The Film Experience Year in Review: The Best of 2004

Awards Page Index * OSCAR coverage here
'04 Creamy Goodness The Year in Review
Introduction / Underappreciated & Honorable Mentions / Top Ten
by Nathaniel R January 5th

Most Underappreciated Films

The connection between a movie lover and the movie playing in the dark is a very personal thing. Yet that intimate connection is impossible to recapture once the credits roll by and the lights come up. When it's over --no matter how much you loved or hated it --your response is never entirely untainted by external forces again. You may hear about your movie on television. You may discuss it quickly or at length with friends and family. You may argue about it on the internet, read reviews, be surprised at its box office success or lack thereof. Indeed, there's a whole gamut of ways in which the movie is taken from you. Calling something "over" or "under" rated is a natural response when the rest of the world doesn't share your clearly superior opinion.

So you make lists like these to take the movie back from others... it's yours again. These four films are the films outside of my top ten that I felt the most disconnect with in terms of public response. These four pictures are extremely undervalued.

#4 (Full Review)
Istvan Szabo's comedy about an aging theater diva and her entourage of friends, family, and rivals has whimpered along at the box-office despite a star turn from Annette Bening that's completely Oscar-bait and Oscar-worthy. Being both things at once is rarer than you'd think.

Period comedies can often be a tough sell without good reviews and awardage. So where are the good reviews and awards? While the film surrounding the grand performance is far from perfect it's too often dismissed as "light" "fluffy" "frothy" and "merely a star vehicle"... I'm a little unclear on this I guess, but, why are these bad things for a comedy starring such a great actress?

#3
Primer is, as far as I can tell, a story about two brilliant guys who build a tiny time travel machine. Many complications, mysteries, and conundrums follow. I don't completely understand what they are... or what it all means. So, I couldn't spoil it for you even if I tried. It's all fascinatingly told on no-budget whatsoever.

Perhaps it's foolish of me to admit, but I think I'm too dumb for this movie. I know that most people would run away from anything that made them feel inferior, but not me. Shane Carruth, the debuting writer/director/star of Primer can abuse my inferior intellect whenever he wishes. "Thank you sir, may I have another?"

#2 (Haiku)
Speaking of sado-masochism... Lars Von Trier delivered two good films this year. By "good" I don't mean 'goodly' but of high quality. Look, it's not that I don't recognize Von Trier's sadistic impulses and misanthropy. It's just that his cruelty tends to be in the service of some great films.

Part of the fun (and this film is just that) of this documentary / movie challenge is that Von Trier has made his sadism the central joke. In The Five Obstructions he puts fellow Dane, Jorgen Leth through the ringer as he imposes ridiculous "obstructions" on multiple remakes of Leth's famous short film The Perfect Human. I wish that the movie was longer (to see the full versions of the short films) but that's a minor quibble. This is a must-see for those interested in the creative process.
#1 (Mini Review)
Jonathan Glazer made a significant splash four years ago when his brilliantly acted heist film Sexy Beast debuted to much acclaim and some arthouse success. That film's success was attributed largely to its magnetic star Ben Kingsley. Glazer's sophomore effort is also built around a brilliant performance --Nicole Kidman this time. The reaction has been decidedly different. It's far closer to hate than love.

Birth is a confounding and unsettling movie and it's meant to be. Nevermind that it's on many worst lists. It's worth seeing because Glazer is going to be an important filmmaker. Despite an ending that feels like a fumble, there is much in Birth that's superbly handled, haunting, daring, and evocative. Stay tuned to Jonathan Glazer's career.

Almost Tops ~ The Honorable Mentions

Disclaimer: Frequent readers to this site know that I do not believe in ties. Indecision is not attractive to me. But I do understand the urge. In a good film year you don't want to leave stuff out of your top ten if it's really good. The following four pictures would have had a much better chance at making my list last year when the movies weren't as good. But c'est la vie.

And one more thing: even though I don't believe in "ties" you are free to do so. (See how generous I am.) If it hurts less to consider all of these tied for #10th place, feel free. It was a nightmare to decide between them... and the order switched repeatedly. So, in the end the loyalty factor tipped the scale slightly in Bad Education's favor. It was a toss-up. But, all stalling aside, the following are my favorite fourteen pictures of the movie year. You'd be crazy to miss these films.

(If you're curious about #15 through #20, etc... you can see the entire list of films seen here)

#14 (sing along) If Heathers had not existed Mean Girls would have been regarded as an instant classic. Instead this film will have to settle for "really funny but not as good as..." status. Given that without Heathers, it might never have existed at all... methinks they'll take the also-ran label.

This Tina Fey scripted comedy was a hoot. It had a rich array of highly quotable lines, a relevant social message, and a whipsmart star turn from 2004's ubiquitous party-girl Lindsay Lohan. She was robbed of a Golden Globe comedy nomination! La Lohan may be burning the candle at both ends these days but if her star crashes and burns far too soon... well, she'll always have 2004. "Right?"

#13 & #12 It's a Zhang Yimou double feature! And what a double bill it is. I bitched and moaned for over a year begging for Hero to come my way. In something of a box office miracle, Miramax's mean withholding (they'd had Hero on the shelves for well over a year through four or five aborted release dates) didn't dampen enthusiasm for the film upon arrival. And in an even happier development Sony Pictures Classic knew what they had in House of Flying Daggers and didn't try to lock it up for years. Expect it to be nominated for the Foreign Language Oscar (and possibly more).

These days anything with an enormous budget and logistically complex setpieces is called a spectacle. But few films are truly spectacular --they're just "big" Both of these wuxia films are spectacles in the best possible sense. They're eye widening and awesome.

Is there a downside? Well the worst thing about Hero and House of Flying Daggers is trying to decide which one you like best. Good luck with that! The choice still haunts me.

#11 (Short Review) 2004 has often been refered to as "The Year of the Biopic" and if that title had surfaced prior to the year arriving, I may have been tempted to sit the twelve months out. That's just one illustration of how problematic I find the genre as a whole. My aversion to them should be noted up front.

But, Scorsese is a fine filmmaker. Give great directors obstacles like a deeply unsatisfying genre and they can still surprise you. Many people are eager to knock The Aviator because it's less personal than many of Scorsese's films, steeped as they often are in New York and it's mythologized 'mean streets.' But a change of pace is sometimes a smart career move. A change of locale is often a revitalizing artistic maneuver. And this film feels vital and rejuvenating.

Here comes a weird comparison --Their subject matters couldn't be more dissimilar but the electricity that I felt crackling through the theater when I first saw Kill Bill Volume 1 was there again when I was watching The Aviator. It's that unmistakable jolt of energy you feel when a filmmaker who truly loves the movies has assembled an amazing team of collaborators. The movie they've made is essentially about the movies. Everyone in the room is firing on all cylinders, and they're having a ball!

And without further ado... my top ten list.


#4 (Full Review) Istvan Szabo's comedy about an aging theater diva and her entourage of friends, family, and rivals has whimpered along at the box-office despite a star turn from Annette Bening that's completely Oscar-bait and Oscar-worthy. Being both things at once is rarer than you'd think. Period comedies can often be a tough sell without good reviews and awardage. So where are the good reviews and awards? While the film surrounding the grand performance is far from perfect it's too often dismissed as "light" "fluffy" "frothy" and "merely a star vehicle"... I'm a little unclear on this I guess, but, why are these bad things for a comedy starring such a great actress?	#3 Primer is, as far as I can tell, a story about two brilliant guys who build a tiny time travel machine. Many complications, mysteries, and conundrums follow. I don't completely understand what they are... or what it all means. So, I couldn't spoil it for you even if I tried. It's all fascinatingly told on no-budget whatsoever. Perhaps it's foolish of me to admit, but I think I'm too dumb for this movie. I know that most people would run away from anything that made them feel inferior, but not me. Shane Carruth, the debuting writer/director/star of Primer can abuse my inferior intellect whenever he wishes. "Thank you sir, may I have another?"

#2 (Haiku) Speaking of sado-masochism... Lars Von Trier delivered two good films this year. By "good" I don't mean 'goodly' but of high quality. Look, it's not that I don't recognize Von Trier's sadistic impulses and misanthropy. It's just that his cruelty tends to be in the service of some great films. Part of the fun (and this film is just that) of this documentary / movie challenge is that Von Trier has made his sadism the central joke. In The Five Obstructions he puts fellow Dane, Jorgen Leth through the ringer as he imposes ridiculous "obstructions" on multiple remakes of Leth's famous short film The Perfect Human. I wish that the movie was longer (to see the full versions of the short films) but that's a minor quibble. This is a must-see for those interested in the creative process.	#1 (Mini Review) Jonathan Glazer made a significant splash four years ago when his brilliantly acted heist film Sexy Beast debuted to much acclaim and some arthouse success. That film's success was attributed largely to its magnetic star Ben Kingsley. Glazer's sophomore effort is also built around a brilliant performance --Nicole Kidman this time. The reaction has been decidedly different. It's far closer to hate than love. Birth is a confounding and unsettling movie and it's meant to be. Nevermind that it's on many worst lists. It's worth seeing because Glazer is going to be an important filmmaker. Despite an ending that feels like a fumble, there is much in Birth that's superbly handled, haunting, daring, and evocative. Stay tuned to Jonathan Glazer's career.

*Disclaimer:* Frequent readers to this site know that I do not believe in ties. Indecision is not attractive to me. But I do understand the urge. In a good film year you don't want to leave stuff out of your top ten if it's really good. The following four pictures would have had a much better chance at making my list last year when the movies weren't as good. But c'est la vie. And one more thing: even though I don't believe in "ties" you are free to do so. (See how generous I am.) If it hurts less to consider all of these tied for #10th place, feel free. It was a nightmare to decide between them... and the order switched repeatedly. So, in the end the loyalty factor tipped the scale slightly in Bad Education's favor. It was a toss-up. But, all stalling aside, the following are my favorite fourteen pictures of the movie year. You'd be crazy to miss these films. (If you're curious about #15 through #20, etc... you can see the entire list of films seen here)
	#14 (sing along) If Heathers had not existed Mean Girls would have been regarded as an instant classic. Instead this film will have to settle for "really funny but not as good as..." status. Given that without Heathers, it might never have existed at all... methinks they'll take the also-ran label. This Tina Fey scripted comedy was a hoot. It had a rich array of highly quotable lines, a relevant social message, and a whipsmart star turn from 2004's ubiquitous party-girl Lindsay Lohan. She was robbed of a Golden Globe comedy nomination! La Lohan may be burning the candle at both ends these days but if her star crashes and burns far too soon... well, she'll always have 2004. "Right?"

#13 & #12 It's a Zhang Yimou double feature! And what a double bill it is. I bitched and moaned for over a year begging for Hero to come my way. In something of a box office miracle, Miramax's mean withholding (they'd had Hero on the shelves for well over a year through four or five aborted release dates) didn't dampen enthusiasm for the film upon arrival. And in an even happier development Sony Pictures Classic knew what they had in House of Flying Daggers and didn't try to lock it up for years. Expect it to be nominated for the Foreign Language Oscar (and possibly more). These days anything with an enormous budget and logistically complex setpieces is called a spectacle. But few films are truly spectacular --they're just "big" Both of these wuxia films are spectacles in the best possible sense. They're eye widening and awesome. Is there a downside? Well the worst thing about Hero and House of Flying Daggers is trying to decide which one you like best. Good luck with that! The choice still haunts me.	#11 (Short Review) 2004 has often been refered to as "The Year of the Biopic" and if that title had surfaced prior to the year arriving, I may have been tempted to sit the twelve months out. That's just one illustration of how problematic I find the genre as a whole. My aversion to them should be noted up front. But, Scorsese is a fine filmmaker. Give great directors obstacles like a deeply unsatisfying genre and they can still surprise you. Many people are eager to knock The Aviator because it's less personal than many of Scorsese's films, steeped as they often are in New York and it's mythologized 'mean streets.' But a change of pace is sometimes a smart career move. A change of locale is often a revitalizing artistic maneuver. And this film feels vital and rejuvenating. Here comes a weird comparison --Their subject matters couldn't be more dissimilar but the electricity that I felt crackling through the theater when I first saw Kill Bill Volume 1 was there again when I was watching The Aviator. It's that unmistakable jolt of energy you feel when a filmmaker who truly loves the movies has assembled an amazing team of collaborators. The movie they've made is essentially about the movies. Everyone in the room is firing on all cylinders, and they're having a ball!