10 out of '09

Well, the Oscars had their ten, now it's time for mine. Every year around this time, I like to announce what my favorite films of the previous year were (just in case anybody out there was actually interested in what I thought). But, before we begin, a few disclaimers:

First, this list is comprised of my "favorites", not the "best". So, these movies are ranked almost entirely by how much I enjoyed them and not the necessarily by the quality of the films themselves.
Second, this top ten list (like every one before and after it) is in a constant state of flux. Since I don't do film reviews for a living (yet), that means several of worthy movies remain unseen. I can tell you already that I can think of several potential contenders on my "watch" list that came out this year, but since I haven't gotten to them yet, the list now stands as it is.
Third, I usually arrange these lists by order of preference, but I thought for fun I'd do an official countdown this time. So, despite my failed attempt at not having a long-winded introduction, let's get on with it.

#10: Moon - Hard Sci-Fi needs to make a comeback. Unfortunately, I don't think audiences are intellectual enough anymore to make it economically feasible. There was some talk of David Fincher directing an adaptation of Arthur C. Clarke's novel "Rendezvous with Rama" starring Morgan Freeman, which I was stoked about. Unfortunately, it would seem that project got shelved 'cuz there's not a trace of it on IMDb anymore. For some reason, it seems Fincher is more interested in making a movie about freakin' facebook.
Anyway, "Moon" probably didn't do so hot because, at first glance, it looks like it borrows from too many other Sci-Fi films. It does, but it does so without coming across as stealing their ideas. And all of the cliches are pretty much superficial anyway. Unfortunately, I can't tell you too much about this movie without ruining its surprises, but I will say this: It's one of those rare films that starts out confusing and slowly, as layers are peeled away and revelations are revealed, everything starts to fall into place and you're taken aback by its unexpected, but sensible, brilliance. It's fantastical without being implausible and complex without being exhausting.
Most importantly, though, I don't have much respect for films that reveal their surprises by pulling the rug out from underneath you. I can appreciate the amusing "gotcha" sense of that gimmick, but I much more prefer a mystery that's been laid out ahead of time that you have clues to dismantle if you pay close enough attention rather than being tricked by something I had no possibility of suspecting. Any writer can tack on the "it was all a dream" or "the hero and the villain are the same person" at the end of their script, but it takes a real clever mind to put together a puzzle like "Moon". You'll recognize the difference when you see the movie for yourself.

#9: Zombieland - Funny to go from a movie like "Moon" to a movie like this and, furthermore, it's slightly embarrassing to rate it higher, but the truth is, "Zombieland" is just so much damn fun. Most zombie movies are fun - even the dead serious ones (no pun intended), but this one has so much fun with itself that it almost ceases to be a horror film. In a nutshell, this is a zombie movie for people who don't like (or, more commonly, can't stomach) zombie movies. A good introduction to the genre, in other words.
There's really nothing new about the whole zombie formula because they've been making zombie movies for over forty years and there's only so much you can do. This film does a good job of poking fun at the cliches and managing to still breathe some fresh air into it, though. In addition to its eclectic cast, it also contains one of the best celebrity cameos that I've seen in years. It's a shame so many people have revealed who it is and how it works into the movie, but I won't reveal it here. That scene alone makes the movie and is a big part of why this film made it into my top ten.

#8: The Road - And even funnier to follow "Zombieland" with "The Road" - except funnier in the opposite direction. Both are post-apocalyptic films about survivors making their way through the American wastelands, but they couldn't be further apart on the spectrum.
Despite being suspenseful and gripping - particularly because, early on in the movie, they establish the rules by demonstrating that anything can happen (and it just might) - what makes this movie truly horrifying is how plausible it is. I really believe that if the world found itself in these circumstances, this is exactly what would happen and that thought alone is more disturbing than anything the movie can offer up. In that sense, it's very similar to "Deliverance" and "The Texas Chainsaw Massacre" (and even "Schindler's List", actually) in exploring the lowest depths of human depravity and still remaining terrifyingly believable. When watching even the most unbearable horror film, one can usually at least cling to the notion of "Well, at least it could never happen." But if a movie can deprive you of that comfort, you're on your own - much like the protagonists of "The Road".
I suppose it's kinda ironic to have this film on the list since I went out of my way to announce ahead of time how these movies are based on my enjoyment (and I did not "enjoy" this movie), but it got under my skin too effectively for me to not give it its due.

#7: World's Greatest Dad - Much like "Moon", I think this was a movie that audiences were quick to dismiss because, on the surface, it looks all too familiar. Robin Williams playing a school teacher/father. Oh, and it's directed by Bobcat Goldthwait - that guy who played Zed in the Police Academy movies and set fire to the set of "The Tonight Show". Unfortunately (again, like "Moon"), you can't tell people how unique it is without spoiling the fun.
Of course, on the other hand, maybe the reason filmgoers didn't embrace this movie is because it's really offensive. One thing I can tell you about it is that, usually when you see an uruly teenage character in the movies, they're covering up some kind of vulnerability or they're weak and wounded in some way that you might feel sorry for them or, at least, find some humor in how disrespectful and audacious they are. However, the title character's son in this movie is so nasty and horrible that it is not only incomprehensible, but almost unwatchable. That's all I can really say about it.
Bottom line: If you're feeling brave and want to challenge your threshold for bad taste, this is a movie for you. Like "The Road", I hafta salute how much I liked it despite how much I hated it.

#6: Dead Snow - Don't know if I've ever had two zombie movies make my top ten list before, but they sure did this year. Interestingly enough, this one is different enough from "Zombieland" to not feel redundant. Chances are you've heard of "Zombieland" but not this one. Probably just because it's Norwegian and didn't have as big a budget or as wide a distribution. A shame. It's way better. But - fair warning - unlike "Zombieland" this one is for seasoned viewers and true zombie fans like myself.
Earlier I had pointed out how difficult it is to do anything truly original with zombie movies, but this one really impressed me. Not only with its innovation and originality, but how it still managed to remain loyal to its roots and inspiration. Also, like a true gourmet zombie flick, it is effectively funny and genuinely scary without either detracting from the other. The characters are likable enough to where you root for them, but not likable enough that you hate to see them devoured or disemboweled. The last movie I can think of that achieved these accomplishments as well as "Dead Snow" was "Tremors". And "Tremors" is on my top ten list of all-time favorites, so there you have it.
I'm reluctant to recommend this movie to just anyone, but if you're looking for a good zombie movie that achieves everything a zombie movie aspires for and succeeds (exceeds, actually), then you're not going to do much better than "Dead Snow". I mean, c'mon... Zombie Nazis, dude!

#5: (500) Days of Summer - Okay, I'm gonna go out on a limb here and just come out and say it: This is probably the best romantic comedy since "When Harry Met Sally". Seriously, give it time to settle in. If there's any justice in the movie world, this film will be listed among the best of the rom-coms.
I remember once having a debate with a girl about chick flicks versus guy movies. I won the argument by saying something like "A bad chick flick is way worse than a bad guy movie." I said that probably 15 years ago, but it's especially true today. I believe that if a chick flick is truly great, it ceases to be a chick flick and is meant for everyone. Same can be said for a kids' film.
Anyway, this is one of the best films about relationships I've ever seen. It's so honest and so real without being dull or overly sentimental. It's also quirky and cute without being sappy or trendy. Most importantly, I think it's a great case study to observe for anybody in a young relationship. This may not be how relationships are, but it's certainly how they feel. Like many of the aforementioned movies, it's so refreshing to see a movie that has originality and familiarity working hand-in-hand so effectively.

#4: The Hangover - Hands down the funniest movie of the year. Most impressively, though, is the fact that they could've been lazy in putting this movie together by just making it a series of silly, gross-out, slapstick vignettes and gotten away with it. Like "Dude, Where's My Car", for example.
Instead, they actually put together a linear sequence of events that had a logical progression and even a plausible chain reaction for the characters (and the audience) to retroactively work their way through. In that sense, the movie's not terribly different from "Memento". I mean, things that at first seemed way over the top are reasonably and thoroughly explained. Well, everything except the chicken. I'm hoping for a director's cut or deleted scene that sheds some light on that.
Some of the smartest comedies appear very stupid on the surface. People are all too often willing to write them off as fluff, but the truth is this must have been a hard movie to make and it's amazing how easy they made it look.
On a side note, another trend they need to bring back is honoring actors for out-and-out comedic performances (like Kevin Kline in "A Fish Called Wanda") because Zach Galifianakis' performance in this film is nothing short of perfectly executed brilliance.

#3: Star Trek - I'm not sure I'm liking this new trend in the movies to do reboots of everything. I can understand its justification, though. They've successfully rebooted James Bond and Batman and now Star Trek and all of them have been done exceptionally well and made millions of dollars. But, it's only a matter of time before all the go-alongs and wanna-bees wanting to milk that gravy train for all its monetary worth bring the whole gimmick crashing down onto itself. I'm just glad they haven't tainted anything really sacred yet. Not that "Star Trek" is sacred, but it has quite a legacy and I was very skeptical going into this movie. I thought it would be a bastardization of the original series by just taking the characters and doing their own thing however they see fit.
In a way, that's what it was, but given the alternate-reality explanation they carved out for themselves, they allowed themselves the luxury of keeping what worked and changing what didn't. That made everything they did, not only perfectly acceptable, but really damn fun. Plus, there were enough references and inside jokes for the sake of Trekkies that they still managed to make entertaining enough at face-value for everyone else.
Lastly (and probably best of all), it's been a long time since I sat through a movie that was good old-fashioned great adventure. I was blown away. After it was over, all I could think about was how I wish that J.J. Abrams had made the Star Wars prequels as well.

#2: Up - I think the main reason this one ranks so high on my list is because about 15-20 minutes into the movie, when the first section of the story concluded, I thought "I could walk out of this theater right now and have totally gotten my money's worth already." When you think about it, the bulk of the movie is the story's epilogue. You'll hafta see the movie to know what I'm referring to, but in any case, what a beautiful movie.
And so full of imagination! I mean, when I saw the trailers, I thought this film would be a fantasy: Floating houses, giant birds, talking dogs, etc. But the truth is, fantastical as it may be, it's still grounded in the real world. That makes the content all the more impressive. When you allow yourself the luxury of a fantasy, you can pretty much do anything. Here's a movie that pretty much did anything regardless of the fact it took place in the world we know in what seemed to be present day. Wow. Leave it to PIXAR to one-up themselves yet again.
It occurred to me the other day that "Up" (like pretty much every other PIXAR movie) is a movie for adults disguised as a movie for kids. Whereas "Avatar" is a movie for kids disguised as a movie for adults.

#1: Inglourious Basterds - For the record, "Reservoir Dogs" is my favorite movie of all time. And "Pulp Fiction" is one of the most influential and widely-beloved films of all time. I enjoyed "Jackie Brown" a great deal and respected Tarantino for backing off the accelerator a bit and doing a more subtle film from the genre he loves so much. Since then, though, he's kinda left me cold. I mean, "Kill Bill" and "Death Proof" were undeniably well-made films by an undeniably talented director, but I was growing tired of Tarantino doing movies that seemed to mostly be homages to other movies. It was almost to the point where, if you hadn't seen the films he was paying tribute to, you weren't in on it. For such an original director, I was hoping for more originality.
At last, Tarantino comes back swinging with "Inglourious Basterds". This reminded me of everything that made me fall in love with Tarantino to begin with. True, there were a lot of tributes and references to other movies in this one as well, but they didn't weigh the film down and draw attention to themselves as if the actors were winking at the camera. Just a brilliantly written and impeccably executed film that, not only didn't disappoint, but outright refused to.
To bring the subject back to the Academy Awards, though, I was really hoping this would be the film to steal the glory from "Avatar" at the Oscars. While Christoph Waltz was a shoo-in for winning Best Supporting Actor, I had hoped this film woulda at least won Best Original Screenplay and Best Editing if not Best Picture and Best Director. Oh well, it's not like Tarantino won't have another chance to blow everybody away.

So, there's my ten. I feel a bit ashamed that my top five are all big blockbusters because I always prefer to turn people onto little-known and lesser-seen masterpieces, but I guess Hollywood really delivered this year. Of course, that's not to say you shouldn't see the movies in my bottom five, because you most definitely should. And who knows? Last time, I was kicking myself for having seen "Let the Right One In" almost immediately after posting my top ten list, so there could be all kindsa obscure beauties out there just waiting to tap me on the shoulder. Until I find them, though, I hope you enjoy these ten aforementioned beauties as much as I did.

...and you thought the show was long before...

Well, they announced this year's Academy Award nominations and, for the first time in many years (perhaps ever), I'm not impressed. It's not the quality of the films nominated (a few are always disappointing because they're nominated more for politics than merit), it's because the Academy has doubled the number of nominees for Best Picture. How anti-climactic. I mean, c'mon... Top ten lists are for critics!

I understand the thinking behind it. Once in a while, there's definitely a year where at least ten films are deserving of Best Picture nominations. However, 2009 was not one of them. This is clearly evidenced by the nominations themselves. Sure enough, I'd say only five of the ten truly deserve to be nominated. Not that the other five films aren't good, it's just that there's definitely a line that has to be crossed in order for a best picture nod to be justified -at least by my standards - and half of these films didn't cross that line.

For my money, the current nominations that deserve their place (or, shall we say, the ones that would not be removed had the Academy stuck to their five-picture line-up) are as follows:

"Avatar" - A movie I personally didn't really care for, but undeniably a ground-breaking and influential film of epic proportions (and it doesn't hurt to be a massive crowd-pleaser, too) just like Cameron's previous swan-song, "Titanic".





"An Education" - I haven't seen this one (and don't particularly want to), but the Oscars always have at least one retro period drama with European-accented actors in some kind of star-crossed love story nominated. If you don't believe me, go check the nominations of any previous year - I bet you'll find one every time. Given the widespread critical acclaim this film received, it seems the most worthy of being the obligatory chick flick nomination.

"The Hurt Locker" - Frankly, I thought this film was a bit over-rated. It's good, no doubt about it, but I don't understand why it has stood out so much this year above certain others as "A NEAR-PERFECT MOVIE". Still, I'm willing to include it here as a one of the five because it has already won too many other highly respected filmmaking awards to be ignored.


"Inglourious Basterds" - A simultaneously beautifully and brutally crafted love-letter to old movies with a masterfully written script and brilliant performances throughout. Tarantino finally returns to the high-calibre kind of filmmaking that "Pulp Fiction" inspired 15 years ago.




"Precious" - Beginning with Sundance (when the movie was called "Push"), the critical buzz surrounding this movie has only grown exponentially. I can't really comment further because I haven't seen it yet, but I can tell just from the trailers that this is one emotionally powerful tour de force (and the Academy loves those).

Now, in any given year, there's almost always a dark horse nominee for best picture. An underdog or, as I like to call 'em, a Cinderella Nomination. These are the films you're surprised (but pleased) to have gotten a Best Picture nomination. Consequently, you know they don't stand a chance in hell of winning. This year, instead of just one, we have five. Let's go through them, shall we?

"The Blind Side" - We all find sports movies inspiring. I'm sure this one's good, too. Best film of the year, though? Maybe to the individual. I feel like this movie got its Oscar accolade by having Sandra Bullock nominated for Best Actress.





"District 9" - Really? I had to double-check the list something like three times to make sure I wasn't misreading it. This is undoubtedly a very original movie and a great allegory for apartheid (among other things) and I think I probably admired it more than I liked it, but when you break it down, it's really just a well-made geek-boy cult film. This is a perfect example as to why ten nominees is too many: The inclusion of this film makes me think they ran out of ideas.

"A Serious Man" - Big Coen Brothers fan here. Huge. Was a big cheerleader for "Fargo" when it was nominated and was stoked when "No Country For Old Men" won. But even I don't think this one deserves to be a Best Picture contender. I didn't even think that when I saw it - and I liked it a lot. On principle, though, I hafta applaud the Academy for giving such a dry and unconventional film (which was obviously a labor of love) a shot at Best Picture - even if it doesn't really deserve it.

"Up" - I have mixed feelings about this nomination because (second only to "Inglourious Basterds"), it's by far my favorite film out of these ten. Ultimately though, I don't think it deserves to be a Best Picture nominee because it's already nominated (and a shoo-in) for Best Animated Feature. When a film is nominated for Best Picture in more than one category, you know two things for sure: #1 - It definitely will not win Best Picture. #2 - It definitely will win the alternative Best Picture category. Remember "Life Is Beautiful"? Nobody was surprised when it won Best Foreign Language Film and they were even less surprised when it didn't win Best Picture of the year.

"Up in the Air" - This one actually is your quint-essential Cinderella Nomination. They're usually light-hearted, charming, modest dramedies with small casts and smaller budgets. To give you an example (and to illustrate how "Up in the Air" fits right in) here are some Cinderella Nominations from the past decade: "Juno", "Little Miss Sunshine", "Sideways", "Lost In Translation", "Gosford Park" and "Chocolat". So, I guess in conclusion, this one does deserve to be nominated based on the dark horse principle, but one other provision of the dark horse principle is that it must bump a more-deserving nominee. So, pick which one of my first five that "Up in the Air" should replace and there you have it.

If this article seems cynical, let me just say that I'm all for the appreciation of good movies and giving credit where credit is due, but let's face it, it's so much more interesting when the competition's tighter. Next thing you know, the 2010 Olympics will issue not only Gold, Silver and Bronze Medals, but Steel, Aluminum, Copper, Wood, Leather, Cotton and Paper Medals as well.

The 10 Most Under-Rated Films of the Past Decade

Right now, entertainment websites and movie blogs are fraught with lists of "The 10 Best Films of the 00's". I'm inclined to post my own take on what movies I felt stood out above the rest, but let's face it: My own list would, in all likelihood, just blend in with the rest to the point of being redundant. Besides, I usually like to go public with my top 10 list for the previous year around Oscar time anyway. Might as well do the same for a best-of-decade list.

So anyway, I thought of a different (and, in my mind, more noble) approach to a top 10 list and instead draw attention to 10 films of the past 10 years that I felt were sorely overlooked. Not necessarily the best films of the 00's (although there are a few here that fall under that category, too), but simply ones that deserve more credit than they got and should be sought out by people like you. I mean, c'mon... If you care enough to read about them, you should most definitely care enough to watch them. Unsure as to how one ranks "under-rated-ness", I have arranged them alphabetically, so that when you go browsing on NetFlix or your local video store, your search can be perhaps a bit more linear. Here we go:

The Assassination of Richard Nixon (2004): This is probably the most big-budget, A-list movie star-studded film on this list, but chances are you still aren't familiar with it. Having just won an Oscar for his performance in "Mystic River" and following that up with the superb "21 Grams" (which, like this movie, co-starred Naomi Watts as well), Sean Penn's career had definitely peaked. I don't know if this movie got lost in his own wake or if the advertising budget was just too modest, but I think this is the performance of Penn's career. Yes, even better than his performance in "Milk".
There's no shortage of films about an ordinary man's inability to find purpose and meaning in a world that rejects him and, consequently, he slowly loses his mind and spirals down a path of self-destruction disguised as vigilantism (I guess that last sentence could be replaced by saying "Y'know... 'Taxi Driver'). However, this film - perhaps because it's based on a true story - seems somehow different. You pity him without siding with him - like the way you'd feel about a rabid dog. Or Charlize Theron's character in "Monster".
Oh, wait. Maybe that's it - maybe filmgoers passed this movie by because they'd seen enough depressing storylines from this year already ("Million Dollar Baby", for instance, won best picture) and didn't have room for one more (especially one more starring Sean Penn & Naomi Watts). Too bad. 'Cuz this was one of the best ones.

Brødre (2004): As much as I appreciate Jim Sheridan's work, I must say I detest the practice of taking a flawless foreign film and remaking it (in most cases, shot-for-shot) for American audiences.* If you're wondering what I'm talking about, this past year's movie "Brothers" is a remake of an impeccably-made Danish drama of the same name. I implore you to skip the new one and seek out the original. Perhaps that's not fair for me to say because I haven't seen the remake, but I can't imagine it could possibly be any kind of improvement - and I feel totally justified in that belief simply from seeing the trailer.
I don't want to reveal too much of the film's plot because the way it's unveiled is a big part of its impact, but in a nut shell: Two brothers - one, a family hero, the other, a black sheep - reunite after the bad brother gets out of prison but before the good brother is sent to Afghanistan for military duty. The good brother is captured by the enemy and thought to be dead and the bad brother begins to take on responsibilities in his absence. Eventually (after horrible experiences that have to be seen to be believed), the good brother makes it back home. I'll leave it at that.
Most movies about tragedy relegate the audience to being simply voyeurs, where you empathize with the characters' plight - basically like how you feel when you watch the news and hear some horrible story. That's not necessarily a bad thing from a movie-watching standpoint, but it's not nearly as powerful as experiencing the tragedy with the characters. That's much a harder goal for a filmmaker to accomplish (although Clint Eastwood, as a director, is a master at this). I can't put my finger on it, but there are some movies where you become so invested with the characters, that you feel their pain rather than witness it. This film is like the former. I suspect the remake is like the latter.
* On a side note, I'd like to express my pre-emptive disdain for the upcoming American remake of the incredible Swedish masterpiece "Let the Right One In" which is probably the finest vampire film I have ever seen (and perfect) and should never be remade.

The Fall (2006): This the only film on this list that is not only under-rated, but was far and away my favorite film of the year it was released. This one I am absolutely perplexed as to why it wasn't a huge record-breaking blockbuster. The movie snob in me would suggest it's because it was too sophisticated for mainstream audiences, but I don't think that's quite it. What confuses me is how so many people loved "Pan's Labyrinth" so much and wouldn't shut up about how great it was, but mainstream audiences somehow missed this one. This movie has the same basic formula as "Pan's Labyrinth", but it is so much better in every way: heartbreaking plot, vivid characters, breath-taking visuals, gorgeous landscapes, limitless imagination, grand performances, all that and more.
Even more impressive (but only if you've actually seen the movie) is the fact that it was shot over 4 years on 26 locations in 18 different countries and doesn't contain a single computer-generated special effect. Again, that may not sound like such a big deal, but try watching this movie with that knowledge and see how long it takes before your jaw drops.
I could describe the plot to you, but the plot is not the reason to see it. That's not to say the plot sucks (far from it), but the movie itself is such a celebration of beauty and storytelling, that to simply write a brief summary of the exposition would feel like a betrayal of the presentation as a whole. You hafta see the movie to know what I mean. And if there's only one movie on this list you should most definitely see, it's this one.

It Might Get Loud (2008): If you haven't seen this one, I'm afraid it may be too late. As good as this movie is (and still will be on DVD), it's one for the theaters. If you ever notice they're screening some special engagement at a local theater (or you know someone with a home theater who's willing to show this at their place) don't miss it!
This is the only documentary on my list, but it's really kind of a documentary by default. Most documentaries have a journalistic feel (and I suppose this one does, too), but that takes a back seat to the celebration of music and the magic of creative expression. There are so many priceless and inspiring scenes in this film that it's impossible to pick a favorite. Furthermore, this movie could have lasted 24 hours and my interest in it would not have waned.
If you're still not sold, that's just because you don't know what the documentary's subject matter is: Led Zeppelin's Jimmy Page, U2's The Edge, and The White Stripes' Jack White all get together in a studio to talk about each other's music and pretty much just jam. I would have been more than satisfied with just that, but they go into such thorough back story on all three individuals and their experiences and their influences that it is impossible to not be in awe. This movie excited me more than any action movie I saw all year. And it sounds f___ing amazing!

Lars and the Real Girl (2007): I almost didn't include this one on the list because it did fairly well for an independent film. Well enough to garner itself a (well-deserved) Academy Award nomination for best screenplay. However, as widely-seen and critically-acclaimed as this movie was, it still wasn't appreciated as much as it should have been. That's actually an indication as to how good it really is.
Think about the subject matter: A reclusive and socially awkward man treats an artificial woman (or, a sex doll, to put it bluntly) like a real person/girlfriend and his concerned family and friends play along for the sake of his need to be loved and accepted. Now, if this were a Hollywood film, it would be wall-to-wall sex jokes, crude innuendos, embarrassing situations and humiliating gags. And, you know what? It would probably actually be pretty funny and make millions of dollars.
Here, though, is a film that challenges itself to treat the subject matter seriously, with great care and, really, almost play a prank on the audience when, by the end of the film, we find we've actually grown to care for "Bianca" about as much as any other character in the movie. When you think about it, this is a real tightrope of storytelling and the movie never takes one wrong step. Not only that, but they make it look easy.
This film is a masterpiece and I'm afraid it's destined to be, at best, one of those movies where years from now, people will say, "Hey, remember 'Lars and the Real Girl?" "Oh, yeah. Barely. It's been a long time, but I remember it was pretty good." When it really should be, at least on an emotional level, on the same shelf as, say "E.T." or "Old Yeller" or any other great movie that makes us genuinely care for something that's not even human. Furthermore, it's a wonderfully optimistic commentary on the strength of community. I suppose it's kind of ironic, but when people talk about "small town values", I like to think of this movie as an example of exactly that.

Rocket Science (2007): It's possible I merely have a soft spot for this film because it's the first movie I ever saw at the Sundance Film Festival and, consequently, I wanted it to do better than it did, but I've re-watched it recently and think it still holds up quite well. In fact, for a movie about teenagers, I think it could withstand the test of time indefinitely because there are several universal truths (and tragedies) that anybody who survived adolescence could relate to.
Most teen movies with an awkward underdog for a hero usually end with him (or her) proving himself by overcoming the odds (or at least getting even). This movie's about a boy with an excruciating stutter who joins his high school's debate team to impress a girl. I won't reveal what happens to Hal Hefner at the end, but there comes a point in the movie where you realize it almost doesn't even matter whether he "succeeds" or not. His life is going to continue to be miserable and difficult no matter what - at least until graduation. That is what it's like to be a teenager and this movie makes that feeling all too real.
Being in my mid-30's now, usually when I watch a movie about teenagers (even one I originally saw back when I was a teenager), I'm left with a fleeting desire to be young again. The truth is, I do not. And I give this movie props for having the balls to show me why.

The Salton Sea (2002): This is a clear case of simply not enough distribution. I remember seeing this trailer at the movies, being excited to see it, anticipating its release, and then finding out it didn't even play in my city. After I finally got around to renting it (and seeing that it was every bit as good as I'd hoped), I eventually ended up buying my own copy for $2.50 in a used movie bin at Hollywood Video. This movie got a bum rap.
Not sure why the studio didn't have enough faith in it to really put it out there. Maybe it was because the screenwriter originally intended for the script to be a writing sample to show around to studios to get work. Maybe they spent all their budget on the movie itself and didn't have enough left for promotion and distribution. Maybe they thought with a movie this good, word of mouth would be enough to give it legs. The cast itself boasts a who's who of independent film character actors - almost to the point of being a self-contained hall of fame.
Unfortunately, it's one of those films that's got a convoluted plot full of surprises, so I can't divulge too much, but I will say it's cut from the same cloth as "Memento" and "The Usual Suspects". Maybe that's the problem. There were a lot of wanna-bees that tried to cash in on that similar crime-drama formula at the time. I don't consider this a wanna-be because it's unique enough to stand on its own and it's not a victim of its own style like so many others. Its characters are not cliches nor are its surprises frivolous and arbitrary. It's sad to say that probably the only reason this movie got greenlit in the first place is because of the movies that came before it, but if someone had taken a chance on "The Salton Sea" first, I guarantee you'd have already seen it I'd be talking about some other unappreciated movie here instead.

Seeing Other People (2004): This is a very funny movie and, in its own way, somewhat profound. If you're in a relationship, it'll make you appreciate your significant other more. If you're not in a relationship, it'll make you glad you're not. Sounds impossible, but it's true.
The bride-to-be of a happy couple begins to regret that she hasn't had many sexual conquests in her past and suggests to her fiancee that they allow each other to fool around and "sow their remaining wild oats" (as it were) before they finally marry. I suppose you can imagine what kind of mayhem would ensue under such an arrangement, but it actually gets much worse than what you may imagine.
Like "The Salton Sea", it's got a great cast (although, contemporary comedians this time) who offer up all sorts of character types to ensure no permutation is left unexplored. I suppose it could be a pretty therapeutic movie to watch for somebody who has been cheated on, but more importantly, I think it would be a good movie for somebody who is contemplating cheating on their significant other to see. This movie will either bring you back to fidelity or make you opt for just breaking up in order to save yourself a heckuva lot of trouble.

Session 9 (2001): Given the popularity of the "torture porn" horror movie these days, it's hard to find a good old-school creepy horror film that relies on mood more than gore for its effectiveness (although, I give props to "Paranormal Activity" for bringing it back, even if only briefly). This movie pre-dates "Saw" by 3 years, so I can't say it's an anomaly to the contemporary suspense genre, but it is still unique by today's standards.
The brilliance of "Session 9" is its ambiguity. Five haz-mat crew members are brought into a condemned insane asylum for asbestos removal in preparation for renovation. The asylum in question was closed down years ago for controversial methods of patient therapy. How's that for a set-up?
Naturally, creepy things start happening while they're at work, but because of the movie's set-up, the audience has no idea what's responsible for the unsettling occurrences. One by one, workers inexplicably stop showing up for work. Are there still crazies hiding out in the asylum? Homeless people? Ghosts? Monsters? And what's happening to the workers? Are they dying? Are they being kidnapped? Fleeing? Being devoured by the building itself? Because of how little is shown to us, we never really know what's going on until it is revealed at the very end.
This movie will get under your skin and, while you might be thick-skinned enough to not have it bring you nightmares, chances are you'll think twice before going into a big empty building by yourself.

Stander (2003): I tend to be a sucker for movies that contain either a great heist or a great prison break. It's a real treat when I find a movie that contains both. "Stander" contains at least two prison breaks and more heists than I bothered to count. It's the story of a South African police officer who, disenchanted with his government's enforcement of apartheid, becomes a bank robber. Not only that, for a time he becomes the detective assigned to investigate his own crimes. That's not the best part, either. The best part: True story.
There are so many moments of bad-ass-ness in this movie that it's tempting to spoil them all by listing them here. That's certainly the easiest way to convince someone to see the film. You'll just hafta take my word for it, though, and find out for yourself.
On a side note, I'd like to say that the musical score for this film is outstanding and it frustrates me to no end that it was never released for sale. Yet another tragic side-effect of a movie that has gone unappreciated.

So, there you have it. I should close by saying that there are lists upon lists of movies that I have not only never seen, but never even heard of that probably deserve to be on this list as much as the ones I listed. I'm always looking for recommendations - the more obscure, the better. In any case, as this blog progresses, I intend to point out any great movie I see that probably most people have not whenever I come across them. Thank you for reading, now go out and rent some of these bad boys.