| DGT ranks THE 10 BEST FILMS OF THE PAST DECADE!; DONE! #1 on p. 28, full list in 1st post | |
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| Tweet Topic Started: Nov 8 2010, 07:02 PM (7,941 Views) | |
| <span style=recyclehumans | Nov 12 2010, 11:19 PM Post #261 |
BOOM! CROASTED.
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"Possibly" means I'm not giving away if I saw it or not. |
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| arasfromexile | Nov 12 2010, 11:20 PM Post #262 |
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P.S. I love you... just a guess. Kidding, DGT, you know I love joking about your movie taste. :lol: |
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| Jeff P3 | Nov 13 2010, 12:39 AM Post #263 |
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Regardless of whether or not it's on this list, King Kong was absolutely one of the better films of the last decade. |
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| <span style=recyclehumans | Nov 13 2010, 03:14 AM Post #264 |
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BOOM! CROASTED.
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Time for #7! Let the hate begin. lol j/k #7. CACHÉ  2005 written and directed by Michael Haneke starring Daniel Auteuil, Juliette Binoche and Maurice Benichou CACHÉ is the most frustrating movie I've ever watched. So why the hell do I find it to be one of my top ten of the decade? It's because it's the most frustrating movie I've ever watched. I don't say it negatively. CACHÉ is one of the few films that would potentially go so far as to outright lie to its audience. It presents scenes with no context. It presents a mystery with no solution. It presents characters with no real journey. CACHÉ is, in one way, about being faced with something that has no answer and demands you try to answer it. Every human being in the world, if faced with something that has no answer, would want an answer. We're curious creatures. Insatiably curious. And often it can be our greatest failing. This film reminds me of a wonderful line spoken by a key character in SOLARIS: "If you keep thinking there's a solution, you'll die here." Quite literally, that's the consequence of some of what happens in CACHÉ. I want to keep my write-up on this one a little brief, if only to let the film speak for itself. Because it has a lot to say. And yet, it says so much that could mean nothing. Or everything. Watching it makes you want to tear your hear out because it so gleefully avoids simple, neatly-wrapped narrative conventions. It is designed to intentionally put you in an uncomfortable headspace because everything you expect to get from a piece of film is exactly what you're deprived of. Anne and George are receiving video tapes, being left at their home by an anonymous person. The tapes are hours of recordings… of their house. Taken from a distance. Positioned from an adjacent street. Nothing else happens. It's literally just hours of someone videotaping their house. At one point in a tape, George even walks by the camera without realizing it's even there. As more tapes get delivered, drawings start being included in the deliveries. Disturbing ones. And the tapes soon lead George to the apartment of a man, Majid, he once knew as a boy. What their relationship was and is slowly becomes clear (or does it?) to us, and George accuses Majid of being the one responsible for the tapes and drawings. Coupled with this is the strain to the marriage of George and Anne that the tapes are causing. Ann knows George is hiding something. Maybe feeling guilty about something. Something about Majid, something in his past. And then there's their young son, Pierrot, who is discontent with his parents for reasons unknown to us. One night, Pierrot disappears without warning, causing Anne and George to panic, accusing Majid of kidnapping the boy. Majid claims innocence, not just about Pierrot but about the tapes/drawings. Majid's son defends his father adamantly. Pierrot returns the next day, claiming to have spent the night at a friend's house. Yet when Anne admonishes her son for his actions, he snaps at her and calls her an adulterer -- which may not be far from the truth, given the closeness she lets herself feel with a friend when they're together. CACHÉ is not plot-heavy in any traditional sense. Like any quality Haneke film, CACHÉ is far more focused on what you're not seeing. On what you're not hearing. On what you're not feeling. It's a movie about what's hidden from not only the characters, but from us as viewers (hence the film's name). George is misleading and, while not quite dishonest, dodges what he may know or even what he may not know, or not remember. What he might be responsible for in Majid's life. Anne's position of frustration at her husband, feeling like he's keeping things from her, plays with her actively hiding feelings from him, keeping a circle of hypocrisy always present. Their lives are being eaten away with what they're being faced with -- or does it really have anything to do with the tapes and the drawings? Is it really just about what they're doing to each other? And what does Pierrot know in all of this? He does not present himself as oblivious. And in the last shot of the film, that single static crowd shot that lasts throughout the end credits, we're presented with a possibility that Pierrot is more aware of what's happening in his home than he's led us (and his parents) to believe. Or is he? Are the sins of the father being visited upon the son? From either Majid or from George? Or is it something that we don't even get a hint of? What is happening? One of the ultimate tricks the film plays on us is seen from its very first shot. Our expectations and perceptions of how to understand what we're watching are destroyed the instant we watch the first tape rewind. The movie is designed to confound and perplex, primarily because it robs us of our ability to focus our attention on the film through the perspective of any one character. We have no focal point to which we can anchor ourselves as the questions start surfacing. Take any great story that's about finding a solution to a problem, any great mystery story -- MURDER ON THE ORIENT EXPRESS, for example -- and look at how we're presented with the story. Our point of view is clear and undeniable. Poirot is our hero, he is our problem solver, and come hell or high water, whether he gets to the bottom of what's happened on that goddamn train or not, we can understand what transpires through him. We don't get that in CACHÉ. What we get is a painful, mystifying contradiction of objective subjectivity. We're seeing the film through the eyes of everyone -- and therefore no one. It's the case of the unreliable narrator on a very large scale. Hell, we can't even count on the FILMMAKERS to be a reliable narrator for us, because they're the ones most interested in keeping us from being oriented in this film. It messes with your head in a major way -- and in a way, puts you perfectly in the shoes of every single character in the film. William Goldman said it best about CACHÉ and he didn't even mean to: "Nobody knows anything." The film presents the audience with far more than it needs to formulate an opinion on what's truly happening and why it's happening. But to focus on finding the solution to the mystery is counter to the film's intent. The film isn't presenting you a mystery for the sake of solving it. There's no true solution to be found. There's only the mystery of a puzzle that our characters cannot solve, only hope to think they can, and the wounds that are opened between those characters as a result. There is no clean answer to anything in CACHÉ. This is only quandary. And therein lies what makes CACHÉ so completely frustrating and stupefying. It's also what makes CACHÉ so fascinating and hypnotic. So why THIS movie? I think I've made my point.  Watch it and understand. You may very well hate it, but try to experience it. It is a film unlike any you'll likely ever see. Let it show you what it wants to show you, and then try to justify what you've watched. I dare you.(there is no score to the film, so instead, I link you to the film's trailer: http://www.youtube.com/watch?v=lS4VVUYsK44 -- and then go watch the film immediately) |
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| arasfromexile | Nov 13 2010, 03:43 AM Post #265 |
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It's not in English? |
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| <span style=recyclehumans | Nov 13 2010, 03:45 AM Post #266 |
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BOOM! CROASTED.
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No. That happens sometimes. 
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| arasfromexile | Nov 13 2010, 03:46 AM Post #267 |
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WTF, how could you focus on the movie while reading the subtitles? :lol: You're insane. |
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| Emcee Hutch | Nov 13 2010, 03:52 AM Post #268 |
Irritating Fuck
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| <span style=recyclehumans | Nov 13 2010, 04:03 AM Post #269 |
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BOOM! CROASTED.
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Honorable Mention time! APOCALYPTO  KING KONG  FESTIVAL IN CANNES  REQUIEM  ALMOST FAMOUS  THE INCREDIBLES  BIG FISH  GLADIATOR  LET THE RIGHT ONE IN  UP IN THE AIR  Your hint for #6 -- it's from 2008. And if anyone can guess it correctly, I will bake you delicious cookies. |
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| arasfromexile | Nov 13 2010, 04:05 AM Post #270 |
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The Dark Knight |
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| <span style=recyclehumans | Nov 13 2010, 04:28 AM Post #271 |
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BOOM! CROASTED.
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I will also say that #6 will be one of my three favorite write-ups of the entire list. (the others being #3 and #1) |
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| <span style=ncassaro | Nov 13 2010, 04:36 AM Post #272 |
That was way harsh
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My favorite movie ever I think. I'm pissed at it not being included. *sells DGT for beer* |
| http://www.youtube.com/watch?v=TY0bHULptWQ | |
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| <span style=recyclehumans | Nov 13 2010, 04:41 AM Post #273 |
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BOOM! CROASTED.
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Lisa needs braces. |
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| <span style=ncassaro | Nov 13 2010, 05:42 AM Post #274 |
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That was way harsh
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Dental Plan. |
| http://www.youtube.com/watch?v=TY0bHULptWQ | |
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| <span style=Mister Plum | Nov 13 2010, 07:32 AM Post #275 |
SurviBoy
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TF is that movie??? But Up In The Air <3 Almost Famous <3 <-- haven't finished this though and Big Fish seething <333 |
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| <span style=Rudy | Nov 13 2010, 09:47 AM Post #276 |
Sorry for being so awesome
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Speed Racer |
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| <span style=SurvivorFan GP | Nov 13 2010, 12:12 PM Post #277 |
Not the brightest crayon in the box
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The Incredibles King Kong was decent. I saw Almost Famous way back in grade school but barely remember it. |
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| Jeff P3 | Nov 13 2010, 12:16 PM Post #278 |
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I imagine The Dark Knight may very well be in this top six, not necessarily at #6. Two notable omissions so far, both from '06 - The Departed and Babel. I love both, with the edge (definitely) going to the former. |
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| <span style=spnintendo | Nov 13 2010, 12:46 PM Post #279 |
Purple Domination
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Lisa needs braces. Also up in the air is
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| <span style=madhackrviper | Nov 13 2010, 01:07 PM Post #280 |
"The FKACMF"
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Ew. I remember wanting to slap people who said this when I worked at Hollywood Video. Though I actually haven't seen the movie in question.  Gladiator deserved top 10.  And I liked King Kong I didn't realize there were so many haters.
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