30 Beloved Films

Abril despedaçado (2001)
Amélie (2001)
Amores Perros (2000)
Apocalypse Now (1979)
Babel (2006)
Before Night Falls (2000)
Before Sunset (2004)
Children of a Lesser God (1986)
Cidade de Deus (2002)
Cinema Paradiso (1988)
Donnie Darko (2001)
Dr. Strangelove (1964)
Eternal Sunshine on the Spotless Mind (2004)
Fight Club (1999)
Goodwill Hunting (1997)
Il Postino (1994)
Kolya (1996)
La Règle du Jeu (1939)
La Vie en Rose (2007)
La Vite è Bella (1997)
Magnolia (1999)
Munich (2005)
Papillon (1973)
Raging Bull (1980)
Taxi Driver (1976)
The Godfather (1972)
The Graduate (1967)
The Pianist (2002)
There Will Be Blood (2007)
Zorba the Greek (1964)

100 Films That Have Enhanced My Life

21 Grams (2003)
A Clockwork Orange (1971)
A Streetcar Named Desire (1951)
Abre Los Ojos (1997)
Abril Despedaçado (2001)
Amélie (2001) *
Amores Perros (2000) *
Apocalypse Now (1979) *
Babel (2006) *
Before Night Falls (2000) *
Before Sunrise (1995)
Before Sunset (2004) *
Being John Malkovich (1999)
Being There (1974)
Billy Elliot (2000)
Blue Velvet (1986)
Central do Brasil (1998)
Children of a Lesser God (1986) *
Children of Men (2006)
Cidade de Deus (2002) *
Cinema Paradiso (1988) *
Crouching Tiger, Hidden Dragon (2003)
Donnie Darko (2001) *
Dr. Strangelove (1964) *
El Laberinto del Fauno (2006)
El Norte (1983)
El Orfanato (2007)
Enter the Dragon (1973)
Equilibrium (2002)
Eternal Sunshine on the Spotless Mind (2004) *
Fight Club (1999) *
Forrest Gump (1994)
Full Monty (1997)
Goodwill Hunting (1997) *
Gran Torino (2008)
Habla Con Ella (2002)
Heat (1995)
Il Mostro (1994)
Il Postino (1994) *
In the Mood for Love (2000)
Jacob's Ladder (1990)
Kill Bill: Vol. 1 (2003)
Kolya (1996) *
La Estrategia del Caracol (1993)
La Règle du Jeu (1939) *
La Vie en Rose (2007) *
La Vite è Bella (1997) *
Last Tango in Paris (1972)
L'Atalante (1934)
Little Miss Sunshine (2006)
Magnolia (1999) *
Malèna (2000)
Mar Adentro (2004)
Memento (2000)
Million Dollar Baby (2004)
Monsoon Wedding (2001)
Mulholland Drive (2001)
Munich (2005) *
Mystic River (2003)
One Flew Over the Cuckoo’s Nest (1973)
Papillon (1973) *
Pineapple Express (2008)
Pixote (1981)
Psycho (1960)
Raging Bull (1980) *
Ringu (1998)
Rodrigo D: No Futuro (1990)
Run Lola Run (1998)
Shindler’s List (1993)
Slumdog Millionaire (2008)
Snatch (2000)
Straw Dogs (1971)
Superbad 2007)
Taxi Driver (1976) *
Tesís (1996)
The Bourne Identity (2002)
The Bourne Supremacy (2004)
The Bourne Ultimatum (2007)
The Dark Knight (2008)
The Departed (2006)
The Diving Bell and the Butterfly (2008)
The Empire of the Sun (1987)
The Godfather (1972) *
The Graduate (1967) *
The Kiss of the Spider Woman (1985)
The Last Emperor (1987)
The Motorcycle Diaries (2004)
The Pianist (2002) *
The Piano (1993)
The Pursuit of Happyness (2006)
The Shawshank Redemption (1997)
The Shinning (1980)
The Silence of the Lambs (1991)
The Three Colors: Blue (1993)
The Three Colors: Blue (1994)
The Three Colors: White (1994)
There Will Be Blood (2007) *
Wall-E (2008)
Y Tu Mamá También (2001)
Zorba the Greek (1964) *

LA VIE EN ROSE

A Five-Star-Film is an extremely rare thing, but La Vie en Rose, the timid gem that seized two Oscars and many of the most revered film prizes in the world, confidently receives this rating. La Vie en Rose is the real life story of Edith Piaf (1915-1963), the polemic, beloved and ephemeral French singer, who became an international sensation during the 1940-50’s. And fulfilling the purpose of the movie, Marion Cotillard is a ravaging Edith, with a performance as profoundly authentic and shattering as none other. I was surprised when Cotillard received the Oscar of Best Actress, long before I had the chance to enjoy this film, and was amused at her distinctly quirky acceptance of the prize. Nonetheless, it has now become clear to me that few actors in recent memory have deserved this prize more. Perhaps Stephen Holden from the New York Times said it best: “Marion Cotillard’s feral portrait of the French singer Édith Piaf as a captive wild animal hurling herself at the bars of her cage is the most astonishing immersion of one performer into the body and soul of another I’ve ever encountered in a film.” If La Vie en Rose were merely a one-person show, Cotillard’s portrayal would be sufficient to declare this film indispensable.

Edith’s turbulent childhood is embodied by a young girl, whose vulnerable but recalcitrant eyes effectively capture the singer’s latent flame. As a young child, Edith changes hands between her drifting mother, the childless women of a brothel, and her determined bohemian father, but remains practically penniless until she first sang on a sidewalk at the age of nine. The power of her voice was unmistakable and would only be overshadowed by the emerging strength of her character.

Marion Cotillard first becomes Edith during the singer’s ebullient, alcohol-drenched, and slightly less destitute adolescence. From that moment Cotillard captivates her audience with a performance that is profoundly heartening and intensely electric. Edith’s rise is meteoric, from the “gutters”, to Parisian adoration, infamous disgrace, and finally, global idol. Cotillard is successful in carrying the flame of Edith through her ardent romances, alcoholism, morphine addiction, arthritis and devastating inner pain. But despite the weakening of Edith’s body and the pain of her soul, Cotillard manages to show us the resilient magic of this woman, whose inner angel or fairy just shines through.

Other performances are stellar as well, and not only help to buttress Cotillard, but also bring to life all the unique magic, tragedy and warmth that surrounded Edith. Emmanuelle Seigner plays Titine, the vulnerable prostitute that cared for young Edith as the daughter she is unlikely to ever have. Jean-Paul Rouve succeeds in making the audience sympathetic to Edith’s father, despite him leaving his daughter to be raised by her grandmother at a brothel and later putting her to sing on the street. Silvie Testud plays a rebellious friend from the days singing on the streets. Gerard Depardieu plays Papa Leplee, who first saves Edith from the streets and makes her a sensation at his cabaret. And finally Jean-Pierre Martins becomes Marcel Cerdan, the gentlemanly boxer that captures Edith’s heart.

La Vie en Rose is not only an exceptional film because it brings Edith to life spectacularly. It also satiates the audience with a generous examination of the human experience with the many unexpected secrets it can contain. It is electrifying and charming, devastating and uplifting, existentially tragic and fulfilling at the same time. Not surprisingly, despite a number of successful American films about singers, Ray Charles and Walk the Line, La Vie en Rose feels entirely different. That is because even more than essentially human, La Vie en Rose is quintessentially and unmistakably French.

Tyler

DIRECTOR - VICTOR GAVIRIA: La Vendedora de Rosas / Rodrigo D.

La Vendedora de Rosas: llll
Rodrigo D: llll.5

Victor Gaviria is one of the most significant directors from Latin America. Given his style of film it is not surprising that he still remains largely unknown outside of the Latin American independent film culture. But since the release of his first major movie, Rodrigo D. - No Futuro, he has been busy archiving awards from film festivals across Latin America, Europe, and North America. He has masterfully used the style of Cinema Verite to grant his audiences an exclusive and intimate look into the lives of Colombian youth, while making two of the very best films in the country's history. Granted, the country has a relatively limited film history, but Gaviria's films reflect the legacy of other Latin American filmmakers such as the Brazilian Hector Babenco with "Pixote" and Mexican Luis Bunuel with "Los Olvidados", and deserve greater international attention not just for their critical social themes but also for their cinematic style. Gaviria has structured his films so that every single character, dialogue and scene feels absolutely real. To capture the reality of street life in Medellin he gathers actual teenagers who talk, feel and live virtually the same experiences of the characters they are performing. In hindsight, the correlation of the "actors" with their roles proved prophetic. A few years after each of the movies was released many of the actors were killed by street violence, in prison, or in a life of reckless crime and drug abuse. While their lives changed little with the production of the movies (with the exception of additional cash and some limited press), the movies remain as one of the most honest and captivating portraits of street life in Latin America.
Rodrigo D. explores the life of low-income teenage boys as they struggle to find their place in the world while surrounded by ever-present violence and presented no viable options. Punk Rock provides the main source of self-expression. The distant dream of being a musician also serves as a string of hope. But ultimately they live without regard for tomorrow, too many of their friends and brothers have died to worry about growing old. But the utter realism of the film manages to not only capture the challenges of their lives but also the glimpses of hope between the creaks.
La Vendedora de Rosas (the Rose Seller) focuses instead on the life of teenage girls and a whole new set of problems arise. These films stand in contrast to the Brazilian film "Cidade de Deus" (City of God), in the virtually invisible hand of the director and the exceptional sincerity of the performances.
His most recent film takes a different subject, as it explores the life of an engineer who becomes involved in Colombia's drug industry to make money fast and becomes shaken by it beyond what he could have imagined. Tyler

HALF NELSON

Tyler: llll

I have not been moved or had a chance to write a new film review since the wave of higher quality winter movies passed. With months of hindsight, Half Nelson has been not only the most remarkable film I have watched during this time, but is also a new pearl in the select coffer of independent classics.
Several things stand out. Ryan Gosling's performance as inner-city teacher Dan Dunne is truly excellent and well deserving of the academy award nomination and respect it has received. The fractured warmth and sincere idealism of Ryan's character is what first captivated me. But despite the challenge of these initial qualities by his interior turmoil and drug addiction, I remained connected. I find it difficult not to see a part of us reflected in his personal struggle (whether or not the drugs are involved in the inner battle). The biggest danger of the performance is the possible alienation of some viewers by his downward spiral. While I have great respect for movies such as Traffic and Requiem for a Dream, I am weary of stories depicting endless and inescapable suffering. What truly engaged me about Half Nelson was its humanity, similar to how "The Pianist" keeps us hoping for light at the end of the tunnel, despite the exhausted theme. Dan Dunne's efforts to save his impressionable teenage students by showing them a different way of seeing civil rights and the system that they have been born into, strikingly contrast with him drowning inside. It is one of his students, performed by Shareeka Epps, who's able to see deeper into him and stands by him as she struggles with her own battles.
The movie stands as a small but well polished pearl. The imagery is raw and intimate. The soundtrack, with an eclectic yet thoughtful blend of folk, indie rock and positive hip-hop, accompanies the story like a hot cup of well roasted coffee. You can hear the entire album by just clicking on the picture above. I especially recommend the songs by the Broken Social Scene and "The Corner" by Saigon. So make yourself that cup of coffee, sit back and let this film show you the battle of this lonely teacher as he tries to make the change in the world he was born to make, and be save himself in the process. Half Nelson will remain somewhere in your consciousness for an undetermined time. Tyler

THE GOOD SHEPHERD

llll

The good shepherd stands with no doubt as a solid production. Its carefully crafted plot is effective in conveing the captivating experience of Edward Wilson (Matt Damon), as he embarks on a path of no return. Through his experience, the film traces the obscure birth of the CIA.

From my personal experiences living internationally and several chances afforded to me to speak with former CIA officers, I have developed a skeptical view of its operations and a non-romantic 007 view of the officers' lives. While it presented their operations as often critical to the international balance and the standing of the U.S. in the world, the film portrays Edward Wilson's experience in a remarkably realistic and somber manner.

THE PURSUIT OF HAPPYNESS

Kat and Tyler: llll.5

The Pursuit of Happiness is a truly endearing, honest and moving film. With remarkable performances from Will Smith and his son, this true life story of overcoming even the most difficult challenges for those we love has been done justice. Set in the San Francisco of the 1980's, the film portrays the struggle of Chris Gardner, a persistent but remarkeably unlucky working class father as he tries to take care of his family.

This is not the stereotypical "underdog" story. Yes, he has to overcome many obstacles to triumph in the end. However, what makes this story different is that the main character has so much more to lose. It is not just his shot at the championship game or the chance at making the team. It is his son and his entire life that is at stake. His course of action will determine wether he becomes a successfull stock broker and is thus able to provide stability for his son; or wether they are lost in the shadows as one more homeless family in SF.

Former mayor of San Francisco Art Agnos once said that most San Franciscans live just a few paychecks away from homelesness. This movie exemplifies that persistent fear of so many working class Americans better that anything. It brings to life the daily hardships of merely having a bed to sleep on each night.

The title brings several thoughts to mind. The declaration of independence as well as much of the political philosophy that brought to life this country came from the enlightenment and thinkers such as Hobbes, Locke and Rousseau. But Thomas Jefferson had the tact to replace the word "property" as an essential right in Locke's Second Treatise of Government for the "pursuit of happiness". Why "pursuit" wondered Chris Gardner, exhausted by the cycle of poverty in which he is caught. Perhaps because we can never really achieve it, but simply spend our lives in its quest, he reckons. One of the underlying revelations of the movie is how critical the fulfillment of those basic rights, including the "pursuit of happiness"or in this case "property", is to their lives. Nevertheless, they are capable of holding together and giving magic to even the most difficult moments.

With a strikingly beautiful and original story, warm and often breathtaking performances and virtually no weaknesses to speak of, this movie very much deserves our highest rating.

ERAGON

Kat: ll

Based on a series of novels Eragon tells the story of a young farmboy who is suddenly thrust into a world of swordfights, magic, and dragons. Although this story may be somewhat reminicent of the Lord of the Rings it is anything but. While the LOTR ranks a 4,4.5 and 5 star movies respectively this one does not even come close.

Although I did find the story amusing and entertaining there was nothing particularly new or spectacular about it. It did have some beautifull scenery and some of the special effects were fun to watch but in the end the story itself was a tired one. It left me with a feeling of .... "been there, done that." Its not that I feel that I have seen the same story before, it is that I have seen it done better 100x before . It is a plethora of cliches.

If you are in the mood for some fantasy on the big screen go for it.... just do not expect to be amazed :)

BLOOD DIAMOND

Kat: lll

Tyler: ll.5

Blood Diamond presents the pursuit of a rare pink diamond in the war-torn country of Sierra Leonne. The film is incredibly ambitious, but ultimately collapses. Its failures are due to a mixed script with powerfully original ideas and tired action movie cliches, sometimes overdramatic and cheap performances, a scatterred direction and most notably, poor editing. Most regratably, the movie bases itself on a shattering yet conveniently ignored subject, and makes a generally mediocre action movie: big explosions, unexplicable romance, roughly developed characters, and an overload of cliche twists.

The movie coragiously attempts to expose the destructive nature of war diamonds and their impact of fueling regional conflicts. Leonardo DiCaprio performs a ruthless and amoral diamond smuggler, who will not care to take advantage of those around him in order to survive. Then again, "while in America its bling bling , in Africa its bling bang".

For someone who grew up in Africa such as myself, the explicit portrayal of racial and economic problems as well as critical regional conflicts felt remarkably realistic. Comments made on the touchy issue of race relations in these former European colonies and still greatly dependent economies, revealed a comfortable understanding of Africa and its many subtleties. It is very clear that the creation of this film, in particular its script required collaboration between experts in the field of African affairs and Holliwood pros. The result is mixed, and unfortunately, instead of a masterful critique of a serious international problem, felt like a merger between a great movie like Hotel Rwanda and a cheesy bloodbath like Rambo.

I have to admit that I liked that this movie deals with a topic that is rarely, if at all, discussed. I found that in some instances it was very moving and heartbreaking to see the process of how "conflict diamonds" are mined; how child soldiers are used in militia; and the displacement of victims in refugee camps. However, it disapointed me. This movie had huge potential of being five stars, but drops the ball. It fails in its attempt to be a socially concious moving potrayal of the industry, and falls into the trappings of an action movie.

Set in an African backdrop, the scenes and the photography could have been powerfull, moving, earthshattering but in the end they were not exploited enough. A movie that does this well is the Brazlian film "Behind the Sun" set in an arid desert in no-mans-land the photography and scenery are breathtaking and ultimately adds to the movie.

This movie did not live up to its potential. It did not do justice to a critical international issue, which deserves more public attention and a far better and more tactful film. Too bad, I really wanted it to :)

Kat and Tyler

THE FOUNTAIN

Kat and Tyler: lll.5

The Fountain juxtaposes three stories, which follow the powerful romance between the two main characters, performed by Hugh Jackman and Rachel Weisz, across time periods 500 years apart. The first relates the mission of Conquistador Tomas, sent by the beautiful queen Isabel to discover the Fountain of Youth, lost somewhere in the Mayan Empire since it was vanished by God from Eden. Upon finding the Fountain, embodied in a mysterious tree, Tomas may take the hand of the Queen in eternal marriage. In the second story, Tommy begins to discover the medical secrets of a long forgotten Central American tree as his wife dies slowly due to an untreatable tumor. Five centuries later, Tom finds himself travelling through open space with a tree that allows him to extend his life indefinitely, despite lacking food or water.

Each one of these stories is charged with remarkeably honest performances, subtle details and stunning imagery. Together, they create an insightful tapestry of the meaning of loss, mourning, and the hypothetical of eternal life. It is then unfortunate that the interconnections between the stories are unclear and generally convoluted, ultimately weakening the message and impact of the movie. The combination of three different genres, historical fiction, drama and futuristic sci-fi, does not produce the expected results, but instead left me confused. There is not a clear understanding of which is the central story and despite careful observation it is still difficult to assess the connections between Hugh Jackman's characters. As the movie progresses it appears that the first story with which the movie started may in fact be a fictional narration by Tommy's wife Izi, as she is dying of a tumor. This sems hard to believe given the vivid character of the 16th century story and the centrality given to it, but more so because it does not represent the experiences of Izi, who finds herself acepting the inevitability of death while Queen Isabel is sending the Conquistador to save Spain from the chains of death. Additionally, it is not completely clear whether the astronaut is the same man as the doctor, reaching the last moments of his existence after five centuries alive, or whether it is another fictional creation, this time in the mind of Tommy as he tries to cope with mortality.

The Fountain is a beautifull collection of images that shows Jackman's quest to save the woman that he loves. I particularly enjoyed the relationship between the two characters, expressed by subtle details, such as morning kisses, gentle baths and loving looks, as well as vivid colors and moving performaces. Weisz is remarkable in this movie, particularly in how she expresses emotions without uttering a word. She is absolutely breathtaking. Even more central is Hugh Jackman, who succeeds in providing his most honest and thoughtful performance to date.

The result is a movie that builds high expectations and hypnotizes the audience with breathtaking images, remarkable acting and thoughtful direction, but ultimately fails to deliver on its promises of being a classic film. Contrary to Roger Ebert's suggestion in his review of this movie, it does not reach the level of much better crafted works such as Magnolia or Babel.

Most importanly, it fails at providing a unique message on the profound issues it attempts to address. It is difficult to fully connect with the main character's evolution, because it feels unreal, rushed and unpolished. While it successfully conveys the fear of losing what is most dear, in this case beautfifully embodied by Weisz, it then fails at demonstrating how to let go by giving mixed signals about what may come next. The movie loosely interchanges the concept of living eternally after death and of an absolute void. While thre are hints at religion, especially from the innitial quest for the Fountain of Youth, it is also unclear whether a supernatural force has a role in their lives or not. The result is understandably frustrating, particularly from a philosophical standpoint.

Despite its frustrating shortcomings, many of which have been made clear by critics across the world, The Fountain is an ambitious cinematic effort, which is ultimately moving, insightful and enjoyable.

- Kat and Tyler

KOLYA

Kat & Tyler: lllll

A charming and simply irresistible movie in the traditional of other great classics such as Cinema Paradiso and Life is Beautiful. Set at the end of the Cold War, Kolya tells the story of a middle-aged Czech bachelor who's forced to take care of a little boy after his mother, who the bachelor agreed to marry for a hefty pay, decided to leave everything behind and go to Germany. This most unlikely of fathers, who spends his days performing the cello at funerals and sleeping around with a nice variety of women, is then forced to cope with a child who speaks no Czech. Not surprisingly, soon the child is drawing nothing but coffins and innocently playing with lingerie lying around in the apartment. Perhaps most importantly, the movie is remarkably honest, while at the same time shining with magical moments that continue to captivate us and melt our hearts long after the movie ends.

Everything is Illuminated

Kat & Tyler: ll.5

American Splendor

Kat: lll.5
Tyler: llll

The Departed

Kat: lll
Tyler: lll.5

Marie Antoinette
Kat & Tyler: ll

After the Virgin Suicides and Lost in Translation, this movie was a big disappointment. The emphasis on the costumes and the flowers did not compensate for the suffocating vacuum in content. Although the movie is inspired by the East Asian style that made Lost in Translation distinct, Marie Antoinette feels hollow ad ultimately irrelevant. It still receives both stars because it is visually beautiful, but lacks the substance or momentum to take the beauty somewhere.

A Good Year

Kat and Tyler: ll.5

Happy Endings

Kat and Tyler: l.5

American Dreamz

Kat: l
Tyler: l.5

American Dreamz let down even my low expectations of it. This "explosive comedy by the Director of 'American Pie' and 'About a Boy", was an implossion of tragic proportions, with a lot more "American Pie" than "About a Boy" but little of the witt, bite or spark. Its limited potential at being a clever parody, exposing the ironies of national politics, foreign affairs and pop culture was far from fulfilled. Instead, it juggles a convoluted story that is ultimately shallow, tasteless and uninsightful. American Dreamz, or "Dreams with a Z" as the performers often repeat, feels like a cheap teen comedy with an immensely silly plot and equally pathetic subplots. It failed miserably next to other recent comedies, such as "Saved" or even "Mean Girls", which tried to be much less but achieved much much more.

Unfortunately, the parade of Hollywood Stars, Hugh Grant, Dennis Quaid, Mandy Moore and Willem Dafoe fail miserably at giving the movie its necessary spark. Instead, you will find them in some of their most uninspired performances. This is particularly the case with Dennis Quaid and Willem Dafoe, who attempt to make an obvious parody of President Bush and Dick Chenney. The president is a mindless puppet who can barely read a newspaper and can not distinguish the "Iraqistanis" from the other "A-rabs", while his right hand man dictates his actions through an ear piece. But the parody has no bite and leaves no insight. The president is shown as a good hearted man (wtf?) who finally stands his ground for what he believes, and his cartoonishly evil advisor hides in the shadows in shame.
Generally poor and sometimes atrocious performances further undermine the story. In the end, a couple of mindless laughs do not make up for the waste of time.

- Tyler

Bobby

Kat and Tyler: lll

Deja Vu

Kat and Tyler: ll