| 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 (7,931 Views) | |
| <span style=ncassaro | Nov 27 2010, 04:07 AM Post #461 |
That was way harsh
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Ugh I'm trying to go to bed but no I completely disagree. The difference is that pundits like Glenn Beck are on a network that is part of a political machine that actively participates in political rallies, where what Keith Olbermann got suspended for is not even against the rules, where potential candidates in 2012 are actually on salary. The left wing pundits are not nearly as well funded or organized, and that is why they fail all the time. DGT I will not further thread jack you I apologize. |
| http://www.youtube.com/watch?v=TY0bHULptWQ | |
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| <span style=recyclehumans | Nov 27 2010, 04:19 AM Post #462 |
BOOM! CROASTED.
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I don't consider it a threadjack at all. It's topical. Please continue. 
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| <span style=GnarlsOakley | Nov 27 2010, 04:32 AM Post #463 |
WWLVD?
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The only difference between the people running MSNBC and FoxNews is Fox are a whole lot more efficient as a propoganda machine and their "news channel" is a lot more entertaining. Both are essentially mouthpieces for whatever talking points the 2 major parties are pushing. As for his suspension for a day or two or however long it was that seemed more like a clever publicity stunt. |
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| <span style=makcrabs | Nov 27 2010, 02:03 PM Post #464 |
...lol...
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DGT, I watched Fight Club on TV the other night for the first time through... despite knowing the plot twist at the end of the movie, I was in love with it. What is your opinion? |
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| <span style=FallenTorch | Nov 27 2010, 02:07 PM Post #465 |
Flip Flop McGee
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I LOVED Children of Men. So glad it made this list. |
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Paraguay - Amanda: 2/16 Vertigo 6 - Solid Snake: 1/14 WINNER Harry Potter II - Bellatrix: 12/16 (Quit) I Love BB Survivor - Mike: 4/18 Final Fantasy - Terra: 2/18 Samoa - Russell H: 10/20 Pixar - Marlin: 2/20 Nightclub 3 - Zookini: 2/18 HvV - Cirie: 11/20 CR's BvF - John K: 1/20 WINNER SSBB - Solid Snake: 3/36 Chaos BB - Danielle: 9/13 Vertigo 9 - Drake: 7/18 Breaking Sunny - Jesse: 1/20 WINNER Harry Potter III - Molly: 3/20 Versus - Solid Snake: 1/32 WINNER PG4 - Marie Antoinette: 1/13 WINNER | |
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| <span style=CatLurvesDorothy | Nov 27 2010, 02:55 PM Post #466 |
Hungry. ;_;
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Has "No Country for Old Men" shown up in the honourable mentions? I don't remember it so I have to theorize it's in the top two. |
Meow. Overall Statistics (that badly need an update) | |
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| <span style=midnight problay | Nov 27 2010, 03:09 PM Post #467 |
Disgruntled Vet
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Not sure about No Country (I think I remember seeing it but it might have been somebody else just mentioning it), but Mulholland Drive hasn't been included in the honorable mentions so I'm assuming that it's in the Top 2 unless DGT just despises it. |
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| <span style=recyclehumans | Nov 27 2010, 05:14 PM Post #468 |
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BOOM! CROASTED.
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Okay, I can excuse NO COUNTRY FOR OLD MEN being forgotten about since it was in the first set of Honorable Mentions I did. But MULHOLLAND DRIVE was included just a couple of days ago. :lol: |
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| <span style=Quiddity | Nov 27 2010, 05:37 PM Post #469 |
Ranking GOD!
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Aw, MD might be #1 overall if I was doing this ranking. 
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 My stats (Finally updated!) | |
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| <span style=midnight problay | Nov 27 2010, 06:04 PM Post #470 |
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Disgruntled Vet
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WAS IT? It was clearly robbed. Oh, now I see it in a post I clearly missed because I don't remember The Hours or Doubt or The Pianist either.
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| <span style=Rudy | Nov 27 2010, 06:05 PM Post #471 |
Sorry for being so awesome
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Never seen Mulholland Drive but I keep hearing good things about it. |
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| <span style=recyclehumans | Nov 27 2010, 06:48 PM Post #472 |
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BOOM! CROASTED.
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It's amazing. Watch it ASAP. |
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| <span style=Mister Plum | Nov 27 2010, 07:10 PM Post #473 |
SurviBoy
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The Dark Knight FTW or Adaptashen |
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| <span style=FallenTorch | Nov 27 2010, 09:35 PM Post #474 |
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Flip Flop McGee
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Has DGT had the movie Once in his honorable mentions yet? |
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Paraguay - Amanda: 2/16 Vertigo 6 - Solid Snake: 1/14 WINNER Harry Potter II - Bellatrix: 12/16 (Quit) I Love BB Survivor - Mike: 4/18 Final Fantasy - Terra: 2/18 Samoa - Russell H: 10/20 Pixar - Marlin: 2/20 Nightclub 3 - Zookini: 2/18 HvV - Cirie: 11/20 CR's BvF - John K: 1/20 WINNER SSBB - Solid Snake: 3/36 Chaos BB - Danielle: 9/13 Vertigo 9 - Drake: 7/18 Breaking Sunny - Jesse: 1/20 WINNER Harry Potter III - Molly: 3/20 Versus - Solid Snake: 1/32 WINNER PG4 - Marie Antoinette: 1/13 WINNER | |
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| <span style=recyclehumans | Nov 27 2010, 09:43 PM Post #475 |
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BOOM! CROASTED.
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He has.
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| Thailandsurvivor | Nov 28 2010, 05:06 AM Post #476 |
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Unregistered
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Zoolander hase nto appeared in honorbable mentions. Zoolander FWT! |
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| <span style=recyclehumans | Nov 29 2010, 06:03 AM Post #477 |
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BOOM! CROASTED.
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#2 is upon us. This one might be surprising to some. #2. UNITED 93  2006 written and directed by Paul Greengrass starring Christian Clemenson, David Alan Basche, Ben Sliney and James Fox For my generation, 9/11/2001 was another Kennedy assassination. Another Challenger explosion. Another death of FDR. The moment you learned of what was happening -- where you were, who you were with, how you learned, what you did after -- will forever be burned in your mind. For me, I learned what was happening just before the towers collapsed. I should've known earlier than that. In college, I always started my mornings with 6ABC (fuck Fox -- in Philly, I was a diehard Action News boy). Even if it was just for a few minutes as I rushed to get out the door because of a missed alarm, I'd have it on. I woke up that morning around 9am and was getting ready to head from 22nd and Spring Garden to main campus for a 10:10am class (coincidentally enough, it was Production of Media Culture). For the 30 minutes I was awake and about, I never touched my TV. If I had, I would've seen both towers and never left my room. But I hopped on the Temple shuttle to campus, was a little confused by the strange looks people had on their faces. And when I walked into the room in Annenberg Hall, I was even more confused when I heard the radio playing and saw everyone in my class frozen in their seats. I took my usual seat next to my longtime friend Jason, asked what was up, and I learned. And was dumbstruck. And minutes later, the second of the two towers collapsed. What terrified me wasn't even that the event was taking place. It was the sound of the anchor's voice on the radio. It chilled me in the same way that Cronkite chilled me in his announcement of Kennedy's death. Just his voice and the hesitation of his words as he said "President Kennedy… died… 1pm central standard time, 2pm eastern standard time. Some 38 minutes ago…". That's the kind of voice I heard from that radio anchor whose name I never learned. Needless to say, that class was cancelled, I didn't go to any other class that day, and Jason and I went back to my dorm and watched everything unfold. I watched Jason cry for the first and only time I've ever known him. My family was terrified me living close to Center City Philadelphia meant I was about to die, too. It was just so weird. Just… numb to the whole thing. I don't know why, but I still feel numb to it. The gravity of it all does not escape me at all. I think maybe (and it's my best idea about it) the fact that the scenario and its aftermath is so overwhelming, so global in scope that I emotionally don't know how to approach it. It's all just absorbed and processed.  The same can't be said when I look at what happened a single, contained event of that day. Of this new world we all live in that began that day. That's what UNITED 93 does. It is as verifiably close (at least, it was at the time it was made, before other documentation was made public) to a legitimate historical document as we will ever get in audio/visual form about what happened that day to that flight. Writer/director Paul Greengrass was meticulous with this film. He researched every passenger, every employee, every hijacker. He consulted with as many families of the United 93 passengers as he could that were willing to speak to him (thankfully, many did). He had many of the players in the real day's drama be on camera as themselves for the sake of authenticity (such as Ben Sliney, the FAA national operations manager on 9/11). Actors even met with the families of the passengers they were portraying so that both family and actor could bond and grow closer to not only what was put on camera, but the person they together were honoring. And this all shows. Any and all possible avenues to create a dramatization of the events are ignored for the sake of trying to create, with painstaking care, a document. And it's a document that is simultaneously almost unbearable to watch, and yet tragically beautiful and bluntly poetic. This is an elegy not only to lives lost, but to an innocence lost, and the film pays due respect to both. Played out almost in real time once we arrive at Newark Airport, the first thing we see in the film is prayer. The prayer of the hijackers in their hotel room. Asking Allah for his blessing to see through their mission for him. What's striking about them here, and throughout the film, is the stark realism shown: these men are not emotionless. They're not automatons. They're living, breathing human beings with families and lives. And they're about to commit murder on a grand scale. And it scares the shit out of them. And it's all shown with almost no words spoken. None really need to be. They all know what's about to happen. It's effective and potent. And to emphasize the ideological and emotional shift in the country about to take place, our first shot of the hijackers leaving their hotel room is of the roads as they're making their way to Newark. Two roads converge into one, but just for a moment, and then they redivide as the hijackers continue to drive, metaphorically being the wedge of separation.  Passengers arrive gradually to the airport. Sitting amongst the hijackers. We never once learn the names of any passengers. We don't need to, because it wouldn't happen for them. Tell me how often when you board a flight full of strangers that you end up knowing the name of more than, at most, one other person. Any other movie would require an individual or a small group of passengers to be the heroes, the ones with whom we identify the most. To do so here would be disingenuous and is wisely avoided. At the same time, we're introduced to the rest of the players in this day's drama -- the FAA command center, a military installation and multiple air traffic control centers. With rare exceptions, we won't learn the names of these people, either. There are no introductions to be had -- we are observing a world, a slice of time, and in slices of time, there is no room for hellos. There is only room for immediacy. So many traditions of modern filmmaking are disregarded to portray this concept effectively -- and goddamn, it's effective. Paul Greengrass is a director who is not fond of tripods or steadicams. His films are shot handheld, giving an in-the-moment active observer quality. While this technique is just fine for action pieces (see his two BOURNE films, for example), this is not an action film. While there are moments of tense action that take place, it's at its core an intimate drama on a large scale. Director of Photography Barry Ackroyd finds just the right angles and just the right tone to shoot tight spaces and overwhelming emotional suffering by using a technique suited for kinetic filmmaking. Complimenting the cinematography is first-rate film editing (justly nominated for an Academy Award), which in itself is a skill best complimented by saying it's a frenetically cut film and yet there is not one cut that ever feels out of place or unjustified. Much like John Powell's minimalist and riveting score. Everything is crafted to ensure nothing is intrusive. Theatrics are eschewed. Thank god for that. Please see WORLD TRADE CENTER for an example of how to not approach this subject matter. When United 93 is in the air, the hijackers waiting longer than they should be to begin their work, American 11 has hit the North Tower. Confusion hits the FAA and the military. Information comes in and some of it doesn't make sense. Info gets crossed and miscommunicated. Other flights aren't responding to air traffic hails. Transponders are off. United 175 crashes into the South Tower. The United States enters panic mode. Air defense of Washington, you would think, would happen immediately and with force. Nope. That would be efficient. Such is not the way of a country hit with a sudden, pulverizing attack.  By the time the United 93 pilots receive word from ground control that they should beware cockpit intrusion as hijackings are occurring and that the WTC has been struck by two planes, the United 93 hijackers have begun their grab for control. And very quickly, the pilots are killed and the plane is commandeered. Passengers rush to the back of the plane in a panic. They start to talk, share details. As covertly as possible (and later not so covertly), passengers begin to contact home and the authorities using air phones and cells. They learn of the WTC attack. The passengers realize their grim reality -- they're on a suicide mission. And they need to try to stop it, for not only the sake of whomever they're planning to attack, but for their own. These scenes are not written to be punchy and dramatic. They play out in a painfully honest fashion. Information isn't shared with ease. Everyone talks over everyone else. People whisper and can't hear. A game of telephone from front passenger to rear passenger takes over a good minute. Outright argument over what to try to use as weapons and what good it would do if there's no one to fly the plane after they've gotten control (note: there was a civil pilot amongst the passengers). No actor goes for their own standout moment -- this is a group. It's one that formed out of necessity, and it's one free of ego.  On the ground, there's something to be said when considering the bravery of real-life participants in this tragedy choosing to relive their horror for the sake of this film. Watching Ben Sliney's reaction to United 175 slamming into the South Tower is terribly haunting. Making it moreso is knowing that his face most likely looked exactly like that when seeing that same moment play out for real, in the midst of the crippling chaos surrounding him. I've always had great respect for those who have the wherewithal and courage to make hard calls and tough decisions when faced with an onslaught that would paralyze most ordinary people. This film shows us exactly who those people were on that day. Literally. Weapons have been gathered amongst the passengers. A rough plan has been figured out. Calls continue to be made to home to say goodbye. And all through this, there is prayer. Passengers praying to god over and over and over. Juxtaposed with those prayers… are the prayers of the hijackers. Everyone we see knows they're about to die. Some don't want to believe it, but still know it. Others are making peace with it. Others are still somehow hoping a miracle will happen. But there is prayer. From everyone. It's chilling. And yet oddly serene. There is an elegiac beauty to watching both the punishers and the punished reach beyond their sense of self moments before the plane crashes. The passengers charge the hijackers. Slowly, they make their way up the cockpit. The hijacker pilot knows they won't make their intended target (implied to be the U.S. Capitol). He attempts maneuvers to subdue the passengers, but it's no use. They begin to break down the cockpit door. The pilot knows that's it -- they've lost. He banks the plane for the ground as passengers make it into the cockpit. It's a final struggle to wrestle back control of the plane.  They fight even as the last thing we see is of the ground as we careen for it faster and faster. Until we hit it. And cut to black. So why THIS movie? This is a film with power that cannot be well described. Only experienced. UNITED 93 gives the world, but especially the families, the attempt at insight as to what happened that day on the one plane that couldn't make it to its target. It shows us what some people can be capable of in the face of so much horror. It gives us an uncompromising, and yet still loving and utterly respectful, window into a kind of tragedy that we as a country all faced, yet one that remained so mysterious and unknown. It provides a sort of closure that little else could. And the power of that -- and its impeccable quality, effectiveness and grace -- is undeniable. This film was not made too soon. To quote a family member of one of the ill-fated passengers, "it's never soon enough". I highly, highly recommend you listen to both of these score samples. SCORE SAMPLE: "The End" SCORE SAMPLE: "Dedication" |
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| Jeff P3 | Nov 29 2010, 12:22 PM Post #478 |
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Unregistered
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Another movie that would be in my top ten, or close to it. I highly approve and recommend it to those who haven't seen it. |
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| <span style=SurvivorFan GP | Nov 29 2010, 04:34 PM Post #479 |
Not the brightest crayon in the box
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This is such a powerful movie when I saw it in theatres, when it cuts to black and the movie is silent, I just heard a lot of sniffling. It carries such a huge wave of emotion. |
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| <span style=recyclehumans | Nov 29 2010, 06:00 PM Post #480 |
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BOOM! CROASTED.
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Before the #1 film of the past decade is posted, here is the last bunch of Honorable Mentions. If a film didn't make it into either list, it doesn't mean I didn't like it -- there simply are just too many films that find a way to be worthwhile for whatever reason. If everything could be included, life would be wonderful. ADAPTATION  THE CONSTANT GARDENER  DISTRICT 9  FROZEN RIVER  ROCKY BALBOA  TROPIC THUNDER  LETTERS FROM IWO JIMA  THE PRESTIGE  THE BOURNE ULTIMATUM  THE DARK KNIGHT 
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