The Fast And Furious Series

THE FAST AND THE FURIOUS: 2001, BUDGET: $38,000,000, GROSS: $144,533,925

2 FAST 2 FURIOUS: 2003, BUDGET: $76,000,000, GROSS: $127,154,901

TOKYO DRIFT: 2006, BUDGET: $40,000,000, GROSS: $62,514,415

FAST AND FURIOUS: 2009, BUDGET: $85,000,000, GROSS: $155,064,265

FAST FIVE: 2011, BUDGET: $125,000,000, GROSS: $186,165,450 (as of May 22nd, 2011)

WRITERS:

1) Ken Li (magazine article "Racer X"), Gary Scott Thompson (screen story), Gary Scott Thompson & Erik Bergquist & David Ayer (screenplay)

2) Gary Scott Thompson (characters), Michael Brandt & Derek Haas & Gary Scott Thompson (story), Michael Brandt & Derek Haas (screenplay)

3) Chris Morgan

4) Chris Morgan, Gary Scott Thompson (characters)

5) Chris Morgan, Gary Scott Thompson (characters)

DIRECTORS:

1) Rob Cohen / 2) John Singleton / 3,4,5) Justin Lin

 

LET US BEGIN

i had seen The Fast And the Furious in the theatre when it came out and i had liked it. i thought it was a fun, summer car/action movie and i remember seeing ebert and roeper on The Tonight Show at the time arguing about the film (roeper wasn't impressed and ebert argued that it was, and i'm obviously paraphrasing here, a fun summer action/car movie).

but that was it. i hadn't seen any of the sequels that followed and hadn't been that interested in seeing them - until the trailer for the fourth film a couple years ago. i thought that the trailer was pretty cool. but, given that i hadn't seen the two previous films, i had to watch those before checking out number four (i have a bit of a problem/obsession with the need  to watch things in order). needless to say, i didn't get around to watching 2 Fast 2 Furious or Tokyo Drift at the time, so i never got to see Fast & Furious 4. but then a few months ago i started seeing the trailers for Fast Five...

and those looked even cooler than the ones for the fourth film. so, this time i went and got my hands on the first four films leading up to checking out Fast Five when it came out a month ago. and this is what i saw...

 

THE FAST AND THE FURIOUS

watching this one again years later, i will say that it basically holds up. it is by no means a great movie. but it is a fun time with cool cars and, now having seen all five films, it is the second best of the series. what also surprised me a little, after seeing all the films, is how important vin deisel is to the franchise.

as i rewatched The Fast And The Furious i was struck by the dichotomy of the thoughts i was having. the fact was that, while mr. diesel was not giving a great performance, he was definitely carrying the film and a strong presence on screen (and i don't think it is only because he is a big guy). he was the leader of the crew and the leader of the film... and his value to the films and the franchise was only made more evident as i went on to watch the next couple films in the series...

 

2 FAST 2 FURIOUS

although he really has never come close to matching what he did with his first film, Boys In The Hood, i keep being at least a little curious to see what john singleton does (although less and less so as he keeps disappointing). and 2 Fast 2 Furious did nothing to improve his post-Boys In The Hood track record... this thing is awful! the film feels forced – and this is something that i noticed not only in this one, but in all three of the middle films in the series.

look, we all know that these films are about the cars and the driving and the action therein – and that’s cool. but just don’t make it so obvious that you don’t care about anything else. at least make it look like you tried to have an original thought and write a good script. instead this film and the two that followed are all generic stories fitted into the Fast & Furious universe with excuses for car action that don’t always feel plausible.

In 2 Fast 2 Furious, walker’s character is caught by the cops and brought back in to go undercover. He brings in an old friend, tyrese, and you got yourself a buddy action movie. the cars come into play cause they go undercover as drivers and we even get a big car action sequence as the criminal boss man sends all his potential drivers out to retrieve a package in order to test their skills. okay, ill give it to them. the car stuff is plausible here. but that doesn’t save the film from being predictable, and poorly written. some of the dialogue and plot points felt so over used and obvious.

i heard that the studio had also commissioned a script for a scenario in which vin deisel returned for the second film. i wonder if that one was any better?

 

THE FAST AND THE FURIOUS: TOKYO DRIFT

Tokyo Drift is kind of the odd man out of the franchise. not only do neither of the series stars appear in the film (vin deisel has a 30 second uncredited cameo at the end, but that’s it), but there is no story connection to any of the other movies. in fact, chronologically, this movie actually takes place after the fifth film and probably any sequels that will come in the future (there is no way to know this, but for the fact that a character that appears in the fourth and fifth films actually dies near the end of the third one).

what you have here, with Tokyo Drift, is your standard “fish out of water” story: kid from the states is kicked out of so many schools that his mother sends him to japan to live with his dad (who of course was never there for him growing up). he has to adjust to a new country, and a new culture and a new kind of fast driving – drifting. and of course there is a girl and fighting over her, etc... did you see the Karate Kid remake with jaden smith? well, think of Tokyo Drift as the Karate Kid remake, just with fast cars and the yakuza instead of karate and an evil sensei! it is still better than the second film though!

as for car action: i will say that the use of the drifting as the driving style was a nice change of pace from the previous two films. these drivers are incredible and watching them drift around tight corners and along mountain roads is very cool. however, remember earlier when i mentioned how the films felt like excuses for the car action? well, the climax of Tokyo Drift is the most laughable example of this.

in said climax, the main character proposes a race to the yakuza boss. he will race his nephew and the loser must leave the country. the yakuza boss, angry at his nephew, agrees and tells his nephew to race! it makes no sense and isn't believable at all, but hey, they had to get a big car climax (like all the films have) and this was he best they could come up with!

 

FAST AND FURIOUS

for this one they went with a "revenge" storyline. vin deisel is back and on the hunt for the man who killed his girlfriend (michelle rodriguez) and nothing/no one will stop him (think Taken and Edge Of Darkness and about 100 other movies). paul walker is also back and hunting down the same guy for the fbi (cause we all know that the fbi regularly hires cops who, in the past, have aided in the escape of criminals they were undercover to apprehend).

of course the big drug guy just happens to be looking for drivers to traffic his heroin across the mexico-usa border and will select his final driver from the winners of a street race. this films excuse for car action harkens back to the second film and how that bad guy needed drivers and tested them out via a car action sequence as well. so, although it is plausible, the originality factor is zero - maybe it was meant as an homage? well i guess in a way it actually was, because it is almost as bad a film as he second one.

it is nice to have vin and paul back together again and mr. deisel does bring a weight to the film that is missing in the previous two. but it just really wasn't good. in fact, it is actually pretty boring between action sequences.

 

FAST FIVE

given how the series had been going and given how disappointing the fourth film had been, i was maybe not expecting as much from Fast Five as i had been before seeing the previous films leading up to it. but, this one turned out to be a good flick and the best of the series.

for this one they went with a "heist" movie premise and the classic "one last job then we're out" story - but unlike the other generic story lines of the previous three films, this one worked. it was like they actually put a little thought into this one

they brought back all the main characters from the previous four films, which was fun to see. the heist planning and executing (two things that are very important in the heist movie genre) were exciting and well done. casting dwayne johnson as the counter point to vin deisel on the other side of the law was a great choice also - and their big fight scene was great (so much better then the boring fight between the two wrestlers in The Expendables). and finally, the must-have climactic car action sequence in Fast Five is by far the best in the entire series.

this is a really good summer car/action movie - and as the previous three films proved - those aren't as easy to make as you might think. after three weak films, the franchise had fallen into a rut, but Fast Five has pulled them right out of it.

 

FAST AND FURIOUS 6?

everything about the fifth film seemed to suggest it was the going to be the last one. they brought back all the characters from the previous films. the heist in the film is supposed to be "their last one." even the credits at the end of the movie show images from the various characters over the course of the series as if to wrap things up. it all pointed to an end - until halfway through the closing credits. i won't tell you what happens, but let's just say that as i left the theatre a sixth film seemed very likely (and i have since read that it is pretty much a certainty). and i wouldn't be surprised if more are to come after that. let's just hope we don't have to wait another three films before we get a good one again!

Comment

2011 Oscar Predictions

 

WILL WIN are in bold

DID WIN are  big

MY SCORE: 18/24

despite anne hathaway's efforts and enthusiasm, the 2011 academy awards will go down as one of the worst i have ever seen. not because of who won or lost, but i'm talking the show itself.

besides the funny put-the-hosts-in-the-movies opening, there was barely a laugh or moment of excitement to be found (except when i won the pool i was in of course). the remixed songs was fun and the bob hope part was nice (although, seeing billy crystal out there to introduce it just made it more obvious what a great host he was and how anne and james just couldn't match up). but other than that the show was pretty dull.

as for my predictions: i did ok this year. 18/24 isn't bad and i did get 2/3 in the shorts categories which is where many pools are often won or lost. however, there were a few categories that, looking back, i'm not sure what i was thinking. i think i got a little too into the idea that The King's Speech wave would sweep up other categories that i missed, the now-obvious, Alice In Wonderland in art direction and costume design. and those of you who listened to the prediction episode of the podcast know how close i was to going with the winners in editing, documentary feature and foreign film (but, alas i didn't). so 18/24 it is. one better than last year and my second best showing since i started doing the podcast. how did you all do?

 

BEST PICTURE
The King's Speech
127 Hours
Black Swan
The Social Network
Toy Story 3
True Grit
Winter's Bone
Inception
The Kids Are All Right
The Fighter

 

 BEST DIRECTOR
Darren Aronofsky, Black Swan
David Fincher, The Social Network
Tom Hooper, The King's Speech
David O. Russell, The Fighter
Joel and Ethan Coen, True Grit

BEST SUPPORTING ACTRESS
Amy Adams , The Fighter
Helena Bonham Carter, The King's Speech
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom

BEST SUPPORTING ACTOR
John Hawkes, Winter's Bone
Christian Bale , The Fighter
Jeremy Renner, The Town
Mark Ruffalo , The Kids Are All Right
Geoffrey Rush, The King's Speech

BEST ACTRESS
Natalie Portman , Black Swan
Annette Bening, The Kids Are All Right
Jennifer Lawrence, Winter's Bone
Nicole Kidman , Rabbit Hole
Michelle Williams , Blue Valentine

BEST ACTOR
Javier Bardem , Biutiful
Jeff Bridges , True Grit
Jesse Eisenberg, The Social Network
Colin Firth , The King's Speech
James Franco , 127 Hours

BEST ORIGINAL SCREENPLAY
Another Year , Mike Leigh
The Fighter , Scott Silver, Paul Tamasy, Eric Johnson, and Keith Dorrington
Inception , Christopher Nolan
The Kids Are All Right , Lisa Cholodenko and Stuart Blumberg
The King's Speech , David Seidler

BEST ADAPTED SCREENPLAY
127 Hours , Danny Boyle and Simon Beaufoy
The Social Network , Aaron Sorkin
Toy Story 3 , Michael Arndt, John Lasseter, Andrew Stanton, and Lee Unkrich
True Grit , Joel and Ethan Coen
Winter's Bone , Debra Granik and Anne Rossellini

BEST FOREIGN FILM
Biutiful
Dogtooth
In a Better World
Incendies
Outside the Law

BEST ANIMATED FEATURE FILM
How to Train Your Dragon
The Illusionist
Toy Story 3

BEST ACHIEVEMENT IN ART DIRECTION
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Inception
The King's Speech
True Grit

BEST ACHIEVEMENT IN CINEMATOGRAPHY
Black Swan
Inception
The King’s Speech
The Social Network
True Grit

BEST ACHIEVEMENT IN COSTUME DESIGN
Alice in Wonderland
I Am Love
The King's Speech
The Tempest
True Grit

BEST DOCUMENTARY FEATURE
Exit Through the Gift Shop
Gasland
Inside Job
Restrepo
Waste Land

BEST DOCUMENTARY SHORT SUBJECT
Killing in the Name
Poster Girl
Strangers No More
Sun Come Up
The Warriors of Qiugang

BEST ACHIEVEMENT IN FILM EDITING
Andrew Weisblum, Black Swan
Pamela Martin, The Fighter
Tariq Anwar, The King's Speech
Jon Harris, 127 Hours
Angus Wall and Kirk Baxter, The Social Network

ACHIEVEMENT IN MAKEUP
Adrien Morot, Barney's Version
Edouard F. Henriques, Gregory Funk and Yolanda Toussieng, The Way Back
Rick Baker and Dave Elsey, The Wolfman

BEST ORIGINAL SCORE
John Powell, How to Train Your Dragon
Hans Zimmer, Inception
Alexandre Desplat, The King's Speech
A.R. Rahman, 127 Hours
Trent Reznor and Atticus Ross, The Social Network

BEST ORIGINAL SONG
“Coming Home” from Country Strong, Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
“I See the Light” from Tangled, Music by Alan Menken Lyric by Glenn Slater
“If I Rise” from 127 Hours, Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
“We Belong Together” from Toy Story 3, Music and Lyric by Randy Newman

BEST ANIMATED SHORT FILM
Day & Night
The Gruffalo
Let's Pollute
The Lost Thing
Madagascar, carnet de voyage (Madagascar, a Journey Diary)

BEST LIVE ACTION SHORT FILM
The Confession
The Crush
God of Love
Na Wewe
Wish 143

ACHIEVEMENT IN SOUND EDITING
Inception
Toy Story 3
Tron: Legacy
True Grit
Unstoppable

ACHIEVEMENT IN SOUND MIXING
Inception
The King’s Speech
Salt
The Social Network
True Grit

ACHIEVEMENT IN VISUAL EFFECTS
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Hereafter
Inception
Iron Man 2

The Imaginarium Of Dr. Parnassus/Scott Pilgrim vs. The World

YEAR: 2009, WRITER: Terry Gilliam & Charles McKeown, DIRECTOR: Terry Gilliam, BUDGET: $30 million (estimated), GROSS: $7,689,458

YEAR: 2010, WRITER: Edgar Wright & Michael Bacall (screenplay), Bryan Lee O'Malley (graphic novels), DIRECTOR: Edgar Wright, BUDGET: $60 million (estimated), GROSS: $29,267,130 (as of Sept. 5th 2010)

while photography is pretty singularly a visual medium and books are a medium very much completely reliant on the words, film is an art form that spans mediums. the words are just as important a component to the success of a film (i mean artistic success - not commercial) as is how the film looks and what it does visually, both large and small (people who talk about film tend to sometimes forget that a low-budget film, or one that forgoes large sets and special effects, is still making a visual statement).

what is often the case though - and one of the reasons why i think so many pretentious film people tend to look down their nose at big-budget films and movies with lots of special effects - is that many film makers focus their attention on the visual aspect of film making but forget about how important the words/story/script are - which leads to films like The Transformers I and II, Terminator Salvation, Ecks Vs Sever and i could go on, but you get what i'm saying). i bring this up, because i recently watched two films with strong artistic visions that also remembered how important the text was as well: The Imaginarium Of Doctor Parnassus and Scott Pilgrim vs. The World.

no one familiar with terry gilliam's work could ever accuse him of not having a strong vision - but it could be said that sometimes that vision just doesn't always work beyond looking good - yes, i am talking about Tideland (having not seen it, i can't comment on The Brothers Grimm). what about Brazil you ask? well, that is another one of gilliam's visionary works, but it can be a little confusing to some.

however, with Dr. Parnassus, he has created a gorgeous film that is a feast for the eyes and doesn't alienate the audience either. when characters are in the imaginarium it actually makes sense. you understand what is being represented and how it ties into the story. and speaking of the story, it is grand and interesting. gilliam isn't scared of grand story themes and here he takes on the classic deal-with-the devil scenario (in The Fisher King - my favorite of his films - he went with the holy grail).

what struck me about Scott Pilgrim, in regards to the graphic themes and ideas, was how well it used and stuck with the pop-up words and the video-game and comic book visual cues throughout the film.

there are so many movies out there that start strong when it comes to that sort of thing, but as the film progresses it fissiles out like it was just some kind of gimmick. but with Scott Pilgrim it is a core feature of the film and the vision of the film makers and they use it to full effect. and beyond that, the film is very funny, original and really fun.

although Scott Pilgrim and Dr. Parnassus are two very different films without any real connection, i couldn't help but think of them in the same discussion of visual ideas and the good and bad use of said ideas in movies. and these are two cases of good uses in very good films.

Comment

2010 Oscar Predictions

WILL WIN are in bold 

SHOULD WIN (where i have an opinion) is underlined 

 Did Win are BIG 

 

 

 

MY SCORE: 17/24

well, the oscars have come and gone and i had an average go with my predictions this year. it wasn't my most impressive performance, but it wasn't awful either. where i messed up this year was with the shorts (animation, live action, documentary). normally i get at least one of those right and this time nothing. and then, missing both screenplay winners is just awful. but, i went  17/19 for the rest of the awards and a perfect on the top 6 categories which isn't bad.... so, how did you all do?

Best motion picture of the year
  • Avatar
  • The Blind Side
  • District 9
  • An Education
  • The Hurt Locker
  • Inglourious Basterds
  • Precious
  • A Serious Man
  • Up
  • Up In the Air
Performance by an actress in a leading role
  • Sandra Bullock (The Blind Side)
  • Helen Mirren (The Last Station)
  • Carey Mulligan (An Education)
  • Gabourey Sidibe (Precious)
  • Meryl Streep (Julie and Julia)
Performance by an actor in a leading role
  • Jeff Bridges (Crazy Heart)
  • George Clooney (Up In the Air)
  • Colin Firth (A Single Man)
  • Morgan Freeman (Invictus)
  • Jeremy Renner (The Hurt Locker)
Performance by an actor in a supporting role
  • Matt Damon (Invictus)
  • Woody Harrellson (The Messenger)
  • Christopher Plummer (The Last Station)
  • Stanley Tucci (The Lovely Bones)
  • Christoph Waltz (Inglourious Basterds)
Performance by an actress in a supporting role
  • Penelope Cruz (Nine)
  • Vera Farmiga (Up In the Air)
  • Maggie Gyllenhaal (Crazy Heart)
  • Anna Kendrick (Up In the Air)
  • Mo'Nique (Precious)
Best animated feature film of the year
  • Coraline
  • Fantastic Mr. Fox
  • The Princess and the Frog
  • The Secret of Kells
  • Up
Best Documentary Short Subject
  • China's Unnatural Disaster: The Tears of Sichuan Province
  • The Last Campaign of Governor Booth Gardner
  • The Last Truck: Closing of a GM Plant”
  • Music by Prudence
  • Rabbit à la Berlin
Best Short Film (Animated)
  • French Roast
  • Granny O’Grimm’s Sleeping Beauty
  • The Lady and the Reaper (La Dama y la Muerte)
  • Logorama
  • A Matter of Loaf and Death
Best Short Film (Live Action)
  • The Door
  • Instead of Abracadabra
  • Kavi
  • Miracle Fish
  • The New Tenants
Achievement in art direction
  • Avatar
  • The Imaginarium of Doctor Parnassus
  • Nine
  • Sherlock Holmes
  • The Young Victoria
Achievement in cinematography
  • Avatar, Mauro Fiore
  • Harry Potter and the Half-Blood Prince, Bruno Delbonnel
  • The Hurt Locker, Barry Ackroyd
  • Inglourious Basterds, Robert Richardson
  • The White Ribbon, Christian Berger
Achievement in costume design
  • Bright Star, Janet Patterson
  • Coco before Chanel, Catherine Leterrier
  • The Imaginarium of Doctor Parnassus, Monique Prudhomme
  • Nine, Colleen Atwood
  • The Young Victoria, Sandy Powell
Achievement in directing
  • James Cameron (Avatar)
  • Kathryn Bigelow (The Hurt Locker)
  • Quentin Tarantino (Inglourious Basterds)
  • Lee Daniels (Precious)
  • Jason Reitman (Up In the Air)
Best documentary feature
  • Burma VJ
  • The Cove
  • Food, Inc.
  • The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers
  • Which Way Home
ACHIEVEMENT IN MAKEUP
  • Il Divo, Aldo Signoretti and Vittorio Sodano
  • Star Trek, Barney Burman, Mindy Hall and Joel Harlow
  • The Young Victoria, Jon Henry Gordon and Jenny Shircore
Achievement in film editing
  • Avatar, Stephen Rivkin, John Refoua and James Cameron
  • District 9, Julian Clarke
  • The Hurt Locker, Bob Murawski and Chris Innis
  • Inglourious Basterds, Sally Menke
  • Precious, Joe Klotz
Best foreign language film of the year
  • Ajami
  • El Secreto De Sus Ojos
  • The Milk of Sorrow
  • A Prophet
  • The White Ribbon
Achievement in music written for motion pictures (Original score)
  • Avatar, James Horner
  • Fantastic Mr. Fox, Alexandre Desplat
  • The Hurt Locker, Marco Beltrami and Buck Sanders
  • Sherlock Holmes, Hans Zimmer
  • Up, Michael Giacchino
Achievement in music written for motion pictures (Original song)
  • "Almost There" from The Princess and the Frog Music and Lyric by Randy Newman
  • "Down in New Orleans" from The Princess and the Frog Music and Lyric by Randy Newman
  • "Loin de Paname" from Paris 36 Music by Reinhardt Wagner Lyric by Frank Thomas
  • "Take It All" from Nine Music and Lyric by Maury Yeston
  • "The Weary Kind (Theme from Crazy Heart)" from Crazy Heart Music and Lyric by Ryan Bingham and T Bone Burnett
Achievement in sound editing
  • Avatar, Christopher Boyes and Gwendolyn Yates Whittle
  • The Hurt Locker, Paul N.J. Ottosson
  • Inglourious Basterds, Wylie Stateman
  • Star Trek, Mark Stoeckinger and Alan Rankin
  • Up, Michael Silvers and Tom Myers
Achievement in sound mixing
  • Avatar, Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson
  • The Hurt Locker, Paul N.J. Ottosson and Ray Beckett
  • Inglourious Basterds, Michael Minkler, Tony Lamberti and Mark Ulano
  • Star Trek, Anna Behlmer, Andy Nelson and Peter J. Devlin
  • Transformers: Revenge of the Fallen, Greg P. Russell, Gary Summers and Geoffrey Patterson
Achievement in visual effects
  • Avatar, Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones
  • District 9, Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken
  • Star Trek, Roger Guyett, Russell Earl, Paul Kavanagh and Burt Dalton
Adapted screenplay
  • Neill Blomkamp and Terri Tatchell (District 9)
  • Nick Hornby (An Education)
  • Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche (In the Loop)
  • Geoffrey Fletcher (Precious)
  • Jason Reitman and Sheldon Turner (Up In the Air)
Original screenplay
  • Mark Boal (The Hurt Locker)
  • Quentin Tarantino (Inglourious Basterds)
  • Alessandro Camon and Oren Moverman (The Messenger)
  • Joel and Ethan Coen (A Serious Man)
  • Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthy (Up)

Best And Worst Of 2009

looking back, 2009 was a good year overall. however, that overall positive average comes from a rather okay to disappointing big blockbusters and general cinema-near-you fair, to a good to great smaller film and surprise blockbuster year...

the summer blockbuster season was generally a disappointment with films like Watchmen, Terminatore and Transformers all ending up on the "worst of" list. and how can we forget Avatar (i know it wasn't a summer release). sure, it was a huge sucess money-wise and with many critics, but it wasn't a good movie... there were some successesthough, like Star Trek, Inglourious Basterds and District 9 - but even then, you look at the budget for District 9 at $30 million and that is almost independent film budget level.

on the other hand, many of the smaller/foreign/independent/less-publicized films that grabbed my interest ended up living up to expectations - which is often not the case (with the exception of the painfully disappointing The Limits Of Control of course).

like i always say: i can't see everything. so, now is time to list some of the films that have been making the rounds on other list, and garnering awards nominations, that i hadn't seen when i put mine together. they include:

Crazy Heart, Up In The Air, State Of Play, Bright Star, A Single Man, Moon, Anvil: The Story Of Anvil, The Cove, Public Enemies, Me And The Orson Wells, Food Inc....

with all that being said, let the listing begin......

DON'T FORGET (BEST)

1.  Inglourious Basterds
2A Serious Man
3Humpday
4Hunger
5500 Days Of Summer
6.  In The Loop
7.  Distric 9 & I'm Not Your Friend
8.  Fantastic Mr. Fox
9World's Greatest Dad
10.Bronson

don't forget (honorable mention): Up, Where The Wild Things Are, Away We Go, Precious, Star Trek, I Love You Man, Tyson, Adventurland, The White Ribbon, FAQ About Time Travel

 

FORGET (WORST)

if you want to read some short discussions on these crappy films, you can see a write-up on some of them at www.notgoodmovies.com 

1.   Terminator Salvation
2.   Transformers: Revenge Of The Fallen
3.   Surrogates
4.   The Limits Of Control
5.   G.I. Joe: The Rise Of Cobra
6.   Watchmen
7.   Angels And Demons
8.   The Invention Of Lying
9.   Gamer
10. Avatar

Where The Wild Things Are/Away We Go

Year: 2009, Writer: Dave Eggers & Spike Jonez (screenplay) Maurice Sendak(book), Director: Spike Jonez, Budget: $80 million (estimated), Gross: $62,650,379 (as of November 1st, 2009)

Year: 2009, Writer: Dave Eggers & Vendela Vida, Director: Sam Mendes, Budget: $17 million (estimated), Gross: $9,430,988

so, i just finally got around to seeing Where The Wild Things Are and it was great. And, as i sat there watching the credits pop up at the end of the film i saw the name dave eggers appear as co-writer. eggers wrote one of my favorite books, You Shall Know Our Velocity, and i had totally forgot that he had written the script for this film with spike jonez.

it did remind me however, that he had written another screenplay and while i couldn't think of it at that moment sitting in the theatre, when i got home i imdb'd it and remembered that it was the sam mendes film that had been released earlier in the year, Away We Go. so, i sat down a couple days later and checked that one out as well. and i gotta say... bravo! to both films.

while i, like most people of my generation, had a fondness for the Where The Wild Things Are book, i went into the film not having read or looked at the book in many many years. so for me it was pretty much a clean slate. And, to see what spike jonez does with that slate, i don't know how anyone can't like this film.

it is funny and sad and dramatic and it will make you cry and laugh and imagine. and it will make you feel and smile and wonder. it never talks down to us or to the kids that might be watching it. in fact, you may have noticed that the advertising for the film was mostly playing to a young adult crowed as opposed to children.

the wild things are incredible. the costumes and the voice acting and the way they all move creates such a believability to all of them. they are true characters and you will love some of them and not like others.

the set design and art direction and the world that jonez has created here is spectacular. you feel like if you walked into the woods and walked far enough you too might come across the wild things and their world. and, on that note, i thought it was great that the wild things world is never discussed as fake or imaginary.

max gets there by boat and leaves by boat, but besides that the film makers and writers didn't feel the need to explain it all to us (i will admit i don't remember how it goes in the book). it is about us believing in it all the way max does and that just makes his experience and his return home that much more meaningful.

i hadn't planned this segway, but now that i think of it, Away We Go has a meaningful return home as well. the film is a great little romantic dramady that takes our main couple (burt and verona) on a road trip of sorts, as they try to decide where to make their life with their baby that is due in three months.

sam mendes, known from much darker and dramatic fare (American Beauty, Road To Perdition, Revolutionary Road...) does a really great job with this film and the script from eggers and vendela vida (eggers' wife) is great.

what i found interesting about the writing was that, based on the novel of his that i read, eggers' writing is very modern and witty and quick and hip, but that isn't the case for both Away We Go and Where The Wild Things Are. for both films he, and his co-writer, were really able to write for the characters and the story, rather then fitting them into a writing style or attitude. not to say both films aren't smart and witty and such, but they are so in the ways that fit each experience and film.

and finally i have to mention the casting of maya rudolph and john krazinski as the leads in Away We Go. i don't know if they were the first choices or not, but i will say that they should have been. they are both great at the comedic stuff - as one would expect - but the drama and the rest didn't phase them either. they also had chemistry - which, given the fact that they are in 99% of the film together really would be a deal breaker no matter how good the script and the directing was.

i'm sure at this point you have all heard of Where The Wild Things Are and either seen it or want to see it or have decided that you don't want to see it. Whereas, Away We Go hung around in the theatres for a couple months, but didn't do much. however, besides both having dave eggers attached to their screenplays, they are both really good films that you really should see.

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2009 Oscar Predictions

 here i go again...

Will Win: Bold

Did Win: Big

 

 

 

MY SCORE: 19/24

 

BEST PICTURE
"The Curious Case of Benjamin Button"
"The Reader"
"Milk"
"Slumdog Millionaire"
"Frost/Nixon"


BEST DIRECTOR

Gus Van Sant ("Milk")
Ron Howard ("Frost/Nixon")
David Fincher ('Benjamin Button')
Danny Boyle ("Slumdog Millionaire")
Stephen Daldry ("The Reader")

BEST ACTRESS
Kate Winslet ("The Reader")
Angelina Jolie ("Changeling")
Melissa Leo "(Frozen River")
Anne Hathaway ("Rachel Getting Married"
Meryl Streep ("Doubt")

BEST ACTOR
Mickey Rourke ("The Wrestler")
Brad Pitt ("The Curious Case Of Benjamin Button")
Sean Penn ("Milk")
Frank Langella ("Frost/Nixon")
Richard Jenkins ("The Visitor")

BEST SUPPORTING ACTRESS
Amy Adams ("Doubt")
Penelope Cruz ("Vicky Cristina Barcelona")
Viola Davis ("Doubt")
Marisa Tomei ("The Wrestler")
Taraji P Henson ('Benjamin Button')

BEST SUPPORTING ACTOR
Phillip Seymour Hoffman ("Doubt")
Michael Shannon ("Revolutionary Road"
Robert Downey Jr. ("Tropic Thunder")
Josh Brolin ("Milk")
Heath Ledger "(The Dark Knight")

BEST FOREIGN LANGUAGE FILM
"Waltz With Bashir" (Israel)
"Revanche" (Austria)
"The Class" (France)
"Der Baader Meinhof Komplex" (Germany)
"Departures" (Japan)

BEST ADAPTED SCREENPLAY
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Screenplay by Eric Roth, Screen story by Eric Roth and Robin Swicord
“Doubt” (Miramax), Written by John Patrick Shanley
“Frost/Nixon” (Universal), Screenplay by Peter Morgan
“The Reader” (The Weinstein Company), Screenplay by David Hare
Slumdog Millionaire” (Fox Searchlight), Screenplay by Simon Beaufoy

BEST ORIGINAL SCREENPLAY
“Frozen River” (Sony Pictures Classics), Written by Courtney Hunt
“Happy-Go-Lucky” (Miramax), Written by Mike Leigh
“In Bruges” (Focus Features), Written by Martin McDonagh
“Milk” (Focus Features), Written by Dustin Lance Black
“WALL-E” (Walt Disney), Screenplay by Andrew Stanton, Jim Reardon, Original story by Andrew Stanton, Pete Docter

BEST CINEMATOGRAPHY
“Changeling” (Universal), Tom Stern
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Claudio Miranda
“The Dark Knight” (Warner Bros.), Wally Pfister
“The Reader” (The Weinstein Company), Chris Menges and Roger Deakins
“Slumdog Millionaire” (Fox Searchlight), Anthony Dod Mantle

BEST EDITING
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Kirk Baxter and Angus Wall
“The Dark Knight” (Warner Bros.), Lee Smith
“Frost/Nixon” (Universal), Mike Hill and Dan Hanley
“Milk” (Focus Features), Elliot Graham
“Slumdog Millionaire” (Fox Searchlight), Chris Dickens

BEST SCORE
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.),Alexandre Desplat
“Defiance” (Paramount Vantage), James Newton Howard
“Milk” (Focus Features), Danny Elfman
“Slumdog Millionaire” (Fox Searchlight), A.R. Rahman
“WALL-E” (Walt Disney), Thomas Newman 

BEST ART DIRECTION
"The Curious Case of Benjamin Button"
"Changeling"
"The Duchess"
"Revolutionary Road"
"The Dark Knight"

BEST COSTUME DESIGN
“Australia” (20th Century Fox), Catherine Martin
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Jacqueline West
“The Duchess” (Paramount Vantage, Pathé and BBC Films), Michael O’Connor
“Milk” (Focus Features), Danny Glicker
“Revolutionary Road”

BEST ORIGINAL SONG
“Down to Earth” from “WALL-E” (Walt Disney), Music by Peter Gabriel and Thomas Newman, Lyric by Peter Gabriel
“Jai Ho” from “Slumdog Millionaire” (Fox Searchlight), Music by A.R. Rahman, Lyric by Gulzar
“O Saya” from “Slumdog Millionaire” (Fox Searchlight), Music and Lyric by A.R. Rahman andMaya Arulpragasam

BEST ANIMATED FILM
"Wall-E"
"Bolt"
"Kung Fu Panda"


BEST DOCUMENTARY FEATURE
“The Betrayal (Nerakhoon)” (Cinema Guild), A Pandinlao Films Production, Ellen Kuras and Thavisouk Phrasavath
“Encounters at the End of the World” (THINKFilm and Image Entertainment), A Creative Differences Production, Werner Herzog and Henry Kaiser
“The Garden” A Black Valley Films Production, Scott Hamilton Kennedy
“Man on Wire” (Magnolia Pictures), A Wall to Wall Production, James Marsh and Simon Chinn
“Trouble the Water” (Zeitgeist Films), An Elsewhere Films Production, Tia Lessin and Carl


BEST DOCUMENTARY SHORT SUBJECT
"The Conscience of Nhem En"
      A Farallon Films Production    Steven Okazaki
"The Final Inch"
      A Vermilion Films Production    Irene Taylor Brodsky and Tom Grant
"Smile Pinki"
      A Principe Production    Megan Mylan

"The Witness - From the Balcony of Room 306"
      A Rock Paper Scissors Production    Adam Pertofsky and Margaret Hyde

 
BEST MAKEUP
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Greg Cannom
“The Dark Knight” (Warner Bros.), John Caglione, Jr. and Conor O’Sullivan
“Hellboy II: The Golden Army” (Universal), Mike Elizalde and Thom Floutz


BEST ANIMATED SHORT
“La Maison en Petits Cubes” A Robot Communications Production, Kunio Kato
“Lavatory - Lovestory” A Melnitsa Animation Studio and CTB Film Company Production, Konstantin Bronzit
“Oktapodi” (Talantis Films) A Gobelins, L’école de l’image Production, Emud Mokhberi and Thierry Marchand

“Presto” (Walt Disney) A Pixar Animation Studios Production, Doug Sweetland

“This Way Up”, A Nexus Production, Alan Smith and Adam Foulkes

BEST LIVE ACTION SHORT
“Auf der Strecke (On the Line)” (Hamburg Shortfilmagency), An Academy of Media Arts Cologne Production, Reto Caffi
“Manon on the Asphalt” (La Luna Productions), A La Luna Production, Elizabeth Marre and Olivier Pont
“New Boy” (Network Ireland Television), A Zanzibar Films Production, Steph Green and Tamara Anghie
“The Pig” An M & M Production, Tivi Magnusson and Dorte Høgh

“Spielzeugland (Toyland)” A Mephisto Film Production, Jochen Alexander Freydank

 

BEST SOUNDS EDITING
“The Dark Knight” (Warner Bros.), Richard King
“Iron Man” (Paramount and Marvel Entertainment), Frank Eulner and Christopher Boyes
“Slumdog Millionaire” (Fox Searchlight), Tom Sayers
“WALL-E” (Walt Disney), Ben Burtt and Matthew Wood
“Wanted” (Universal),Wylie Stateman

 

BEST SOUND
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
“The Dark Knight” (Warner Bros.), Lora Hirschberg, Gary Rizzo and Ed Novick

“Slumdog Millionaire” (Fox Searchlight), Ian Tapp, Richard Pryke and Resul Pookutty
“WALL-E” (Walt Disney),Tom Myers, Michael Semanick and Ben Burtt
“Wanted” (Universal), Chris Jenkins, Frank A. Montaño and Petr Forejt

BEST VISUAL EFFECTS
“The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Eric Barba, Steve Preeg, Burt Dalton and Craig Barron
“The Dark Knight” (Warner Bros.), Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
“Iron Man” (Paramount and Marvel Entertainment), John Nelson, Ben Snow, Dan Sudick and Shane Mahan

FBNF Awards 2008

Fbnf awards with the academy awards in about three weeks it will be the official end to the 2008 awards season, but we all know it wouldn't be complete without this year's FBNF awards, so let us hand those out right now... (you can check out the 2007 FBNF awards right here)

best film:
- Slumdog Millionaire

best end credit dance (tie):
- tom cruise (Tropic Thunder)
    - this was great. i thought his character was hysterical throughout the film and this just put a great topper on a really good time at the movies. cruise can be great in these supporting roles where he really just lets himself go (think Magnolia also)  

- the cast of Slumdog Millionaire
    - i loved this film and the bollywood dancing at the end was so joyful and carried my smile from the end of the film through the closing credits.

worst sequel:
- Quantum Of Solace
    - it was a bad sequel, a bad james bond movie and just a bad film in general

best movie song (tie)
- bruce springsteen (The Wrestler) & jack white and alicia keyes (Quantum Of Solace)
    - both songs are good songs in their own right and worked really well in their respective films (pretty much one of the only good things about Quantum Of Solace)... oh ya, don't forget Rock Me Sexy Jesus from Hamlet 2

best male performance:
- mickey rourke
    - his performance in The Wrestler is so true and heartbreaking and uplifting.  from the hair to the hearing aide to the way he talks and carries himself differently in and outside the ring, rourke stands out from the crowd this year with that performance.

best sequel:
- The Dark Knight
    - this one was easy. not only was it far and away the best sequel of the year, it was the best comic book movie since tim burton's Batman in 1989 and one of the best films of the year - sequel or not.

best film i saw all year:
- Keane
    - released in 2004 this small lodge kerrigan film is one i am still thinking and talking about to anyone that will listen.  read my full discussion of the film here.

welcome back:
- woody allen
    - one of my favorite directors of all time allen could pretty much do know wrong for me until about 10 years ago.  these last 10 years have been up and down, with more downs then ups and the ups not being that high.  that was until Vicky Cristina Barcelona.  this wonderful film is the best thing he has done in a long time and although one film isn't maybe enough to say 'he's back", i so enjoyed the movie that i'm going to say it anyway... "he's back!"

best actor:
- ben kingsley
    - The Wackness and Elegy

best bad special effects:
- Be Kind Rewind

film that most frustratingly didn't live up to its potential:
- Righteous Kill
    - unlike last years winner of this award I Am Legend - which was actually a really good film for the first half of it, Righteous Kill wasn't very good from pretty early on.  however, given that two of the greatest actors of all time - robert deniro and al pacino - were the stars, and were going to be in a film and on screen together for most of it, for the first time ever, the potential for greatness was there.

best performance by young actors:
- all the kids in The Class (Entre Les Murs)

worst performances by young actors:
- the young actors in Gran Tornio

best two acting greats in one movie:
- merryl streep and phillip seymor hoffman in Doubt
    - dicaprio and winslet were good in Revolutionary road and this awards should have really gone to deniro and pacino (but, while they were fine in the awful Righteous Kill, they weren't great)... but streep and hoffman in doubt were excellent and the big climactic scene in which the two of them go head to head had me completely riveted.

most disappointingly historically inaccurate:
- parts of Frost/Nixon
    - i really liked the film, and its fine that they took some dramatic license with certain things and emphasized others that might not have been so 'dramatic' at the time, but to literally change actual dialogue from the frost/nixon interviews is just wrong. i mean, we have the actual footage and transcripts from the interviews, so use them at least for the interview scenes... also, creating that huge, climactic phone call scene - that never happened - that turns the film around and leads to the big 'get' in the interview is also wrong,

biggest oscar gyp:
- The Wrestler
    - yes it got an acting nod for both mickey rourke and marissa tomei (both completely deserving), but what about a best picture nomination?  or if that's too much to ask at least a screenplay nod?  and even if those two are to much for the academy, what about a best song nomination for bruce springsteen?  the song won a golden globe and it isn't even nominated for an academy award - in a category that only has three nominees (so its not like there is no room for it)... the only thing i can think is that there is some kind of technicality reason and it can't be nominated, but if that isn't the case then what the hell!?!?

well done oscar:
- heath ledger and robert downy jr. nominations
    - comedy and action rarely get much love from the academy so to have ledger (for The Dark Knight) and even more so, downey (for Tropic Thunder) nominated for supporting actor awards is great to see - and they are both very deserving.

best failed blockbuster:
- Body Of Lies
    - with ridely scott directing this spy thriller starring russell crowe and leonardo dicaprio Body Of Lies had blockbuster hopes, but instead it only ended up grossing just over half of its estimated $70 million budget.  not only that, but the reviews were split on it as well (it got 51% at rotten tomatoes)... but this one is more than just a good summer spy thriller. 

hey oscar, were there really no other good supporting female performances?:
- viola davis in Doubt
    - now i'm not saying davis was bad in the film, not at all... however, she is really only in the film for one 5-15 minute long scene, and her performance isn't so outstanding that it deserves a nomination for such a small role... who would i replace her with you ask?  well, how about rebecca hall from Vicky Christina Barcelona?  

the most unbelievably simple story:
- Wendy And Lucy
    - a girl and her dog are driving through a small town on their way to alaska.  the car breaks down and she loses her dog. she spends the next day or two looking for her dog while her car is getting fixed... there you go, that is Wendy And Lucy - and it is a really good film.

best film with lots of problems:
- Gran Torino
    - eastwood isn't bad (not best actor worthy as the national board of review thought), but playing a racist old man that just wants to be left alone but befriends the korean kid/family next door is anything but an original idea... also, the acting by the kids in the film is poor and the story is pretty predictable... and yet i enjoyed the film.. hmmmmmm, go figure.

worst film that was not the sum of its parts:
- Burn After Reading
    - with Burn After Reading i found the story original, i liked the characters, i thought it was funny at times, i liked the tone of the film, i was interested in what was going to happen, the performances were good - albeit a little over the top for some (but that fit the tone the coen brothers created)... and yet i was quite disappointed and confused in the end.

best film title:
- Quantum Of Solace and Young People Fucking
    - Quantun Of Solace sounds a little pretentious, but very cool and intriguing... Young People Fucking sounds like it is trying to shock people, but the film is so good it works.

Best And Worst Of 2008

i kind of feel bad for 2008.  i mean, having to follow 2007 is like being an amateur comic at a comedy club and having chris rock pop in to do a set just before you go on - no matter how good your material is, it just isn't going to be as good...

2007 was one of the best years for movies in a long long time.  not only did you have two films, No Country For Old Men and There Will Be Blood, that i would not hesitate to call masterpieces, but then there was Juno, Eastern Promises, The Diving Bell And The Butterfly and Once which were all excellent films that all could have easily been 'best films of the year' almost any other year (check out the best and worst of 2007 lists)...

2008 however, turned out to be a good year all around, although up until the last couple months of the year, except for a few standouts, it wasn't looking like that was the case.  but, these last couple months have brought with them some quality films, and in the end i actually had a little bit of a hard time narrowing down my list.

and finally, i will mention, as i always do, the films that i haven't seen, as i put my lists together, that seem to be making other top lists: Seven Pounds, The Reader, Revolutionary Road, Australia, Ballast, The Class, Rachel Getting Married, Happy Go Lucky, Waltz With Bashir, W., The Curious Case Of Benjamin Button, Doubt, Paranoid Park, Baghead and My Winnipeg.

click the links for the written discussions and listen to the podcast to hear discussions about all the films on the lists, the ones that just missed, and more - with all that being said, let the listing begin...


DON'T FORGET (BEST)

1.  Slumdog Millionaire
2.   The Fall & The Class (Entre Les Murs)
3.   Vicky Cristina Barcelona
4.   The Dark Knight
5.   The Wrestler
6.   Milk
7.   Young People Fucking
8.   Man On Wire
9.   Tropic Thunder
10. Tell No One & Wendy And Lucy

don't forget (honorable mention): Teeth, The Wackness, Elegy, Frost/Nixon, Wall-E, Be Kind Rewind, Body Of Lies, Roman Polanski: Wanted And Desired, Synecdoche New York,

 



FORGET (WORST)

if you want to read some short discussions on these crappy films, you can see a write-up on most of them at www.notgoodmovies.com 

1.   Righteous Kill
2.  Quantum Of Solace
3.   Jumper
4.   Vantage Point
5.   21
6.   Wanted
7.   The Day The Earth Stood Still
8.   The Incredible Hulk
9.   Untraceable
10. Burn After Reading

The Dark Knight & Following

The_dark_knight listen to the podcast

 

The Dark Knight: Year: 2008, Writers: Jonathan Nolan & Christopher Nolan (screenplay) Christopher Nolan & David S. Goyer (story) Bob Kane (characters), Director: Christopher Nolan, Budget: 180 million (estimated), Domestic Gross: $158 411 483 (opening weekend)

Following Following: Year: 1998, Writer and Director: Christopher Nolan, Budget: $6 000, Gross: $43 188

christopher nolan made a big splash back in 2000 with his film Memento.  that is one really great film and one of my all-time favorites.  since then he has proven that Memento was no fluke with solid films like Insomnia and Batman Begins and the really good and under appreciated The Prestige (a film that i had at #4 on my list of best films of 2006).  however, what i want to talk about here are mister nolan's first film and his most recent one.

in case you have just gotten back from spending the last two years of your life in a sealed living facility at the bottom of the ocean, nolan's most recent film is the already a huge success, The Dark Knight (you'll notice that it isn't Batman: the dark knight, but rather just The Dark Knight.  i found that interesting). 

as for his first film, most people would probably answer Memento if asked that question, but in fact it is a film he made two years earlier called, Following about an unemployed wanna-be-writer who starts following strangers which leads to him meeting a thief and things go from there. the film is shot in black and white and definitely has some film noire characteristics with its characters and some twists and turns.

let me start by saying, i am a huge fan of tim burton's first batman movie and nicholson's joker.  also, while i thought Batman Begins was okay, i didn't love it the way many critics seemed to at the time.  with those two factors in mind i can tell you that The Dark Knight is my second favorite batman movie ever, and will probably be number one for many out there.  this thing is great. 

it's interesting for those of you who remember when burton's film came out how everyone was talking about how 'dark' it was.  and you might notice how they have been saying the same thing about nolan's two goes at the caped crusader.  in fact they are both dark takes on the story, but whereas burton's films felt more like comic book movies, nolan has gone for this realism in his approach to the material from how it is shot to the way the people behave to the characters themselves who are all based in some reality, rather then fantasy (they aren't bitten by a radioactive spider, they didn't fall in a vat of acid, etc...).

i complain often about films that are too short.  movies that needed to add another 10 or 20 or 30 minutes of actual story and character rather then relying on effects and action (because without the other stuff cool action isn't going to make me forget that i don't care about the movie or that the story feels incomplete).  The Dark Knight at about 2 hours and 30 minutes is as long as it should be.  there was even a point in the film where i thought it might be over and was thinking that it just didn't feel right, but it wasn't over, there was plenty of movie left to go and it was all really good.

personally, there were a couple things i was curious about, and one would be scarecrow.  we saw this character/villain at the end of Batman Begins and i thought he would have a bigger role in this film.  Instead he is literally on screen for about 20 seconds and then never seen again.  this is less a complaint and more just a curious question about why they did that.  maybe they are keeping him around and building up the idea that gotham isn't made up of one villain at a time, which i can buy and have no problem with.

one other thing was that we don't get any origin story for the joker.  there are a couple things thrown out there, but nothing concrete.  now, does this hurt the film?  not at all, but i personally have this desire to know how these super heroes and villains became who they are and so for me i was just quite curious...  also, given that these nolan films are very set on making this world as real-life as possible (rather then comic book-real) i was curious about what they were going to do with the joker.

both Following and The Dark Knight are films about lone men.  men that watch the world from the shadows.  men that at first seem to be on the outskirts of society.  however, both men also have alternate personas.  for batman it is bruce wayne and for the guy in Following it is a cleaned up version of himself that he creates in order to get close to a woman.

two very different films, but with some similar themes, The Dark Knight is the best super hero movie i have seen in a long time and Following is a good film that many will appreciate as the beginnings of this great directors career.

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