| 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 (7,940 Views) | |
| <span style=Pulau Tiga | Nov 13 2010, 02:36 PM Post #281 |
cacafuego
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lolwut I haven't seen that one yet either. I'll have to add it to my Netflix queue. Glad King Kong won't be on the shortlist. Let The Right One In is pretty fucking amazing, though. |
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| <span style=sandraneutral7 | Nov 13 2010, 02:47 PM Post #282 |
okbye
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omg <3 |
<img src='http://i1193.photobucket.com/albums/aa351/foxyknoxy1/KORIKOEAnna Paquin is a gap-toothed bitch.R.gif' border='0' alt='user posted image'>
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| <span style=Rudy | Nov 13 2010, 02:50 PM Post #283 |
Sorry for being so awesome
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I saw that movie while tripping out once, and it blew my mind. |
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| <span style=recyclehumans | Nov 13 2010, 03:39 PM Post #284 |
BOOM! CROASTED.
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Agreed. |
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| <span style=Kyle | Nov 13 2010, 05:31 PM Post #285 |
ORG Legend
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I thought I remembered seeing The Departed as one of the honorable mentions... although I could be wrong since there have been so many. But The Incredibles  Big Fish Up In The Air And lol @ AFE about the subtitles 
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| <span style=Kyle | Nov 13 2010, 05:40 PM Post #286 |
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ORG Legend
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Okay yeah never mind I can't find it now.  Maybe I saw this thread in my dream. 
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| <span style=CatLurvesDorothy | Nov 13 2010, 07:11 PM Post #287 |
Hungry. ;_;
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Big Fish is overrated. |
Meow. Overall Statistics (that badly need an update) | |
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| <span style=HumongousDiva | Nov 13 2010, 07:44 PM Post #288 |
Turn on the PMs, you fat shit!
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This. It's good. It's not great. |
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| <span style=recyclehumans | Nov 14 2010, 12:35 AM Post #289 |
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BOOM! CROASTED.
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Time for #6. This one's going to be fun. #6. WENDY AND LUCY  2008 directed by Kelly Reichardt written by Kelly Reichardt & Jonathan Raymond starring Michelle Williams, Walter Dalton and Will Patton Wendy loses her dog Lucy after Wendy's car breaks down during a move to Alaska. She's broke and has no resources. She needs to find Lucy. That's the story of the film. In its entirety. But that's not what WENDY AND LUCY is about. At all. There are small films and then there are minimalist films. WENDY AND LUCY is in every sense of the world a minimalist film. It takes an extremely small slice of life for a character and drowns her in it. There are no heavy plot machinations for her to endure. No barrage of characters and interpersonal relationships for her to grow with. This movie is almost 90% Michelle Williams, by herself, trying to survive.  Sure, there are characters that she'll interact with. There's the owner of a car garage that Wendy's able to get to look at her car (and does not give her optimistic news). There's the elderly security guard of a supermarket parking lot (played so perfectly and simply by Wally Dalton in one of the most effective, yet least showy, performances I've ever seen). Don't think the whole movie is just Michelle Williams for almost an hour and a half. Just most of it. But ultimately, this is Michelle Williams's film. And with it, she continues to prove herself to be one of the most impressive, nuanced, versatile and intelligent actresses alive today. Considering she made a name for herself on Dawson's fucking Creek, it's an achievement to behold. Wendy is down on her luck and heading to Alaska. Cannery jobs are high-paying up there -- the appeal is obvious. She has everything she owns (which is not much) in her beat-up car, including her beloved dog, Lucy. These two are all each other has, and their devotion to each other is clear and overwhelming without forcing it onto us for one moment. Their interactions with each other aren't dramatized for the sake of film… it's all so real. So quiet and simple. The way you are with your dog? When no one's watching? Just that basic level of love and comfort one brings to the other? That's what you see here. There is no strain to make the audience sympathize. Wendy and Lucy just exist. Lucy simply is. Wendy simply is. Wendy's car breaks down in Oregon, and she's down to her last $500. The last thing she needs is her car to have a problem. She's able to get it to a garage to be looked at. But in the meantime, every penny counts, and Wendy makes a very human choice. She goes into the local market after tying Lucy up outside and attempts to shoplift just a couple of things. A can of food for Lucy, a little something for her. We're talking a couple of dollars of stuff here. But she's caught as she's about to leave the store. She's dealt with by authorities. Time passes. By the time she's back at the market, Lucy is gone. The market employees didn't notice who might've taken her. No one else does either.  And just like that, Wendy is left with nothing. Literally nothing. She has very few resources with which to try and track Lucy down. She wanders the streets, calling out Lucy's name. Makes phone calls to whatever shelters nearby she can get numbers for. Asks around. But with no car, no cell, no computer, no money… in this day and age, there's little else at Wendy's disposal. And what makes it worse is that the town she's stranded in really isn't on much of a map. It's just about as well off as she is. What else can she do? She sleeps in her car, wakes up, looks for Lucy, sleeps, repeat. And when she's finally able to get in front of a mechanic to have her car looked at, she's given an estimate, and it's not a good one. She can't afford the repairs. Correction -- she may be able to afford the repairs, but she'll have nothing as a result. And what good is a car if you can't afford to drive it (or survive in the first place)? I do not praise Michelle Williams lightly when I give her all the accolades in the world. Obviously. She's, in short, a revelation. This is a role that comes with no real baggage thrust upon her. Wendy just is who she is. She's a young woman who clearly doesn't have a successful life, is thirsting for at least the genesis of one, and is actively making a choice to see that genesis come to pass. But to struggle is human, to be faced with adversity is life, and Wendy is not immune from either. There's a gentle, quiet, restrained dignity to Wendy. She's heartbroken over what could be such a major upending of what life she has left by such a simple chain of events (and choices). With just a glance into her eyes, you can see a person who begs God every day to let her wake up from whatever dream she's having and go back to what has to be some kind of better life. But she doesn't let it stop her from living. Not even that… she doesn't let it stop her from surviving. Wendy is a survivor. Her will to wake up and somehow put one foot in front of the other is huge. There are shades of another wonderful film that play here -- UMBERTO D. -- only Wendy is a little more resolute. Umberto was trying at points to set up his suicide. Wendy has no interest in doing such a thing -- and if she does, she fights the thought. None of this film could be possible if it weren't for the brilliance of a fine actress, and we have that in Michelle Williams. And I have to say that if you put an actress with more of a mainstream appeal into this role, even someone who enjoys bucking the line between indie and mainstream often like Kate Winslet, this film doesn't work nearly as well. Michelle Williams is just well known enough to get into the skin of Wendy without us once being distracted by the thought "hey it's Michelle WIlliams". It's not only the sign of inspired casting, but also exemplary craft in her performance. Along with her are a very small helping of supporting actors, especially Wally Dalton. The security guard first meets Wendy as a guard, gently telling her she needs to move her car. The last time he meets her is as a friend. Their relationship is formed very effortlessly, without any grand gestures. Wendy has no one else to connect with, and needs someone to have contact with, if for nothing else the sake of her sanity. He doesn't mind the conversation and understands her plight. There's not much he can do for her, considering he's not much better off than Wendy in the first place.  He does, however, do what he can. They're all small gestures. Little things performed for one person to another. She asks if she can exchange some pennies and nickels she has for a quarter so she can call a pound, and the nearby pay phone only takes quarters. He offers his cell phone for her to make the call. A few minutes later, he offers his cell number as a number the pound can use as a contact if they find Lucy. Neither person is really changing the life of the other… we're talking just kindnesses being paid from good person to good person. And when any of us are at a low point, and I mean low, sometimes it's the smallest gestures done without any bias or intention that mean the most to us. Like everything else it shows, WENDY AND LUCY shows just what kind power there is behind something done to which we otherwise might not give a second thought. The film has no score. No technical theatrics. When I say this film is minimal, I mean it. It doesn't need any frills and it doesn't need any additives. To flourish the film with anything beyond the bare basics would betray the power of the story, the characters and the intent. I dread what this film could've been in the hands of an A-list director. I do not want to outright detail how the film ends and how we get there. It's something that should be experienced. But to get to that ending, there are choices made and actions performed that are some of the most heartbreaking and heartbreakingly human and compassionate and mature I've seen characters willing to make in film. Wendy is a tough woman. She's fragile and she's hanging by a thread financially and emotionally, and watching her struggle internally with a choice so simple as walking up to a house just wrecks me inside, but yet fills me with the kind of raw hope you don't find hitting you with any other kind of film. WENDY AND LUCY does not have arguments. It does not have fights. There are no battles for the soul here. It's not a film that features showy performances and slick production. It's about a young woman without much to her life getting hit by a tough setback and trying to work through it like any other person would. And it's so painful to watch. And so beautiful to watch. So why THIS movie? We've all lost things in our lives. Some of us more than others. Some people have simply lived life without having much to lose in the first place. I've been one of those people. My family was poor from the moment I was born (and still is), and my entire life, with them or on my own, has been a struggle for every penny. Sometimes, I would take a hit that in any other circumstance would mean nothing to me. But when something so small goes wrong when I have a negative bank account, no hope of a paycheck in sight, a support system way too far away to be able to help and only my own internal strength still present, the only choice I'm left with is to survive and somehow find a way to keep surviving. To hold onto who I am and what I am and hold close that which is most dear to me. It's painful. There's so much suffering. And when the worst hits when I already think the worst has hit, it's devastating, and trying to hold onto hope is the greatest challenge I've ever known. It's just what life is. WENDY AND LUCY portrays that exact struggle more effectively and poignantly than I've ever seen. And it does so without theatrics and dramatics. It's about life in its most quiet, unfiltered form. It shows how much the smallest setback can potentially destroy us just as much as how the smallest kindness can give us a hope we didn't know was possible -- neither of which results in an explosion of emotion or performance. The shifts in our emotional sanity when life gives us curves in the road are rarely explosive. They're often muted struggles, little wars being fought in our heads and hearts. To see the tragedy and the beauty of that reality presented so precisely and with such raw humanity is an inspiration. Wendy is me. She's you. She's all of us. And all I want is for her to be okay. And there are few characters I commit to the way I do with her. There are few films I commit to the way I do with WENDY AND LUCY. (Like #7, this film has no score. Watch the trailer here: http://www.youtube.com/watch?v=7QXEK64ba08 -- and then netflix this as soon as possible.) |
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| <span style=Mister Plum | Nov 14 2010, 12:43 AM Post #290 |
SurviBoy
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Never heard but I read some of your writeup and this seems interesting. |
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| Jeff P3 | Nov 14 2010, 12:58 AM Post #291 |
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Unregistered
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Okay, now there's one I definitely don't agree with. |
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| <span style=recyclehumans | Nov 14 2010, 01:01 AM Post #292 |
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BOOM! CROASTED.
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Go suck an egg. (Why?) |
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| <span style=island sun | Nov 14 2010, 01:09 AM Post #293 |
Dracotrix <3
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I hate dog movies. 
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| Jeff P3 | Nov 14 2010, 01:11 AM Post #294 |
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Unregistered
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Honestly, and this may be a cheap and easy response, but I'm not exactly sure why I dislike it. I don't hate it, it's definitely not one of the worst movies I've ever seen or anything, but I'm not really a fan. I just didn't get much out of it, which is probably why I don't have a specific reason to dislike it. I just do. Everyone has those movies where they didn't get much from it and, solely based on that, can't really recommend it to others. I totally forgot about Wendy and Lucy until it was mentioned in this thread. The funny part is, I'm pretty sure I saw this movie just last year, so it hasn't been too long since then. There are so many facts about the movie that evade me right now. I'm not necessarily discrediting the film itself or even saying it's bad. I'm fortunate enough to have done my research on movie critics, and I've discovered that when a critic writes a review, they aren't necessarily bashing/praising the film itself - they are bashing/praising their response to it, how they felt during/after watching it. The best a movie critic can do is share their opinion with the world. The reader's responsibility, on the other hand, is to learn what kind of movies that particular critic does enjoy, and how they respond, and then to match up their own opinions accordingly. View my opinion of Wendy and Lucy as just that - my personal opinion. It wasn't for me. I wouldn't personally recommend it to anyone. The best course of action, actually, is to read DGT's write-up about it and determine whether or not it is for you. And yes, I realize I sort of went off on a tangent here. That was the long answer. Short answer: I did not particularly enjoy Wendy and Lucy, and it's just one of the (very few) movies where I can't exactly describe why. |
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| Blueberry | Nov 14 2010, 01:17 AM Post #295 |
GOD of ORG GODS
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The ONLY movie I like from your list is The Passion of The Christ, I cried my eyes out during that movie.
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2012 PLACEMENTS 1. Emma Stone (5th) 2. Sash Lenahan (11th) 3. Samwell (7th) 4. Stacey Powell (23rd) 5. Rogue (10th) 6. Ed (4th) My horrible stats *CURRENTLY OBSESSED W/ Alfie Allen/Theon Greyjoy* | |
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| Jeff P3 | Nov 14 2010, 01:22 AM Post #296 |
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Unregistered
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And it's true - I actually do have a rough list of my top ten films of the last decade (2000-2009). It's very incomplete though. I remember writing it, wanting to revisit it, but never did. Still, there are a few movies on there I have yet to see mentioned in this thread, unless I somehow missed it. Though these movies may not even make my final list if I ever were to make it, I also consider them to be among the best of the last decade. The Aviator: More than previous performances, Leo DiCaprio proved with The Aviator why he will one day, awhile from now, be known as one of the greatest actors to grace the screen. Truly superb. Munich: Haven't seen this one in awhile, unfortunately, but it's a great one. I love that it quickly came after the underwhelming War of the Worlds, both by Spielberg, as he once again reminded us why his name and movies often coincide in the same sentence. Children of Men: I can't get enough of this one. I've seen it at least twice, maybe three times this year. In terms of directing and cinematography, it is top-notch, and the slightly futuristic world that was created within was a sight to behold. Juno: I've only seen it a couple times, but I love it. It's pretty funny, and more than that, it has a lot to relate to, and I don't mean in terms of teen pregnancy.  Black Hawk Down: Oh yes. I feel like this one is too often overlooked or forgotten because it was released in 2001, but definitely one of the better war movies of the last decade. Oh, and it deals with a war not in the Middle East, but in Africa, and director Ridley Scott certainly knows how to inject culture and location into anything he does. United 93: This one is a toughie. I saw it with two guys who didn't care for it, and may have been downright disgusted after seeing it. Not me. Though I understand the cries of "too soon", United 93 is one of the more emotionally gripping films released in quite some time. I promise that you aren't considered a dark and depressing person if you like this one. |
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| <span style=GnarlsOakley | Nov 14 2010, 01:48 AM Post #297 |
WWLVD?
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Wendy And Lucy<333 Michelle Williams performance is one of the most powerful things I have experienced in a film . It probably wouldn't make my top 10 of the decade solely for the old guy. I completely got lost in the experience watching this except for the few times he was on the screen,since he seemed more like stock charecter friendly old guy then a real person. |
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| <span style=recyclehumans | Nov 14 2010, 02:04 AM Post #298 |
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BOOM! CROASTED.
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It's not a dog movie. |
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| <span style=recyclehumans | Nov 14 2010, 02:06 AM Post #299 |
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BOOM! CROASTED.
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I can understand that. If you were to, say, bash Michelle Williams's performance, then I would have to fly to Raleigh just to break your spine. But you did not, so I can work with that. |
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| <span style=recyclehumans | Nov 14 2010, 02:21 AM Post #300 |
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BOOM! CROASTED.
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The parade of Honorable Mentions continues. THE WIND THAT SHAKES THE BARLEY  BOWLING FOR COLUMBINE  INGLOURIOUS BASTERDS  QUILLS  JUNO  MOULIN ROUGE!  BABEL  HOUSE OF FLYING DAGGERS  GOOD NIGHT AND GOOD LUCK.  THE DEPARTED  Hint for #5 -- it's from 2006. |
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