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Roger Ebert's Top 10 of 2003

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Roger Ebert's Top 10 of 2003

Old 12-21-03, 02:00 PM
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Roger Ebert's Top 10 of 2003

http://www.suntimes.com/output/eb-fe...y-roger21.html


Top 10, plus special jury prizes, great docs and more

December 21, 2003

The best movies of 2003:

1. "Monster": The performance of the year, in the film of the year. Charlize Theron plays Aileen Wuornos, a prostitute who was executed in Florida for the murders of seven men. The film portrays her as a woman so damaged in early life, so beaten down by daily existence, that although her crimes are not forgivable, her actions are like the flailings of a wounded animal.

Theron, now 28, has been known until now as the tall, attractive star of mid-level entertainments like "The Italian Job" and "Men of Honor." Nothing in her career prepares us for this astonishing performance, in a film she developed with writer-director Patty Jenkins. She uses various strategies to look older, heavier, more weathered, but we simply forget to think about them because her character is real, convincing, and focused at every moment with a scary intensity.

Christina Ricci co-stars, as a naive young woman who becomes Aileen's lover and gives her for the first time the hope of leading a normal life. But both women are disconnected from reality, and their search for happiness leads to a serial killing spree in which the death of a well-meaning man played by Scott Wilson is unbearably painful. We are told to hate the sin but love the sinner, and "Monster" (opening Jan. 9 in Chicago) is a luminous work of empathy, showing us a woman whose destiny was already sealed as a battered child.

2. "Lost in Translation": Sofia Coppola wrote and directed this winsome, bittersweet film about two lonely people in the middle of the night in Tokyo. Bill Murray is a movie star in town to make commercials. Scarlett Johansson plays the new wife of a young photographer who is dazzled by his own success and drifting away from her. They meet in the hotel bar and begin a conversation that lasts several days. Ancient movie conventions lead us to suspect they will have an affair, but the movie is deeper and wiser than that -- and shows that, although the possibility of sex exists between them, their needs are much harder to fill: They need someone to talk with about lifetimes that seem to be drifting away from their dreams.

Murray gives his finest performance, carefully controlling his comic gift so that he plays a man who could be funny, but is off-duty. Johansson, who brings enormous reserves of presence and patience to the role, is also magical in another 2003 film, "Girl with a Pearl Earring," where again she plays a woman who is the focus of an artist's loneliness.

3. "American Splendor": When a Cleveland file clerk uses his mundane existence as the inspiration for a comic book, he achieves unlikely fame, a berth on the Letterman show, and a following that includes other wage slaves who find daily office life to be as filled with rage and excitement as any action picture. But how can a film about Harvey Pekar reconcile truth and fiction, comic art and daily reality? Co-directors Shari Springer Berman and Robert Pulcini meet the challenge by combining all of the elements.

Part of their film is in the form of an animated comic strip (based on drawings by R. Crumb). Part is a documentary showing the real Harvey Pekar, his wife Joyce Brabner and his co-workers. And part is a fiction film starring Paul Giamatti as Harvey and Hope Davis as Joyce. The real people and the actors are sometimes on screen together, creating an uncanny tension between life and performance. The movie is funny and brave, the story of heroism in the real life of an anti-hero who is in a bad mood most of the time, and who rejects an offer to host a talk show because he doesn't want to risk his civil service pension.

4. "Finding Nemo": I usually sit toward the back of the theater, but during Andrew Stanton's "Finding Nemo" I wanted to sit closer, to immerse myself in the underwater beauty of the film's graceful animation. The story is lots of fun (how in the world can a fish escape from an aquarium and get across the highway and back into the sea?), but the most distinctive accomplishment of the Pixar production is its visual artistry.

Water is often dealt with in animation as if it is simply transparent, except for bubbles. The artists of "Finding Nemo" have uncanny success in suggesting that their characters are actually swimming in the sea; carefully modulated color densities suggest actual less water between a character and the audience. The story is well-told, but the telling gains immensely from the visuals.

5. "Master and Commander: The Far Side of the World": Patrick O'Brian's characters inspire a grand and glorious spectacle in the tradition of the best seafaring epics. Russell Crowe, always convincing in a performance that sidesteps the obvious temptations to overact, plays the captain of a British warship contending with the French for control of South American waters. His best friend is the ship's surgeon, played by Paul Bettany, and their conflicting views about war and life provide a counterpoint to the action scenes.

Not simply a swashbuckler, although it has rousing sea battles, but an intelligent movie about men tested by the sea. Director Peter Weir mounts an impressive production, seamlessly combining real ships, models and tank work into a sobering portrait of how deadly and beautiful sea warfare was in the age of sail.

6. "Mystic River": Clint Eastwood's drama is a brooding exploration of ancient evils and their abiding cost. His film, based on Brian Helgeland's adaptation of Dennis Lehane's novel, shows us three friends for whom childhood is forever marred by a tragedy. Now, as adults, Sean Penn's daughter has been murdered, Tim Robbins is a possible suspect, and Kevin Bacon is the cop on the case.

This could have been a crime thriller or a police procedural, but Eastwood turns it toward almost Shakespearean tragedy, as each man's character plays out in his fate. Eastwood has directed some two dozen films, some good, some ordinary; in this one and "Unforgiven" he finds greatness.

7. "Owning Mahowny": Philip Seymour Hoffman's inward, focused performance is the key to this movie about a gambling obsession. He plays a Toronto bank clerk in hock to his bookie, who begins to steal money and eventually loses millions in Atlantic City and Vegas. The film, directed by Richard Kwietniowski and inspired by a true story, avoids the artificial highs and lows of many gambling movies and shows Hoffman burrowing straight ahead, his eyes rarely lifted from the action, as if under a hypnotic spell.

John Hurt is splendid as the casino boss who thought he knew all about compulsive gambling, but becomes fascinated by this man's overwhelming need to play -- and lose.

8. "The Son": Not a film many readers are likely to have heard about, but Jean-Pierre and Luc Dardenne's "Le Fils" cannot be forgotten by anyone who saw it. "It needs no insight or explanation," I wrote in my original review. "It sees everything and explains all. It is as assured and flawless a telling of sadness and joy as I have ever seen."

Directed by the brothers Dardenne, Jean-Pierre and Luc, it tells of a Belgian carpenter who supervises apprentices. One day a candidate is brought to him. At first he rejects the boy, but then he reconsiders and accepts him, and we discover something that the carpenter knows about the boy -- a secret that leads to scenes where sudden violence seems barely beneath the surface. All the action is in terms of the carpentry work, and there is a sequence in a lumber yard that uses sound and timing to make sudden physical disaster seem imminent.

9. "Whale Rider": What a splendid film for the entire family! Keisha Castle-Hughes stars in a sparkling performance as Paikea, a teenager who would be next in line to lead her tribe -- if she were not a girl. Niki Caro's film is set in a present-day Maori village in New Zealand, where legends are still preserved. Paikea's father has no wish to lead the tribe after a tragedy, and leaves the country. Her grandfather loves her, but is locked into ancient traditions. As he tries to train one of the hapless village boys, Paikea studies on her own, and the climax is thrilling and heart-warming. This year's "Bend It Like Beckham."

10. "In America": Inspired by Irish director Jim Sheridan's own immigration to America in the 1980s, it tells the story of a family that lives in poverty in a New York tenement and struggles to survive after the loss of a son. Paddy Considine plays the sometimes despairing father, Samantha Morton is heroic as the mother, Sarah Bolger steals the show as the older sister -- and downstairs, a fearsome African artist (Djimon Hounsou) reveals a hidden gentleness. I've seen a lot of movies about the immigrant experience, but this one lives outside the rules, absorbing us in the family's struggle to survive.


Special Jury Prizes



At most film festivals, the jury picks a grand prize, and then awards a "jury prize" to a film they hold in the same high esteem. The following films are not my "runners-up," but rank in my esteem with the Top 10. It was a very good year for the movies, and a perfectly respectable Best Films list could be composed from these titles, ranked alphabetically:

"All the Real Girls" is David Gordon Green's second film after the astonishing "George Washington," and confirms his status as a filmmaker of poetic originality. Once again he eavesdrops on the lives or ordinary people doing ordinary things -- not in an ordinary way, but expressed through a heightened and gentle sensibility.

"The Barbarian Invasions," by Denys Arcand of Quebec, revisits the characters in his "Decline of the American Empire" (1986). Now the Falstaffian left-wing professor Remy (Remy Girard) lies near death, and his former wife and estranged son are the unlikely instruments for a reunion of old friends and old (and current!) lovers, who celebrate his zest for life, and their own.

"Better Luck Tomorrow," Justin Lin's comedy of manners considers a group of affluent Asian-American kids in high school, who get straight As and supplement their incomes by selling term papers and eventually escalating to drugs and murder. The film is about a value system that places success above morality. Lurking beneath the close surface observation is the implication that their behavior and strategies have perfectly positioned them to take over from the fallen leaders of Enronism.

In "Elephant," Gus Van Sant considers a day in the life of a high school very much like Columbine, using an objective narrative and visual style that records the horror of a massacre but doesn't let us off the hook with potted psychological motivations. The killers are so detached they seem to be playing a video game -- one that counts points in terms of real lives for which they have no feeling.

"Girl With a Pearl Earring" is Peter Webber's sensuous meditation on artistic inspiration, starring Scarlett Johansson in the second of her great performances this year, as a poor girl who is employed as a maid in the home of the 17th century Dutch master Johannes Vermeer (Colin Firth) and not only inspires a famous painting but also makes an unmistakable artistic and emotional connection with him -- which the rigid social code of the time prevents them from acknowledging.

In "House of Sand and Fog," a young woman (Jennifer Connelly) fails to pay the real estate taxes on the home she inherited, and an Iranian immigrant (Ben Kingsley) buys it at auction. Both are poor, both need the house, both see it as the key to their futures. The deputy (Ron Eldard) who evicts the woman becomes involved with her, and his lack of judgment has tragic consequences. Directed by Vadim Perelman, himself an immigrant, from the novel by Andre Dubus II.

"Kill Bill: Vol. 1" is Quentin Tarantino in virtuoso mode, giving us a martial-arts picture that is heavy on storytelling, light on story. The film is all kinetic energy, visual conceit, production design, and performances focused to a razor's edge but with only the most rudimentary motivation or character development. It is a tribute to Uma Thurman and the other cast members that they are able to bring presence and substance to characters who have been written with rubber stamps.

"The Man on the Train" is another delight from the French director Patrice Leconte, who begins with an accidental meeting between a retired schoolteacher (Jean Rochefort) and an aging bank robber (played by the French rock legend Johnny Hallyday). Their chance conversation ends with the robber agreeing to use the teacher's guest room, and as their talks continue, it becomes clear that each envies the life of the other. Leconte and writer Claude Klotz have devised an ending of bold poetic fantasy.

"Matchstick Men" is Ridley Scott's complex portrait of a con man (Nicolas Cage) who inhabits three story threads, all adequate to carry a film: (1) He's involved in complicated cons with his longtime partner (Sam Rockwell); (2) He has a smorgasbord assortment of behavioral disorders, ranging from agoraphobia to obsessive-compulsive behavior to Tourette's Syndrome, that make it very hard to be as coordinated con man; (3) He meets the teenage daughter (Alison Lohman) he never knew he had. The epilogue strikes a perfect note, explaining who the characters are and, in a way, why.

Director Lucky McKee's "May" was hated by a lot of critics, but, yes, I think it's good enough for this list. It's a truly strange horror film about a disturbed young woman and the way that her obsessions lead to tragic weirdness. Oddly moving, with a title performance by Angela Bettis that stirs and touches like young Sissy Spacek in "Carrie."

In "Northfork," the spare, stark, dreamy fantasy centers on a town being flooded by the waters of a dam. As men in black evict the residents, angels visit to comfort a dying boy, and enigmatic conversations take place against a backdrop of vast empty sadness. Made by the Polish brothers ("Twin Falls, Idaho"), who create an epic whose scope underlines its desolation.

For "Nowhere in Africa," Caroline Link won the Oscar for best foreign film for this engaging story of a German Jewish family that escapes Hitler to settle on a farm on East Africa, where the young daughter feels at home while her parents make their own shifting accommodations.

"The Russian Ark," a stupendous technical achievement by Aleksandr Sokurov and his cinematographer, Tilman Buttner, who choreograph a single shot that lasts for the entire length of the film, as the point of view moves through the Hermitage museum in St. Petersburg and characters materialize to represent centuries of Russian history.

"Safe Conduct" is Bertrand Tavernier's ambitious, passionate story about French filmmakers who continued to work under the Nazi occupation, and to a remarkable degree made the films they wanted to make. A film about film, made with insight and sympathy.


Best documentaries



"Amandla!" is a stirring doc about the role played by music in bringing change to South Africa.

"Biggie and Tupac," directed by one-man investigative team Nick Broomfield, solves their murders and names their killers, at least to his own satisfaction.

Andrew Jarecki's "Capturing the Friedmans"uses the family's own home movies to help tell the story of a father and brother both charged with molesting minors.

"The Fog of War," which opens Jan. 23 at the Music Box in Chicago, is Errol Morris' extraordinary interview with Robert McNamara, who speaks frankly and often regretfully about his role as an American soldier and later Secretary of Defense.

"Rivers and Tides" is the haunting doc about Andy Goldsworthy, an artist who creates temporary works out of found objects in nature, and then watches as nature destroys them.

"Spellbound" followed eight young finalists on their way to a showdown in the National Spelling Bee.

"Stevie" is Steve ("Hoop Dreams") James' heartbreaking return to the life of a kid he met in the Big Brother program; that life has not gone well.

"The Stone Reader," by Mark Moskowitz, traces his obsession with the author of a highly praised 1972 novel, The Stones of Summer. He succeeds in tracking down the author, Dow Mossman, in a delightful work in praise of readers and writers.

"Tupac: Resurrection" is a biopic about Tupac Shakur, seemingly narrated from beyond the grave by the murdered rap star.

"Winged Migration" follows birds on their exhausting odysseys from summer to winter, with cameras that establish a startling intimacy with the subjects.


Honorary Mention



To Jack Angstreich, Eric Chadbourne, Harvey Schwartz, Roberta Hill and Bill Heidbreder. Who are they? The compulsive moviegoers in the documentary "Cinemania," who spend every waking minute of every day going to the movies. It is very likely all five of them have seen every title on my lists.
Old 12-21-03, 02:31 PM
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Whale Rider

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Old 12-21-03, 02:52 PM
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Monster - now that's an interesting pick. Sometimes I agree with Ebert's picks ("Almost Famous" leaps to mind), sometimes I have a fine movie pointed out by them ("Dark City" was one I hadn't even heard of until he made it his surprise #1 of 1998). "Monster" I haven't even really heard any reviwes of yet. Interesting.
Old 12-21-03, 03:01 PM
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It's interesting that neither "The Last Samurai" or "Cold Mountain" got on the list even as an honorable mention. But, then again, Ebert loved ROTK and it's not on there either.

And it's interesting that "Girl With A Pearl Earring" got on there as an honorable mention. It was an okay movie. But I wouldn't put it near the year's best. I think Ebert has a thing for young girls.

And since "Monster" doesn't actually get wide release until 2004 why does he count it for 2003? Unless, he's going by the Oscar season.

Ebert, thanks for picking a movie that we can't see yet. :/
Old 12-21-03, 03:05 PM
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About 5-10 years ago I really use to think Ebert was one of the best critics out there, but over the years the guy is so out of touch his reviews are just comical now. I can't help but feel Monster is only his #1 pick b/c it's like the Oscars, the movie came out now so it's fresh in his memory ( Isaw it this weekend, it's a damn fine movie but not #1 & it is released in small theaters now, so it IS a 2003 movie). Master & Commander, Mystic River, Nemo so high are ridiculous to me. Pirates of the Carribean should be on EVERYONES top 10 list & I'm not even saying it's one of my favorites of the year. Nobody thought the movie would do what it did, it's best on a amusement part ride. The cast is brilliant, the score, the special effects are all flawless & it's a movie that nearly everyone can enjoy. Kill Bill was also just amazing film making. It really just embraces everything the medium of film is about. I've seen every film on his list except "In America", I think there are a lot of politcs behind Ebert's top ten this year.
Old 12-21-03, 03:08 PM
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Originally posted by jarofclay73
And since "Monster" doesn't actually get wide release until 2004 why does he count it for 2003? Unless, he's going by the Oscar season.

Ebert, thanks for picking a movie that we can't see yet. :/
"Monster" is playing in some cities right now, so it is, in fact, a 2003 release. If it isn't playing in your city, blame the studio's tiered release plan, not Ebert. This is nothing new.
Old 12-21-03, 05:12 PM
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I've always liked Roger Ebert but it seems like every time you're hearing something bad about a movie or anything etc., and then you go to the Suntimes website and he always has at least
3 stars for it.

Does the man like 4 out of every 5 movies he sees?

??$&^%
Old 12-21-03, 05:41 PM
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Originally posted by Sessa17
Pirates of the Carribean should be on EVERYONES top 10 list & I'm not even saying it's one of my favorites of the year. Nobody thought the movie would do what it did, it's best on a amusement part ride. The cast is brilliant, the score, the special effects are all flawless & it's a movie that nearly everyone can enjoy.
I'm sorry but while I thought POTC was entertaining it was also lethargic at points and about half an hour too long. I also hated the generic soundtrack.
Old 12-21-03, 06:01 PM
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I'm going to say this. Some might not agree with me, some might, but I think Roger Ebert has the best top ten list out of most critics out there. I usually agree with his choices on what he puts on his top ten or the "special jury awards." While I might not agree with what rank he puts them in, he does usually pick the best of the best (imo).

Then again, I just might have some favorism for the fact he had Dark City and Almost Famous as his #1 film in 1998 and 2000.

Pirates of the Carribean should be on EVERYONES top 10 list & I'm not even saying it's one of my favorites of the year.
If it wasn't for Johnny Depp's preformance, the film would've sucked and the film would've failed miserably in the box office. POTC is an "okay" popcorn movie brought up by Johnny Depp's fantastic preformance. If there was no Johnny Depp, there would've been no POTC.
Old 12-21-03, 06:24 PM
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I honestly can't believe he put ROTK off the top-ten list. What a jerk. That movie is easily one of the best of the last five years.
Old 12-21-03, 06:32 PM
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If there was no Johnny Depp, there would've been no POTC.
The film was a huge box office success, and got great critical reviews. It was a very good, entertaining film. It was more than just Johnny Depp, who was fantastic in it. But to say there would be no POTC without Depp is just ridiculous. The guy has never even been a big draw at the box office.

I honestly can't believe he put ROTK off the top-ten list. What a jerk. That movie is easily one of the best of the last five years.
Give it a rest! Not everyone worships LOTR as the greatest thing since sliced bread. I guess fanboys of all franchises are alike.
Old 12-21-03, 06:45 PM
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Opinons are like ar*seholes, everyone has one!

Roger's is no more or less important than anyone elses

movies are about individual tastes, nothing more
Old 12-21-03, 06:47 PM
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Pirates of the Carribean should be on EVERYONES top 10 list & I'm not even saying it's one of my favorites of the year.
I wouldn't even put it in my Top 25. Sure it was extremely popular and successful, but so were Boy Bands.
I honestly can't believe he put ROTK off the top-ten list. What a jerk. That movie is easily one of the best of the last five years.
Grow up; I can understand a difference in opinion but to opine that a critic should simply worship a film because everybody else does is a fairly fallacious line of thinking. And he did give it ***1/2 out of ****, which is an extremely high rating.
Old 12-21-03, 07:09 PM
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Thanks scroll2b! ROTK wouldn't be anywhere near my top 10 of the year. But, you don't have to call me a jerk.
Old 12-21-03, 07:47 PM
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Originally posted by Matt Millheiser
I wouldn't even put it in my Top 25. Sure it was extremely popular and successful, but so were Boy Bands.
Bad boys was popular & successful for it's target audience. Really not much more than that & was hyped to hell. POTC, was largely though of as a big risk by critics, movie insiders, & fans all panning it as a movie based on a ride before it was released. It has to BRILLIANT performances by Depp & Rush, extremely well written dialogue & a pretty good story on top of that, flawless special effects & in a year with movies ruined with excess coputer effects, they were very restrained in POTC, it was beautifully shot, & had very well done, complex, & choerographed fights. It has, loads of action, comedy, adventure, & some loving for the ladies. IT appeals to all audiences, how is this not oneof the 10 best of the year. I'm not saying it's even on of my 10 favorites, but 10 "best", I just don't see how it's not. And if it's not even in your top 25, than what 25 movies would you say are BETTER done, not that you liked more that POTC.
Old 12-21-03, 07:51 PM
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Glad to see Master & Commander making his top 10.
Old 12-21-03, 08:22 PM
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Originally posted by Sessa17
Bad boys was popular & successful for it's target audience.
He said Boy Bands .. not Bad Boys.
Old 12-21-03, 08:27 PM
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I agree with some of his choices I haven't seen too many of the films mentioned. As for Pirates, I still can't figure out why everyone loves it I guess everyone was expecting total crap out of a movie based on a disney ride and it turned out on to be just regular crap. I'd give props to Kill Bill as #1 movie of the year along with Master & Commander and ROTK tieing for #2.
Old 12-21-03, 08:45 PM
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Originally posted by Sessa17
Pirates of the Carribean should be on EVERYONES top 10 list
No way.
Old 12-21-03, 09:26 PM
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Originally posted by Sessa17
Bad boys was popular & successful for it's target audience. Really not much more than that & was hyped to hell. POTC, was largely though of as a big risk by critics, movie insiders, & fans all panning it as a movie based on a ride before it was released. It has to BRILLIANT performances by Depp & Rush, extremely well written dialogue & a pretty good story on top of that, flawless special effects & in a year with movies ruined with excess coputer effects, they were very restrained in POTC, it was beautifully shot, & had very well done, complex, & choerographed fights. It has, loads of action, comedy, adventure, & some loving for the ladies. IT appeals to all audiences, how is this not oneof the 10 best of the year. I'm not saying it's even on of my 10 favorites, but 10 "best", I just don't see how it's not. And if it's not even in your top 25, than what 25 movies would you say are BETTER done, not that you liked more that POTC.
As previously mentioned, I was talking about "Boy Bands", not "Bad Boys", although listening to 2 hrs of Boy Bands might be a lesser punishment than watching Bad Boys 2...

I'm not saying POTC is a bad movie. I enjoyed it. It was good. I found it overlong and strangely paced, but overall it was a decent summer movie. Depp was cool, as was Rush, but Keira and Orlando were paradigm's of blandness.

What would I say is better? Easily (in random order):
[list=1][*]Russian Ark[*]Finding Nemo[*]A Mighty Wind[*]The Last Samurai[*]Kill Bill[*]Secondhand Lions[*]X2[*]Master and Commander: Me Like Boats[*]Intolerable Cruelty[*]Whale Rider[*]Elephant[*]The Cooler[*]Identity[*]21 Grams[*]Terminator 3[*]Mystic River[*]Matrix Reloaded[*]Matrix Revolutions[*]Matchstick Men[*]Hable con Ella (technically a 2002 film, but it didn't get round these parts until well into 2003)[*]Hero (Similar, and only through a Region 0 import -- thanks Harvey. )[*]Lost In Translation (overpraised, but still quite good)[*]LOTR: ROTK[*]American Splendor[*]Down With Love [/list=1]
Old 12-21-03, 09:52 PM
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Originally posted by Sessa17
Bad boys was popular & successful for it's target audience. Really not much more than that & was hyped to hell. POTC, was largely though of as a big risk by critics, movie insiders, & fans all panning it as a movie based on a ride before it was released. It has to BRILLIANT performances by Depp & Rush, extremely well written dialogue & a pretty good story on top of that, flawless special effects & in a year with movies ruined with excess coputer effects, they were very restrained in POTC, it was beautifully shot, & had very well done, complex, & choerographed fights. It has, loads of action, comedy, adventure, & some loving for the ladies. IT appeals to all audiences, how is this not oneof the 10 best of the year. I'm not saying it's even on of my 10 favorites, but 10 "best", I just don't see how it's not. And if it's not even in your top 25, than what 25 movies would you say are BETTER done, not that you liked more that POTC.
It seems like you want POTC ranked high because it exceeded expectations and was well liked. Neither has anything to do with how good a movie is though. My Big Fat Greek Wedding was well liked and exceeded expectations, but few would call it a Top 10 movie for the year.
Old 12-21-03, 11:42 PM
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I watched the Ebert & Roeper show when Ebert was gushing about "Monster", where he said his attention was totally glued to the screen by what he was seeing in the principal performances by Charlize and Christina. I think he also is rooting for Charlize to get a Best Actress nomination for her work in "Monster".

Ebert wasn't all that hot on "Cold Mountain" in his review of it on the show (which explains why it's nowhere near his Top 10 list).
Old 12-22-03, 01:09 AM
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MrN
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I half expected a fat joke this far down in this thread. Maybe 'tis the Christmas season?

Anyway, Ebert further raises my expectations of Monster. Some of his other choices are too sentimental for my tastes but I'm glad he remembers a couple of films that have seemingly faded in most memories.
Old 12-22-03, 01:30 AM
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hehehe, darn, i was about to put one, but yeah, merry christmas!
Old 12-22-03, 01:41 AM
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Hey, in my eyes, Bad Boys II is a better film than POTC. Then again, I'd pay $5 to see Michael Bay film paint dry, cause damn, that would be exciting.

I do agree that all of the 25 films Matt pointed out were a lot better than POTC. I'd also have to give a mention to the film Camp being a better movie than POTC, then again I saw Camp four times during it's (brief) theatrical release here in Vegas.

My Big Fat Greek Wedding was well liked and exceeded expectations, but few would call it a Top 10 movie for the year.
My Big Fat Greek Wedding only made $200 million because women with no taste and old people went out in droves to go see it. It was a 90 minute sitcom on the big screen! If they ever make Everybody Loves Raymond: The Major Motion Picture, it has a chance of being the highest grossing film in America!

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