Dominatio Per Malum

Mad Detective(2007) 8/10

Directors Johnnie To and Wai Kai Fai craft a curious, quirky detective drama that defies categorization. Not quite horror, not quite cop flick and almost Zen-like in conclusion, Mad Detective is exactly the sort of unconventional film-making that you expect from the likes of Johnnie To and the Milkyway film company. With plenty of familiar faces, it is however the ever dependable Lau Ching Wan who anchors the show with just the right balance of nuttiness and brilliance. The film is about a detective who sees people’s inner personalities, although how the film plays out will likely alienate audiences expecting predictable, safe fare. But those who actually want to watch a good movie will be thrilled by the excellent performances and how Johnnie To and friends work their movie magic. Even the somewhat open-ended downer ending is open to much interpretation. In short, its a film you should see and ranks as one of the best HK films of 2007.

Grace is Gone (2007) 8/10

John Cusack gives a heartfelt, Oscar worthy performance in Grace is Gone, a tender film about dealing with grief. While Daniel Day Lewis stole the limelight last year for THERE WILL BE BLOOD, John Cusack gets my vote for Best Actor. In this potrayal of a man who has to deal with the death of his wife whilst on combat duty in Iraq, Cusack gives a career best performance that is as subtly heartwrenching as it is memorable. Grace is Gone is the sort of well acted drama that comes ever so rarely. Like a more emotional version of IN AMERICA, Grace is gone intersperses moments of melancholy with humor, comedy and verve. Special credit must go to the two young actresses who play Cusack’s daughters. In particular, Shelan O’Keefe deserves extra kudos for a splendid performance as the elder daughter who puts in a riveting performance alongside Cusack. And interweaved into the film is subtle commentary about the justifications of war and the people whose lives are sacrificed in war. As a drama, it doesn’t get much better than this. See it for Cusack’s brilliant performance and because it is one of the best films of 2007.

“Small and unassuming, Grace is Gone packs an emotional wallop that ultimately belies its low-key sensibilities - with star John Cusack’s career-defining performance certainly playing a key role in the film’s unexpected success.”- Reelfilms

This is half a year late, but i have been busy lately. Plus, it took me a long time to catch all the notable films of 2007. 2007 has been a bumper year for films with an extraordinary number of really good movies. It may also be remembered as the year of the ‘three-quel’, what with all the number of part 3, amongst them Pirates of the Caribbean 3, Spiderman 3, Ocean’s Thirteen, Shrek 3 etc. Most were a notch down from their originals, with the exception of one Three-quel which earned a spot in my top 10. 2007 is the year also of pregnancy movies, with the excellent trinity of Waitress-Juno-Knocked Up carving out a niche genre all by themselves. There were many, many good films and a number of films just missed the top 10 by an inch. I would like to single out in particular: GRACE IS GONE, THE DIVING BELL AND THE BUTTERFLY, ZODIAC, THE ORPHANAGE, EYE IN THE SKY, THE LOOKOUT, INTERVIEW, 3:10 TO YUMA, THE RISE OF LESLIE VERNON, THE DEATHS OF IAN STONE, ATONEMENT and WAITRESS for special mention. These are films that would easily have made Top 10 in any other year, but for the exceptional crop of good films in 2007.

Now, allow me to recommend 10 of the best films to come out in 2007:

10: EASTERN PROMISES

Viggo Mortenson steals the show as a driver who is much more than meets the eye in quite possibly the best film by David Cronenberg

9: 28 WEEKS LATER

Much better than the original, the sequel pushes the right buttons and is less about the zombies but more about our humanity.

8: JUNO

Ellen Page in yet another star-making performance. It is the best of the ‘pregnancy’ trinity and has more quotable quotes that the rest of the Top 10 combined.

7: HOT FUZZ

Simon Pegg in an over-the-top parody that is hands down one of the funniest comedies of the year. Too bad this has been overlooked in many top 10 lists.

6: LUST, CAUTION

Tony Leung shines, but it is newcomer Tang Wei who sizzles and almost steals the show. Director Ang Lee follows up his Best Director Oscar with yet another masterpiece.

5: GONE BABY GONE

Surprise! Ben Affleck can actually direct. A smartly crafted tale that will provoke discussions and make you think. One of the best endings that will ignite many a heated discussions.

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The Diving Bell and The Butterfly (2007) 8/10

Julian Schanabel won Best Director at Cannes for The Diving Bell and The Butterfly, which stands at an impressive 94% on RT. The question then is why did it not get a Best Foreign Language Film nomination at the recent Oscars? The short answer is that this year’s best foreign film category is totally screwed up, with critically acclaimed foreign films like “Lust, Caution” , Persepolis and Diving Bell completely overlooked. Considering that Diving Bell has been in a number of critic’s top 10 list and for goodness sakes its director won at Cannes, the omission is unforgivable.

But back to the film proper. Based on an inspirational true story, the film brings us into the mind of a man who has become almost completely paralyzed and can only communicate with the world by blinking his eyes. Despite this, he goes on to write a book. Yes, write a book. Diving Bell reminds me of the equally good The Sea Inside, but differs greatly in how they approach a similar subject manner. In The Sea Inside, the film is preoccupied with the protagonist’s desire for euthanasia, which brings in a powerful moral debate into the confines of the film. Diving Bell on the other hand, is a more personal account and films the story through the first person point-of-view of the protagonist. In particular, Mathieu Amalric’s commanding lead performance makes the film a memorable and challenging film experience.

It is a deeply affecting tale that pays homage to the imagination of the human mind. In life we are all bogged down by the metaphorical diving bell that traps us, but our minds are like butterflies which cannot be fettered. May your butterflies roam free.

“In his brilliant new film, The Diving Bell and the Butterfly, painter/sculptor/director Schnabel (Basquiat, Before Night Falls) defies dozens of moviemaking conventions to tell the true story of Jean-Dominique Bauby. “- Austin Chronicle

“A film that haunts and inspires, about a man who loves and longs. See it and connect with your own humanity. See it and remember why art endures through time: To tell us who we are and what we live for.”- Houston Chronicle

“Working with Steven Spielberg’s favourite cinematographer, Janusz Kaminski, he employs an array of lenses, styles and lighting in a technical tour-de-force to convey not only the physical limitations, but also the wide range of Bauby’s consciousness.”- Globe and Mail

The Orphanage (2007) 8/10

The best horror movies mesmerize not with cheap scares but by crafting atmosphere and developing characters . Horror at its best should be a tool to serve the movie, and not vice versa. The Orphanage is a film that eschews cheap tricks for a moody, atmospheric and utterly enthralling film. Remiscent of Guillermo del Toro’s (who is producer for this film) excellent “The Devil’s Backbone”, The Orphanage is beautifully shot with a commanding lead performance by Belén Rueda, and a promising debut effort by Juan Antonio Bayona. Some parts of the film are a tad unpolished, but considering its the first film, Bayona has the talent to go far. It is one of the best horror movies in recent years. It is not the scariest, but it knows how to push the right button. Plus, i love the ending.

“Complex, layered and creepy as hell, The Orphanage is the kind of movie that reminds horror fans why they became hooked on the genre in the first place.”- Ken Hanke

“The small screening-room crowd I watched the movie with was a pretty sophisticated bunch—but not for long. Forty minutes in, our defenses had been shredded. We were alone with our fears, but we quivered as one.”- Newsweek

“The Orphanage is an effective mixture of horror and fantasy, with the supernatural bleeding into dreams that teeter on the brink of reality.”- James Berardinelli

Michael Clayton (2007) 7/10

Legal thriller, morality poser, male-centric version of Erin Brockovich. Michael Clayton is all these and more. Watch it for its top notch cast, including a show-stealing performance by Tilda Swinton, and of course George Clooney who gets better with each film.

Rocket Science (2007) 8/10

If you love quirky, arthouse films (think Juno, Little Miss Sunshine, etc), then this is the film for you. The film is about a kid who is recruited into the debating team, but unlike the standard underdog movies where the movie progresses in a predictable manner, this is different. It refuses to give the standard david beats goliath plot trajectory that audiences expect and the film surprised me. I thought i’d figured out how this film would play out but at every turn it throws a curve ball. It is enjoyable, refreshing and most of all it is not a clone of all those underdog films. That alone makes it worth a look. Plus, for those Heroes fans, it stars someone from that series.

The Deaths Of Ian Stone (2007) 8/10

I loved the concept behind the film, and that makes for a refreshing and original tale. Very briefly, the film is about a man, Ian Stone, who is killed everyday but relives his existence in another life. Knowing too much would likely spoil your enjoyment of the film. The film does have its rough edges though, and the last act descends into a fairly derivative, pseudo Matrix-ish film. But for much of the running time, The Deaths of Ian Stone is just plain fun.

Gone Baby Gone (2007) 8/10

Gone Baby Gone was directed by Ben Affleck. Yes, that Ben Affleck who starred in the critically ravaged Gigli and a host of duds like Pearl Harbour, etc. Of course Affleck did have some good movies in the past, especially during those days where he collaborated with Matt Damon in Good Will Hunting. But Affleck has clearly been losing his edge as a bankable star and this time he moves to the director’s seat in his first time as a director. And he is pretty darn good as a director, if Gone Baby Gone is any indication. There has already been precedent- Sofia Coppola’s disastrous attempt at acting in Godfather 3 would lead her to the director’s chair behind successes like Lost In Translation. Ben Affleck is really good as a director and i was suprised by how enjoyable this film was. The script itself is based on Dennis Lehane’s novel (who also wrote Mystic River), so the story itself is solid.

Ben chose his brother Casey Affleck to star in this movie, and directors who choose to cast their family members usually screw up especially if it is a major role. Again, Godfather 3 is the cautionary example. Thankfully, Casey Affleck can act, and his surprisingly youthful looks suit the role very well. Casey plays Patrick Kenzie, a PI hired to find a missing girl who unravels more that he can handle.

Much of the film is an engaging tale which tells of the kidnap of a child and the efforts to find her. There are twists and turns in the film, and they aren’t particularly groundbreaking twists, but the movie does take a surprising turn in the last act which transforms this film from a police procedural to a heart-breaking drama. It poses a moral and ethical question to the viewers at the end which i didn’t expect and it is the final act that brings this drama up a whole notch. This is a morally murky film that will challenge viewers and make them think. I know it certainly made me think, and the closest analogy to this film would probably be Clint Eastwood’s Million Dollar Baby which is similar in structure. Its one of my favorite films of the year, and a movie that not only engages and entertains you but also makes you think. For the record, i would probably have decided differently from Patrick Kenzie’s character. But is that the right choice? Can there ever be a right choice? This is a film that will spark moral discussions, and i can’t say that of many films.

“The result is a superior police procedural, and something more — a study in devious human nature.”- Roger Ebert

“It’s deceptively simple going forward, but devilishly complex in retrospect.”- Colin Covert

“For all the rough-and-tumble action sequences, skillfully choreographed by Affleck, Gone Baby Gone is a thinking man’s crime film, whose deeply etched characters and brilliant plotting have a near-Shakespearean power.”- FilmJournal

Juno (2007) 8/10

To quote the title character Juno, this film is stupendous. Razor sharp wit and dialogue from Diablo Cody paired with an assured directorial effort by Jason Reitman makes Juno the little indie film that could. Touted as this year’s breakaway hit, Juno is smart, sassy and utterly enjoyable. And this compliment applies to both the film and the eponymous lead character, played with gusto and aplomb by the incredibly talented Ellen Page. Proving that her memorable performance in Hard Candy was no fluke, Ellen Page is simply mesmerizing as Juno and carries the whole film on her own shoulders. I cannot imagine anyone else giving such a pitch perfect performance. Such is Page’s charisma and screen presence that it is almost impossible to hate Juno. Its just not possible. Juno is a film that will just melt hearts and charm everyone. Page is surrounded by a solid and impeccable supporting cast, including yet another high profile role by the geeky yet strangely likable Michael Cera, following his performance earlier in Superbad. But lets be clear: the script, the directing and the supporting cast is excellent but it is Ellen Page that propels this film from being merely good to another level altogether. Ellen Page probably won’t win any acting accolades for Juno- not because of merit but because of the sheer unlikelihood that Oscars will give a Best Actress nod to someone so young. But she is clearly destined for greatness and if she keeps up her smart film choices, she is definitely Best Actress calibre.

This is a year where unexpected pregnancies spawned a subgenre of films by itself, with the triumvirate of Knocked Up, Waitress and Juno which were all critically acclaimed and which i enjoyed immensely. Juno proves to be the best of the bunch, with Roger Ebert naming it the best film of 2007. I won’t go that far, but certainty Juno has a firm spot in my top 10 list of this year. Juno is a movie with a heart, and its one you won’t regret watching.

“Juno is the kind of the film where a viewer almost needs to look for a reason to dislike it for it not to work. It’s charming without being saccharine. It’s funny without being rude or dishonest. It’s smart without being smart-assed. And it’s got enough heart to keep the comedic elements in check.”- James Berardinelli

“Jason Reitman’s “Juno” is just about the best movie of the year. It is very smart, very funny and very touching; it begins with the pacing of a screwball comedy and ends as a portrait of characters we have come to love.”- Roger Ebert

No Country For Old Men (2007) 9/10

I was disappointed by the ending, which i felt was too abrupt, and possibly too verbose. But everything before the finale was pure cinematic magic so i’m willing to overlook this. I have never been much of a fan of the works of directors Joel and Ethan Coen, or the Coen Brothers as they are popularly known. However, their latest work is a veritable tour de force, at once darkly humorous, thrilling and simply pitch perfect. In a year filled with a deluge of good movies, No Country for Old Man is a near-perfect movie, the kind that will be labeled a masterpiece and studied by film students for years to come. Based on the novel by Cormac McCarthy, the film showcases the Coens at the peak of their filmmaking mastery. Definately a Best Picture contender.

The acting is great, as one would expect from the likes of Tommy Lee Jones and Josh Brolin. But it is Javier Bardem, a Spanish actor who first captured my attention in the excellent The Sea Inside, who steals the show. Bardem’s character - Anton Chigurh- is like a ghost, a phantom who lays out a path of destruction. Yes, it is quite possibly the most badass character ever on film.

It is the little scenes that makes this such an enjoyable movie. One memorable scene has Javier Bardem asking a shop owner to call a coin filp. The dialogue is so masterful, the tension so thick that you end up mesmerized. This is filmmaking at its best, and the Coen Brothers have truly made a remarkable film.

The film sucks you in, and it never lets go, until maybe the last 15 mins or so where the Coens seem to falter. Lets just say that the somewhat disappointing ending is the only reason this film did not get a perfect 10. The rest of the film is just riveting. And although 2007 has a bumper crop of top films like Once, Eastern Promises and Atonement, i have to say that No Country For Old Men is now firmly on top of my Best of 2007 list. It is the best film of the year (so far), and whatever happens, it is bound to be remembered as a masterpiece. See it.

‘”NO Country for Old Men” is the first movie I’ve seen in a very long while that deserves to be called a masterpiece.”- NY Post

“Many of the scenes in “No Country for Old Men” are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene.” Roger Ebert

“Let’s just say it’s all amazing. “No Country for Old Men” is exactly the kind of challenge film buffs will love if you’re sick of the by the numbers, multiplex drivel. And if you aren’t yet sick of that crap, “No Country for Old Men” will still keep you enthralled for two hours.”- Film Threat

Atonement (2007) 8/10

About halfway through the film, there is one scene in the film that is simply breathtakingly brilliant. It is a long, tracking shot of Dunkirk, as the camera masterfully follows James McAvoy through a beach encampment. Lasting at least 3 minutes, it is a masterful sequence that made me sit up when i realised that it was an tracking shot. I daresay it is one of the most impressive tracking shots i’ve seen in a long time, one to rival the famous tracking shots in films like Goodfellas.

But enough about the one scene. The film, based on the novel by Ian McEwan, is not only technically brilliant, it also features top notch casts. Kiera Knightley, after a solid performance in Pride and Prejudice, once gives a magnetic performance with pitch perfect accent. And James McAvoy, who was overshadowed by Forest Whitaker in The Last King of Scotland, finally holds his own with a solid and memorable performance. But it is young Saoirse Ronan, who plays the 13 year old Briony, who singlehandedly steals the show. It is an assured and confident performance by a young talent. Unfortunately, Romola Garai, who plays Briony aged 18, is bland and probably miscast. When Garai faces off with Knightley and McAvoy in one explosive scene later in the film, her performance is totally overshadowed.

As a film about love, betrayal and atonement, director Joe Wright crafts a masterful tale with gorgeous cinematography which is technically perfect. Helped by a strong cast and a solid script, Atonement looks set to be a contender come Oscar season. Already, Atonement has garnered multiple Golden Globes nominations, and most deserving of the accolades.

“Each period and scene in the movie is compelling on its own terms, and then compelling on a deeper level as a playing out of the destiny that was sealed beside the fountain on that perfect summer’s day.” Roger Ebert

“Rarely has a book sprung so vividly to life, but also worked so enthrallingly in pure movie terms, as with “Atonement,” Brit helmer Joe Wright’s smart, dazzlingly upholstered adaptation of Ian McEwan’s celebrated 2001 novel.”- Variety

Lust, Caution (2007) 8/10

Ang Lee does not make easy movies for consumers. Even when directing the superhero movie, The Hulk, Ang Lee infuses his brand of filmmaking that emphasizes the characters, and not the spectacle. And Lust, Caution is one of his most daring films yet. Beautifully shot, this controversial film is based on Eileen Chang’s short story and stretches it to feature film length. It is supposed to be like a thriller, but there is nothing thrilling about it. In fact, it reminded me alot of Paul Verhoeven’s Black Book, which has a similar plot but plays out in a completely different fashion.

Like most of Ang Lee’s film, Lust, Caution is a film about characters and Lee easily spends an hour setting up the background and introducing the characters. The film runs at a long 2 and a half hours but it is a spellbinding and riveting drama, because Lee coaxes phenomenal performance from the talented cast. Tang Wei is a revelation, and puts in a top-notch performance that is simply stunning. I cannot believe that she lost the Golden Horse Best Actress to Joan Chen (who won for another film). I mean seriously, the Golden Horse Awards seems to be losing its lustre with some seriously weak picks, including giving Gurmit Singh of all people a Best Actor Nomination. Still, i must say Tang Wei here gives an Oscar calibre performance and definitely one of the best female performances of 2007. And even when cast against top actor Tony Leung, she manages to hold her own. Effectively switching between sultry and innocent, Tang Wei shows great promise and simply shines.

As for Tony Leung, he is one of the best actors in the world. And he brings his A game to the film, with a powerful intensity and steely coldness to his character. A character that audiences will be charmed and repulsed by at the same time. The rest of the cast likewise give strong performances, although Wong Li Hong looks a tad out of place and doesn’t quite match the standard of the rest of the cast. Still this is compelling drama featuring top-notch performances and a stellar director. And yes, even the much talked about sex scenes work. It is rare that sex scenes are integral to the movie itself, but for Lust, Caution, sex plays out like a symbolic battle of wills between the characters. Every sideward glance conveys so much, every little movement brings with it so much underlying subtlety. One of my favourite sequences is the mahjong sessions that are shot in the film. Every glance, every subtle movement conveys the power dynamics of the characters in the movie. The very first frame itself shows an ongoing mahjong game in progress, and through the interactions between the characters we can immediately see that Tang Wei’s character is different, that she doesn’t belong to the group of rich wives.

Scored with a haunting soundtrack, every frame of Lust, Caution is beautifully shot and brings to life the feel and mood of 1940s Shanghai. This is a film by an auteur at the top of his game- Ang Lee makes the characters matter and the result is a long, possibly overindulgent but relentlessly fascinating film. It is the best chinese language film of 2007, and one of the best films of 2007. No easy feat considering that this is a bumper year of top movies.

“A brooding meditation on the unnerving power and terrible cost of emotional and political masquerades, the Chinese-language “Lust, Caution” gets under your skin with its examination of what qualifies as love and what does not.”- Los Angeles Times

“Lust, Caution casts a spell you won’t want to break.”- Rolling Stone

“It’s a depressing film, yes, but Lee infuses the material with such confident subtlety and tonal sleight-of-hand that the conclusion is never a forgone one.”- Mark Dujsik

I am Legend (2007) 8/10

Actually quite entertaining, with a beautiful shot of an empty, desolate New York cityscape that reminded me that opening scene of 28 Days Later. Will Smith as the lone, solitary human (with a canine companion) wandering the empty urban landscape gives the film a visual power that just grabs you. It is this day to day minutiae that proves gripping. What is not interesting, is the flashback sequences, which seem perfunctory and serve perhaps to only deliver some kind of backstory for Smith’s character. It was not necessary, and in fact detracts somewhat from the mood and feel of this film. As i have said, the film works because it is about the last man on earth. Towards the last half hour or so, the film introduces new elements which detract from the premise and weakens the story. It isn’t entirely a disaster, but still it was awkwardly executed and cobbled the smooth momentum of the film. And then there are the zombie-vampire-monster thingy which seem out of place and very obviously CGI-enhanced. In this case, less is more for the monsters. When they are hinted at, they are excellent as a plot device, but in the latter half when they congregate in packs they aren’t particularly impressive because of their obvious CGI quality. They don’t look particularly real or scary. Luckily, the film isn’t about these monster, although the last act does descend into a battle with monsters action sequence which similarly befell otherwise excellent films like 28 Weeks Later. As a blockbuster, I am Legend is actually worth of all the box office success it has reaped. If you are going to watch a big budget blockbuster extravaganza, I am Legend is worth a look.

Waitress (2007) 8/10

Films about unexpected pregnancies have become quite the fad this year. And the surprising thing is that they are all critically acclaimed, from Knocked Up to Waitress and finally Juno (which Ebert ranks as #1 on his top 10 list this year). Waitress is a delectable tale featuring an excellent Keri Russell as the lead and a great cast which includes Nathan Fillion from Firefly. It is sweet and delightful comedy, as well as writer-director Adrienne Shelly’s final film. Tragically, Shelly was murdered not long after the film was completed. Not only did Shelly write and direct this movie, she also has a substantial role as a supporting character. It is sad, especially since Shelly shows such promise as a director and Waitress was quite a hit in the arthouse festival circuit. Waitress is a small, indie flick that shows alot of heart, love and effort. Highly Reccommended.

“Waitress wowed me”- John Beifuss

“Using a style that faintly echoes Hartley’s, Shelly beautifully balances deadpan humor, pathos and heartbreakingly lovely moments of happy truth.” - Jeffrey Anderson

“The film skips along with an interesting mix of innocence and black humour.”- LIZ BRAUN