy impossible for poor Brad and Angelina, you find an independent film that is miraculous. Such a film is “Chop Shop,” by Ramin Bahrani, the Iran-born American director whose “Man Push Cart” made such a stir three years ago. That film was about an immigrant from Pakistan trying to make a living in New York with a rented coffee-and-bagel cart. It was shot on a shoestring in less than three weeks, and won the critics’ prize at London and three Independent Spirit Awards, including best first feature. It embodied, I said in my review, the very soul of Italian neorealism.

Never an unobserved moment: Fans ring the hotels at the Toronto Film Festival,peering into restaurants, checking out receptions and looking for stars. Does she know she's looking at Dusty Cohl, festival co-founder, and Michael Barker, co-president of Sony Pictures Classics?
(photo by Roger Ebert)

(Enlarge Image)Now “Chop Shop” is another film about making a hard living in New York City, and with more time to film and stunning performances by his very young actors, Bahrani has made an even more powerful film. It is set in Willet’s Point, Queens, and stars a 12-year-old boy named Alejandro Polanco and a 16-year-old girl named Isamar Gonzales, playing a brother and sister who share a tiny room above an auto repair shop. The film is so very real that the shop owner, Rob Sowulski, plays himself, and shares the whole film’s feeling of authenticity. For that matter Alejandro and Isamar attend the same school, and she was the close friend of his sister.

First a word about Willet’s Point. Bahrani observes in his notes that this area was the original Valley of the Ashes in Scott Fitzgerald’s The Great Gatsby. Now it is a 75-acre district called “the Iron Triangle,” a third world clone jammed with auto and body part shops and the population that lives off of them. Alejandro (all the actors use their real names) hustles customers for his boss’s shop, learns the auto repair trade, peddles M&Ms on the subway, does some hubcap-stealing and purse-snatching, and dreams that he and his sister will own their own taco and beans truck.

He and Isamar, both from Puerto Rico, spontaneously, joyously like each other, and one of the movie’s scenes of heartbreaking reality shows them at horseplay—just a couple of kids, in a world of unremitting poverty. Bahrani’s camera lives in their lives. There is no false sentiment in his story, just a fascination with these characters. The area is across the expressway from Shea Stadium and in the LaGuardia flight path, but seems to be in another world than the United States. And yet the ingenuity and improvisation of this brother and sister forces the Iron Triangle to support them, sometimes by any means necessary. Now we have an American film with the raw power of “City of God” or “Pixote,” a film that does something unexpected, and inspired, and brave.


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#71 James Iha

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Posted 17 February 2009 - 10:53 PM

nice!

now i guess all i have to do is root for 'step brothers.'

Can you please explain your love for this moive! I wanted to like it so much... I was stoked on the trailer and couldn't wait to watch it. But, honestly, it was sorta a let down. I'd love to hear your thoughts on it... maybe I missed something.

oh, you're probably not missing much.

JI, this is a great explination for Step Bros... sadly I was talking about JCVD.

oh, ha, oops! at least now we have some lengthy insight on 'step brothers' itt.

i for one found myself very captivated by van damme's performance throughout the whole thing. he really blew me away, up there with the rightly lauded ledger and rourke performances from 'the dark knight' and 'the wrestler' respectively.

very engaging and rugged performance from the real jcvd. enough to have me enthralled from start to finish. reading the ebert review, he seems to have a problem w/ specific scenes but none of those struck me as being bothersome. cool direction culled from a variety of influences and van damme being an all out badass.

also really loved how jean claude's breakdown in the middle of the film literally carried him out of scene and set and thus framed the two halves of the film as reality and fantasy. the sad life of what were (not heroes) and what we want to be (the hero).

this film just did it for me. fantastic.
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#72 Elemeno P.T.

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Posted 17 February 2009 - 10:59 PM

Ogawa- I'm not keeping a running total of points. Rather, each time I refer to points it's only to clarify most recent answers and what has been unanswered. I will update total points every 3 days or after 15 films.

Asher- good answer that comes close to where I was going. undo- an even better answer that I hadn't thought of- gotta give you a bonus point for creativity. The actual answer is also a tv reference, hidden in the post.

theremin- good point...that makes the most sense. With that in mind, unless there's any objections, there will now be a 3rd bonus point given to the best analysis of teaser to movie, keeping in mind that,some of these, especially ones I haven't seen like Chop Shop, are mostly irrelevant, not requiring any exploration whatsoever.

Sorry for the delay on blurb assignemnts. I won't be able to do any more tonight. Back in the morning to get to 50 before noon and get those blurb assignments out.
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#73 velocity

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Posted 17 February 2009 - 11:28 PM

This pace works well--time enough to read the blurbs/reviews and do other stuff too.

#74 Asher Ford

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Posted 17 February 2009 - 11:35 PM

I agree, although I'm sitting here trying to dodge homework by refreshing the page WAY too often.

#75 Ogawa

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Posted 18 February 2009 - 01:05 AM

i for one found myself very captivated by van damme's performance throughout the whole thing. he really blew me away, up there with the rightly lauded ledger and rourke performances from 'the dark knight' and 'the wrestler' respectively.

very engaging and rugged performance from the real jcvd. enough to have me enthralled from start to finish. reading the ebert review, he seems to have a problem w/ specific scenes but none of those struck me as being bothersome. cool direction culled from a variety of influences and van damme being an all out badass.

also really loved how jean claude's breakdown in the middle of the film literally carried him out of scene and set and thus framed the two halves of the film as reality and fantasy. the sad life of what were (not heroes) and what we want to be (the hero).

this film just did it for me. fantastic.

OTM. And that last bit at the end, the way he reacts to who he's talking to and sort of taps his head with the phone. Amazing.

As for Standard Operating Procedure. The film is about torture of terrorism suspects. The "ticktickticktick" refers to the TV show 24, which also covers torture of terrorism suspects. Of course, its point of view differs somewhat from Errol Morris'.
Few beings have ever been so impregnated, pierced to the core, by the conviction of the absolute futility of human aspiration. The universe is nothing but a furtive arrangement of elementary particles. A figure in transition toward chaos. That is what will finally prevail. The human race will disappear. Other races in turn will appear and disappear. And human actions are as free and as stripped of meaning as the unfettered movements of the elementary particles. Good, evil, morality, sentiments? Pure ‘Victorian fictions.’ All that exists is egotism. Cold, intact, and radiant.

Michel Houellebecq

#76 nole.kennedy

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Posted 18 February 2009 - 09:11 AM

As for Standard Operating Procedure. The film is about torture of terrorism suspects. The "ticktickticktick" refers to the TV show 24, which also covers torture of terrorism suspects. Of course, its point of view differs somewhat from Errol Morris'.

I've heard a lot of poeple criticize 24 becasue it glorifies torture. And I think it does. Its totally unrealistic and I pray to god that isn't "standard operating procedure" in real life. However, ITS A TV SHOW! I have friends that refuse to watch it as a protest to its use of torture, but I think that's totally unwarrented. Your guys' thoughts?
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#77 Mitchell

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Posted 18 February 2009 - 09:23 AM

I found the way that they would drive from one side of LA to the other in ten minutes to be the least realistic thing about it anyway.
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#78 Elemeno P.T.

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Posted 18 February 2009 - 09:49 AM

"You are the first woman on the first day of creation. You are mother, sister, lover, friend, angel, devil, earth, home."

"I have since heard of people under extreme duress speaking in strange tongues. I became conscious that a steady torrent of obscenities and swearing of all kinds was pouring out of me as I screamed."
(2 teasers- 6 points)

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53. Un conte de Noël (A Christmas Tale)

Directed by: Arnaud Desplechin

http://www.imdb.com/title/tt0993789/

Roger Ebert's 4 star review:

"A Christmas Tale" skates on thin ice across a crowded lake, arrives safely on the far shore, and shares a cup of hot cocoa and marshmallows with Death. It stars Catherine Deneuve as a woman dying of liver cancer and considering a bone marrow transplant that could also kill her. Because she is almost weirdly resigned to her fate and doesn't seem to worry much, her serenity prevents the film from being a procession into dirgeland.

What it is, instead, is a strangely encompassing collection of private moments among the members of a large family with a fraught history. Some of the moments are serious, some revealing, some funny, some simply wry in the manner of a New Yorker story about small insights into the lives of characters so special as to deserve to be in the story.

The family involves parents, children, grandchildren, spouses, a girlfriend and others. I will not name all of them and their relationships because what use is that kind of information if you haven't seen them and don't know who I'm talking about? For example, Junon Vuillard (Catherine Deneuve) and her husband Abel (Jean-Paul Roussillon) have had four children, each one arriving with a different emotional meaning, but even in explaining this the movie grows murky, like a cousin at a family reunion telling you who the great-aunts of the in-laws are.

More to the point is the quietly playful approach of the director, Arnaud Desplechin, who seems to be demonstrating that "A Christmas Tale" is a movie that could have been made in several different tones, and showing us how he would have handled each of them. That leads to a wide range of musical genres, mood swings from solemn to the ribald, and always the peculiarity of the Deneuve character's cheerful detachment from her fate. She's like someone preparing for a familiar journey.

Desplechin doesn't focus on her troubles with a grim intensity. Sometimes he seems to looking for ways to distract himself. For example, he is obviously familiar with Hitchcock's greatest film, "Vertigo," which has no themes in common with this one. If you happen to have a video on hand, go to 25 minutes and 52 seconds into it, and watch what follows in the art gallery, as Jimmy Stewart stealthily approaches Kim Novak from behind. While you're at it, watch the whole film.

When you're watching "A Christmas Tale," Desplechin's homage to that scene is unmistakable. It's not a shot-by-shot transposition, nor is the score a literal lift from Bernard Herrmann. They're evocations, uncannily familiar. The proof is, you'll see exactly what I saw when I watched the film. Now why does Desplechin do that? For fun, I think. Just showing off, the way I sneak some e. e. cummings lines into my Answer Man column this week, for no better reason than that I could. Of course a homage has to work just as well if you don't know its source. In fact, it may work better, because you're not distracted by the connection. But nothing like a little Value-Added, as the British say.

Here's another way Desplechin pleases himself. He begins with the happy fact that Catherine Deneuve and Marcello Mastroianni were the parents of Chiara Mastroianni. In "A Christmas Tale," Mastroianni plays Deneuve's daughter-in-law, a little poke in the ribs because when they're in the same movie they are invariably playing mother and daughter. OK, so we know that.

But look where he goes with it. It's obvious that Chiara has a strong facial resemblance to her mother. Desplechin doesn't make any particular effort to make the point, although he can hardly avoid showing her full face sometimes. Here's what he does. He almost makes it a point to demonstrate how much Chiara looks like her father. Luckily, her parents when they conceived her were the two most beautiful people in the world.

When he films her in profile and from very slightly below and behind, we're looking at the essence of Mastroianni. The images burned into our memories from "La Dolce Vita" and elsewhere are of a sad, troubled man, resigned to disappointment and all the more handsome because of it. I always feel tender toward Mastroianni. No actor -- no actor -- was more loved by the camera. So here he is, and the character he is sad about ... is played by Catherine Deneuve. I imagine Desplechin and his cinematographer, Eric Gautier, discussing these shots sotto voce in a far corner of the sound stage.

The film must be packed with Desplechin's invisible self-indulgences. Those we can see allow us to see the movie smiling to itself. Mastroianni smoked all the time. So does his daughter here, the same moody way. Desplechin has Deneuve smoking long, thin cigarettes, like Virginia Slims. When was the last time you saw anyone smoking those in a movie? Every time you see one, it's a tiny distraction. I'll tell you when. The last time was also Deneuve. They are the cigarettes she really smokes.

For long stretches "A Christmas Tale" seems to be going nowhere in particular and using a lot of dialogue to do so. These are not boring stretches. The movie is 151 minutes long and doesn't feel especially lengthy. The actors are individually good. They work together to feel like a family. Subplots threaten to occupy the foreground. All the while, something is preparing itself beneath the surface. In the film's last scene (in the final two shots, as I recall) all the hidden weight of the film uncoils and pounces. It really was about something, and it knew it all the time.

I recommend you seek other reviews to orient you to the actual plot. These words have been sort of Value-Added. If you have "Vertigo," arm yourself before you attend.

Ranked Highest By: Elemeno P.T.- #4
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#79 Slackmo

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Posted 18 February 2009 - 10:24 AM

The second quote is Ralphie's inner monologue from A Christmas Story, but no idea what the connection is to a movie I haven't seen. (But wanted to.)
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#80 Elemeno P.T.

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Posted 18 February 2009 - 10:26 AM

"a pig in a cage on antibiotics"

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52. Bigger Stronger Faster

Directed by: Chris Bell

http://www.imdb.com/title/tt1151309/

Roger Ebert's 3 1/2 star review:

Midway through watching Christopher Bell's "Bigger, Stronger, Faster," I started to think about another film I'd seen recently. The Bell documentary is about the use of steroids in sports and bodybuilding. The other film is Darryl Roberts' "America the Beautiful," about the guilt some women feel because they don't look like the models in fashion magazines. The steroid users want to be bigger. The weight-obsessed women want to be thinner.

Bell is one of three brothers. They've all used steroids, and two still do. Mike (Mad Dog) Bell had some success in pro wrestling, but never as the star, always as the scripted loser. Wrestling has dropped him, but he's still in training, even though he's now "too old," he's told. "I was born to attain greatness," he tells Chris, "and I'm the only one that's holding myself back." The Roberts doc focuses on Gerren Taylor, who at 12 achieved fame as a child who looked like an adult fashion model. A year later, she was dropped by those who cast for runway models, but she tried to make a comeback. At 13.

The third Bell brother, Mike (Smelly) Bell, has promised his wife he will stop taking steroids after he achieves his dream of power-lifting 700 pounds. He attains it, but later tells Chris he will use steroids again. Chris tells him, "I'm afraid you'll lose your job, your wife and yourself." Smelly replies: "If I lose my job and my wife, what else do I have but myself?" Both of Chris' brothers are remarkably frank in talking to him, as are his parents, who are "opposed to steroids" but are red-faced while cheering after Smelly lifts the weights.

Bell uses a clip from the movie "Patton," in which the famous general addresses his troops: "Americans love a winner and will not tolerate a loser." That is the bottom line of "Bigger, Stronger, Faster." We say we're opposed to steroids, but we're more opposed to losing. Steroids are not nearly as dangerous as amphetamines, he points out, but the United States is the only nation that requires its fighter pilots to use amphetamines. They may be harmful, but they work.

This movie is remarkable in that it seems to be interested only in facts. I was convinced that Bell was interviewing people who knew a lot about steroids, and the weight of scientific, medical and psychological opinion seems to be: Steroids are not particularly dangerous. Is the movie "pro-steroid"? Yes, but it is even more against the win-win mentality. We demand that our athletes bring home victories, and yet to compete on a level playing field, they feel they have to use the juice.

The movie goes against the drumbeat of anti-steroid publicity, news reports and congressional hearings, to say that steroids are not only generally safe, but have been around longer and been used more widely than most people know. Bell and his brothers grew up pudgy in a Poughkeepsie family, were mesmerized by early heroes like Hulk Hogan, Rambo and Conan the Barbarian, got into weight-lifting and still have muscular physiques. They all used muscles as a powerful boost to their self-esteem.

But think for a second. "America the Beautiful" quotes this statistic: "Three minutes of looking at a fashion magazine makes 90 percent of women of all ages feel depressed, guilty and shameful." I don't have similar statistics about bodybuilders, but I assume they study the muscle magazines with similar feelings. Those who cannot be too thin or too muscular are attracted to opposite extremes, but use the same reasoning: By pursuing an ideal that is almost unattainable and may be dangerous to their health, they believe they will be admired, successful, the object of envy.

Bell interviews some bodybuilders who are over 50, maybe 60, and still in "training." The words "in training" suggest that a competition is approaching, but they're in training against themselves. Against their body's desire to pump less iron, eat different foods, process fewer proteins and in general, find moderation. Anorexia represents one extreme of this reasoning. At another extreme is Gregg Valentino, who has the world's largest biceps; they look like 16-inch softballs straining against his skin. He makes fun of himself: He walks into a club and no chick is gonna go for that, "but the dudes come over." There are men who envy him.

What's sad is that success in both fashion and bodybuilding is so limiting. For every Arnold Schwarzenegger, who used the Mr. Universe crown to catapult himself into movie and political stardom, there are hundreds, thousands, who spend their lives "in training." When models get thin enough (few do, especially in their own minds), they must spend their lives staying that thin.

The question vibrating below the surface of both docs is, has America become maddened by the need for victory? When our team is in the World Series, do we seriously give a damn what the home run kings have injected? We are devout in Congress but heathens in the grandstands. That is one of Bell's messages, and the other is that steroids have become demonized far beyond their actual danger to society. Which side do you vote on? Chris Bell marks his ballot twice: Steroids are not very harmful, but by using them, we reveal a disturbing value system.


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