FAVORITE FILMS are my favorite viewings of last year.
A deliciously low-rent mashup of all the sci-fi heavy hitters that will periodically floor you with its special effects and audaciousness. Consider me signed the fuck up for anything directed by Albert Pyun (I've only seen Raven Hawk, not great or well known but I remember it had ton of flair). Nemesis is John Woo quality shit without the prestige. The gunfights are pyrotechnic masterworks, and it's full of the best kind of bad acting (except for Cary-Hiroyuki Tagawa, he's always great).
I'm titillated by the premise of Flatliners, or any premise revolving around the scientific exploration of unquantified supernatural phenomena, but they don't really do anything interesting with it. The rules of the afterlife aren't consistent, and the whole atonement angle is disappointingly dogmatic. Fortunately, it's an excellent ensemble, but what's even better than the ensemble is the production design by Eugenio Zanetti. Every single set in this movie is a fucking choice, and not one of those choices has any…
The phrase "you could never make this movie today" does not even begin to encapsulate the enormity of The Train. You could never make this movie in 1964.
Burt Lancaster walks across the train yard from the switch tower to his houseboat. The movie does not demand a flawlessly orchestrated background of shifting artillery vessels, marching soldiers, construction crews, smoke, and sparks. Anyone in their right mind would say, "Hey, can we not? Let's just have him entering the houseboat."…
Tender Mercies feels like an 8 hour movie reduced to its most poetic moments. There are worlds and events and lives surrounding it, but we're living on the fringe of it all. That's not to say there aren't pivotal dramatic events, but there's something about the expanse of sky, whistling wind, and passing cars that gives everything an ethereal feel. It's practically dreamlike. It reminds me of No Country for Old Men in many ways. Not just the land of…