Decade in Review: 2000 Top Ten

What follows is my original top ten list of 2000... or rather the revised version I published in 2002. Let's discuss each year of this decade as it winds down! Who's with me?!? It's always interesting to see which films remained at the forefront of our memory and which fade... both for a variety of reasons, quality being only one factor. New comments are in red.

Please note: This list was based on NYC release dates in the year 2000. Some movies are listed as different years at the IMDB based on when they were released in their home country or in LA or whatnot.




Runners Up (in descending order): Une Liaisons Pornographique, Nurse Betty, You Can Count On Me, Before Night Falls, Pola X, Chicken Run, American Psycho, Wonder Boys and Billy Elliott Um... WHAT THE HELL are some of these movies doing outside the top ten list? You Can Count on Me is still so lovely to think about. Particularly Laura Linney's gleeful waving to brother Mark Ruffalo and that beautifully coaxed ending, bless. Of these nine pictures, I think of American Psycho (originally #17!?) most -- see previous posts -- and then probably Pola X which I know a lot of people hate.


P.S. Those people are cuckoo!


10 Jesus Son
Allison MacLean's stark and arresting drug drama is laced with surprising (but occassionally off putting) comedy and blessed with two astonishing, enigmatic performances by Samantha Morton and Billy Crudup. Filled with memorable imagery it feels optimistic in such a realistic way that it should be required viewing in rehab.

I've rarely thought of this movie since but one image, Samantha Morton shimmying towards her man, remains particularly vivid. Morton is such an electric actor and she's never lost that alien watchability, even as her face has grown familiar.

09 Urbania
Full review here. Jon Shear's directorial debut (an adaptation of Daniel Reitz' stage play) is an exhilarating and unexpected ride through urban anxiety and grief. It's stunning. And though I'll cop to perhaps a little trouble being objective about it (it hit close to home), I'm betting that this overlooked film will grow in stature.
I probably overestimated this one at the time, which on a revisit a few years later felt too stagebound to totally work as cinema but I still wish more people would have seen / do see it. Dan Futterman is strong in the lead role.

08 Bring It On
Full review here. A dozen reasons to love Bring It On: 1. The best teen comedy in at least five years. 2. Hugely enjoyable, a great popcorn film. 3. Elisha Dushku's va va voom (for all of you Buffy the Vampire Slayer fans) -"Missy is the poo. So take a whiff!" 4. The toothbrush scene 5. Allows itself important themes (racism, sexual orientation, appropriation versus theft) without once feeling like a downer or casting the themes aside. 6. Spirit fingers. 7. "Cheerleaders are dancers who have gone retarded!" 8. "Brrrrr....it's cold in here." 9. Torrance plays the cassette. 10. A sports movies that's actually a good sport. 11. A gay man that's hotter than the straight men? Now, there's something you don't see too often in the homophobia ridden world of cinema. 12. Kirsten Dunst in top comic form, what more do you need?

07 Idioterne
Lars Von Trier's much maligned first and only "official" Dogme 95 film, The Idiots, is an in your face marvel. This Danish madman splits cinephiles in love and loathe camps. I'm firmly in the love category. His genius is clearly visible but only for those who have eyes to see...

Before Antichrist arrived to give me pause, I would have called this movie the definitive von Trier. It's so tellingly of him: the humor, the aesthetic, the not-entirely-serious self regard. I still think it's one of his best and most successfully provocative pictures

06 The House of Mirth
Gillian Anderson's coming out ball. While I wouldn't go so far as to say it was "the best performance in any category all year" as I've read in at least one review... she was up to the challenge of Lily Bart. But hey, I knew she transferred. She already proved that with Playing by Heart. And leaving Anderson aside for a moment, it's an exceedingly intelligent and gorgeous adaptation from Terence Davies which is sure to garner at least a few deserved technical nods at the Oscars. God bless Terence Davies for not having Joanne Woodward READ the whole freaking story to us as we watched (Are you listening Scorsese?)

I compared it unfavorably to The Age of Innocence? While I do very much hate overbearing voiceovers, there's a lot to recommend in both films. Why was I mad at Scorsese in 2000? Hmmm, what came out then? I haven't thought of Mirth in years and years and I am surprised to see it in my top ten list. It's amusing how I entirely misread its Oscar chances (nomination total: zero) but it's sad that Gillian Anderson's film career never really panned out.

05 Erin Brockovich
At its core it's a brassy superbly wrought star vehicle with Julia Roberts at her all time best. With Soderbergh's auteurial skills in full bloom however, it's elevated to a whole other realm of humanity. Sharp, funny, focused, and auteurial ...and for my money stronger than Soderbergh's other more highly praised 2000 endeavor. At any rate it's easily the best pure "Hollywood" film of the year.

04 Beau Travail
Claire Denis contemplative masterwork of masculine rituals and hierarchy.

Then and now I seem to be at a loss for words but oh, how that movie lingers. Greatness. Haven't seen it in years, though and it's obviously one that needs multiple viewings to fully appreciate.

03 Requiem For a Dream
Darren Aronofsky's astoundingly cinematic second film is not easy to sit through, but the rewards are great. Ellen Burstyn is miraculous as an unravelling diet pill addict. Jennifer Connelly and Jared Leto are heartbreaking as the foolish young lovers who throw their lives away but the film's ultimate power comes courtesy of Aronofsky's vision. Making as bold a statement as you can make about what the cinema can and should do, he discards any narrative device other than imagery. The further I get away from the film the more it's looking like a masterpiece.


02 Crouching Tiger Hidden Dragon
Ang Lee & James Schamus's delightful one off homage to a favorite genre. The modern feminist kung fu genre pic is fused with an old fashioned romantic period piece by a superb cast, haunting gorgeous cinematography by Peter Pau, and Ang Lee's own seemingly infallible directorial instincts. Whichever culture or characters he fixes his versatile lens on, he gets straight to the heart of the matter. Ang Lee tops his own impressive roster of films (Sense & Sensibility, The Ice Storm, & The Wedding Banquet among them) and makes what could only be called magic. This movie will restore your faith in the cinema. No joke. It's that wondrous.

01 Dancer in the Dark
Full review here. Lars von Trier. Björk. Catherine Deneuve. "Love it. Hate it. See It." Overwhelming, visionary, absolute genius... I'm tempted to call it best of the decade and there's nine years left to go.

I sure went hyperbolic on my bronze, silver and gold medalists there. It's a good thing all three pictures hold up. Though I suppose it's worth noting that Requiem for a Dream which I labelled 'not easy to sit through' is the one I've sat through the most on this entire top ten list in the intervening years... even more than Bring It On. What a double feature that is, eh?



What are your favorite pictures from 2000?
Which that you used to love are you surprised that you let go? Which have changed the most for you over the years? Which do you think I should revisit.

Katey and Nathaniel Talk Antichrist

Katey moved far far away

She didn't leave New York exactly but I'm being dramatic about it because we used to live mere blocks away. She's too far away. Getting together has been more difficult so we're experimenting this week with a remote discussion of Antichrist. I was not alone in my difficulty connecting with it... though we both recommend in that 'we're film fanatics and you have to see certain films' kind of way.



It was good to chat movies with Katey again. Have you seen this particular controversy magnet yet, now that it's in theaters and VOD?
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A Couple of Notes on ANTICHRIST

I had intended to open this post with an image of Lars von Trier's head almost floating in the space of a giant gray screen. It was a real image that I had snapped from my camera while attending the Skyped press conference at the NYFF weeks ago (von Trier, as you know, doesn't fly so cross-Atlantic festival appearances are out of the question). While Von Trier gazed down impishly at the crowd from the screen that had just shown his latest firebomb Antichrist, my thoughts jumped to Shosanna's "Giant Face" in Tarantino's Inglourious Basterds. It wouldn't have surprised me at all to find that the doors had been locked and von Trier was planning to burn down the theater. Figuratively! Though Lars is kind of a sick puppy, he's more of a prankster than a true nihilist.

...I lost that image and also lost my notes. Very ill the day of the screening, you see. Also missed random minutes of the movie thrice. Thus, no proper review and an indecisive grade. Maybe those of you who brave it this weekend can help me decide what to make of it.

"Eden" production design by Karl Júlíusson, art direction by Tim Pannen
and cinematography by Anthony Dod Mantle

In the movie Charlotte Gainsbourg as She and Willem Dafoe as He play doctor both figuratively and connotatively after the death of their only children. That is to say: He's a psychiatrist who decides to treat his own wife (taboo), they fuck (a lot), they fuck each other up even more (mentally at first but then...). "She" and "He" do all of this in a place called "Eden". Von Trier's giant face mentioned the title of this country home and shook his head at the heavy handedness. "Yeah, sorry about that" He told the crowd unprompted.

At some point in the press conference he asked if anyone had walked out of his movie, and seemed delighted when someone yelled out that they did in fact see someone leave. People, especially jaded critics, like the idea of people fleeing a movie. I like it too. It helps us feel superior to people who can't handle audacious cinema. But, um, that was me. I was just going to the bathroom. Thrice (didn't return to the same seat). It's not like I'd walk out of a von Trier picture. I love that Mad Dane.

Antichrist has a few of terrific moments, some decidedly vile ones and several arresting images. And, yes, those categories overlap as the couple descends further into violence (that already infamous scissor poster is not the half of it), psychotic breaks and demonic hallucinations in Eden, nature being "the church of satan" according to She. But in the end this psycho-horror film felt -- to sick me remember (I'm willing to try again) -- like a 45 minute story that kept repeating itself as the director dragged his actors sadistically through their grotesque marks. The praise for the twin performances seems excessive. Dafoe and Gainsbourg bravely render He and She, sure, but these aren't characters so much as blue puppets for the auteur. Not that every film needs full characterisations (this one didn't).


I suspect that von Trier is having a chuckle at all the “masterpiece” talk since the film often feels like an increasingly sick comic conversation he’s having with himself. The topic is his own perceived misogyny, recent confessed depression and general cinematic nihilism. Antichrist plays like a movie about von Trier for von Trier starring von Trier. Perhaps that's why my very favorite moment came first. I loved the loudly scored cut from the title card "LARS VON TRIER" to the title card "ANTICHRIST", both hand-scrawled in bold colorful colors. I'm not sure if the former is the latter, owns the latter or merely feels a special kinship but it was hilariously juxtaposed all the same.

update: Katey and I talk about the movie

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for previous takes on Antichrist (everyone will have an opinion and some guests have already weighed in) just click the label below

Would You Rather...?

A) Watch Annette Bening murder her children?
B) Watch Charlotte Gainsbourg mutilate herself and possibly Willem Dafoe while grieving her dead child?

It's a cheery choice for this Wednesday morning. Good morning!

Sadly option A, which is like the only thing I've been thinking about, is not open to me. Annette Bening playing baby-killing Medea (just the thought of it makes me all tingly... er... The Bening in a juicy ancient tragedy not the killing part, obvs) is only available on stage in California. Go West East Mrs. Beatty, Go East! So this morning I'm doing option B at the New York Film Festival press screening of Von Trier's latest provocation / prank (?) Antichrist.

This is probably not the best first day out plan whilst recovering from the worst flu ever, but it will have to do.

What's your day looking like and which options await you?

5 From 'Txt Critic' at TIFF: Antichrist, Jennifer's Body, Creation, The Trotsky and The Informant!

My texting friend who you've heard from a few times, exiting screenings with sudden opinions flying from his fingertips, just got back from Toronto. Yes, everyone was there but you and I. Txt Critic was only there half the time but saw as many films as I did last time and I stayed for the whole damn thing. They must have kept his eyes open with toothpicks like something out of A Clockwork Orange, only more voluntary-like. Here's part 1 of his capsule takes...

on Antichrist

This is the rare case where I think having the entire film spoiled for me prior to seeing it was actually a good thing. Ever since Cannes, I’d heard explicit reports -- ad nauseam -- of all the “shocking” content, and aghast reactions, on behalf of Lars Von Trier’s latest. It's about a couple’s ... let’s say ‘unconventional’... response to the death of their toddler. While it’s not generally a good thing to have prominent sequences described to you before you see a film, here, having heard all the descriptions of [semi spoilers ahead] scenes involving self-inflicted mutilation, scissors, talking animals, etc. [/end spoilers] allowed me to look beyond the artifice and see the film for its emotional content, and Von Trier’s warped, fascinating ideas. Whether you’ve been spoiled or not, it’s a film that only gets richer upon repeat viewings, and gets more and more interesting the more you discuss it. (B+)

on Jennifer's Body

Okay, so clearly I’m alone on this one. I thought this Diablo Cody scripted horror comedy was a lot of fun. It’s not scary in the least but there’s an awful lot of funny dialogue, knowing silliness, good gore (for those who like that stuff) and a soullessness from Megan Fox that's actually appropriate for once. To top it off, the proceedings are imbued with a playfulness that toys with (and subverts) teen movie conventions (including some startlingly upfront sexuality), and is clearly made by someone with a passion for horror films.


It’s not a great movie but it’s also not a retread. I wish people would back off a bit in regards to attacking Ms. Cody; I get that when an (arguably) not-great screenplay wins an Oscar it’s an affront to film aficionados, but shouldn’t she get some credit purely on the basis of following up an Oscar win with a horror flick, let alone a fairly smart, entertaining one? (B)

on Creation

There were times during this 100 minute ordeal that I actually started to wish that Charles Darwin (played here by Paul Bettany) had never been born so I wouldn’t have had to sit through this movie inspired by his life. I exaggerate but this is really one slog of a film, more dull and interminable than even a straightforward biopic might have been. Focused almost entirely on (a) Darwin’s decision to publish "The Origin of Species" in the face of his wife’s (Jennifer Connelly) religiosity, and (b) the Darwin's reaction to the death of their child, Creation offers almost nothing of substance about Darwin’s actual ideas, nor the complexities of his character or emotions. It’s mostly just the renowned central figure weeping over his dead daughter and going on numerous doctors’ visits for his long list of ailments. The title is misleading as it seems to imply too much focus on his originally controversial ideas. While this is the kind of tedious, inert historical drama that used to be catnip for the Academy, I can’t see many staying awake all the way through to see anything worth rewarding. (C-)

on The Trotsky

At long last, a star vehicle for the gawky Jay Baruchel best known for headlining “Undeclared” and bit parts in Tropic Thunder and Knocked Up. Writer-director Jacob Tierney casts the Canadian native in the role of the Leon, a high school senior who considers himself the reincarnation of the titular figure. Leon seems deadset on fighting every supposed authority figure he can (he stages a hunger strike at his father’s factory in the opening sequence). Mixing Trotsky/Stalin/etcetera in-jokes with broad sweeping Napoleon Dynamite quirk and power to the disenfranchised story beats, the film may have a limited audience (the plethora of Montreal jokes makes it unclear how it would be received outside of Canada). But it’s frequently funny and manages to not drag even though it’s too long (nearly two hours) for its somewhat thin premise. Schneider shows legitimate directorial finesse. (B)

on The Informant!

Despite the starring presence of Matt Damon and a heavily-marketed nationwide release by Warner Bros., this supremely entertaining 'based on a true story' project -- the latest from Steven Soderbergh -- is a much odder (and also more delightful) film than I was a expecting, and not simply for playing what is essentially a thriller premise as a jaunty comedy. While it’s more strangely amusing and witty than laugh-out-loud funny, Soderbergh makes a boatload of strange decisions (such as shooting this 90s-set story in a style of a 70s throwback, and utilizing a Marvin Hamlisch score that seems better suited for a Doris Day vehicle) that, almost inexplicably, work perfectly. They all contribute towards creating an experience that may throw some people, but is sure to engender itself as a DVD favorite for those who like their eccentric quirk at a lower volume. The story itself only gets more compelling as it unravels, slowly eking out details that reveal why the filmmaker felt comedy was the more suitable genre for the material. It's all sold by an utterly fantastic performance , at once broad and understated, by Matt Damon. He appears in every scene and he certainly deserves -- and in this weak year, just might get -- an Oscar nomination. (A-)

So there you have it. A lot to consider. And that's only about a day's worth of screenings. When he closes his eyes, he's probably still seeing shadows of flickering images.
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Linker

Glark makes an of-the-moment funny. RIP Swayze [thx Joe Reid]
Dave Kehr interviews Lars Von Trier but also discovers some new (old) Italian masterpieces that sound intriguing
Indiewire A Single Man will be distributed this year by the Weinsteins. Colin Firth is gunning for Best Actor. I love festival season. It always makes the awards race seem so near
New York Times 5 great upcoming performances: Gabourey Sidibe and Carey Mulligan have more buzz than they can deal with already but this article also contains less common drooling over Robin Wright Penn in The Private Lives of Pippa Lee


Variety Nicole Kidman continues on her gloriously pathological quest to work with every fine director in the world. Tomas Alfredson (Let the Right One In) will direct The Danish Girl. Unfortunately Charlize Theron has bolted. I want to root for Theron, I do. But her filmography bores me
Some Came Running Glenn Kenny on three TIFF titles
Self Styled Siren isn't too fond of Mad Men. Her new post on it and movies she loves from the era might make an interesting sidebar for you if you've been reading and enjoying the Mad Men @ the Movies series right here
In Contention maybe Robert De Niro is worth watching in Everybody's Fine?
/Film Karyn Kusama's next project may terrorize, destroy or otherwise alter Rachel Weisz's gorgeous body

Finally, as you probably read yesterday (what? I'm busy. I've had two hellish days of spotty internet service. Leave me alone) Hollywood Elsewhere loves Annette Bening in Mother and Child. Loves the whole film actually. Will it find distribution in time for an Oscar run?

I think it's "cute" that Jeffrey Wells thinks it's the best performance of The Bening's career. You see, someone says that just about every time with her. That's how you know you're dealing with a major actress. With lesser actresses everyone always agrees on what their "best" is, you know? It was Warren Beatty who said it about Running With Scissors but then, he has vested interest in her eventual (?) Oscar crowning.

He-Man.

Jose here with a bit of an awards doubt. After watching Antichrist (Read my review here) where the hell is Willem Dafoe's Best Actor buzz?

While it's true that Lars von Trier is a notorious actresses director (see Emily Watson, Nicole Kidman and Björk among others) he also has gotten some brilliant performances from his leading men (Paul Bettany was spectacular in Dogville).

His leading lady Charlotte Gainsbourg got the Best Actress award in Cannes but he gives the film's best performance (although being one of only two actors in the movie this might be a bit hyperbolic). Once again he goes for extreme subtlety and commands the screen as he tries to deal with his wife's condition while coping with his own grief. Any actor who can subject himself to tortures which von Trier had previously reserved for the ladies should be getting more attention.

Because of Dafoe Antichrist goes beyond being the arthouse horror film most think it is/want it to be and actually grows a heart of sorts.

TIFF Day One: Antichrist and Jennifer's Body

Lev Lewis reporting from the Toronto International Film Festival

My first day at the festival yielded two opposing ends of the horror spectrum. On one end: Antichrist, the latest piece of controversy from Danish provocateur Lars von Trier; on the other: Jennifer's Body, the horror-comedy written by Diablo Cody. It's not difficult to say which one I prefer although words such as "prefer" or "enjoy" are not words that one should ever use to describe Antichrist.

Antichrist is everything you have heard and then some. I came into my screening moderately prepared for what von Trier had in store for me. I'd seen his previous work, read numerous articles detailing the controversy surrounding the film, thought I knew what I was in for. But, without trying to sound hyperbolic, nothing can prepare you for this. Perhaps, there will be people out there who will find themselves unaffected by the film, but I simply cannot imagine who they would be. Antichrist is the most audacious, disturbing, gut-wrenching, terrifying film I have ever encountered. At this point I'm still having difficulty applying any sort of critical sensibility to a work this powerful. Honestly, I'm unsure if a film has ever affected me quite as much as von Triers' has. Three quarters through I was literally shaking.

Charlotte in Eden

I need a bit more than an evening's perspective to really dissect the film, but needless to say Lars von Trier, along with Willem Dafoe and Charlotte Gainsbourg (who give astonishing performances as the grieving couple) have created what will likely be one of the seminal works of our time.

Willem Dafoe watched the whole film with us and then did a Q&A. I wasn't quite sure what to expect from him, but he was extremely suave, intelligent and funny.

Megan and Amanda: They know what boys want. They know what boys like.

Jennifer's Body, Diablo Cody's second foray into film, yields dull results. It's difficult to say whether Jennifer's Body feels inferior to Juno* due to a less able director (Karyn Kusama in the place of Jason Reitman), a lesser cast, or whether it is simply due to a poor script on Cody's part. So while it is certainly true that director Kusama is a) unable to combine horror and comedy in any sort of resonant way, and b) build the mood or tension very much needed for horror, blame must also be attributed to Cody who insufficiently blends her already-dated, stylized pop-culture laden dialogue with 80's camp-horror. Sadly, this is the one distinguishing element of Jennifer's Body and the only aspect that separates it from every horror film of late. Like the rest, scares are derived from characters walking slowly through dark spaces until something jumps out, which is of course complimented by appallingly loud thumps on the soundtrack. As well, the numerous flashbacks, which always begin with the obligatory dissolve to white and the contrast pumped to the max, do little to set Jennifer's Body apart from its modern-day peers.

<-- Seyfried & Fox in blood red heels at the premiere.

The film's Midnight Madness premiere was packed and the audience was eating out of the hands of Cody, Kusama, Fox and even Seyfried. However I can't imagine many people getting worked up about Jennifer's Body outside of the late-night festival atmosphere. Or perhaps I'm giving moviegoers too much credit. It is also possible that people will devour the audience-baiting of Jennifer's Body. For instance, at one point Amanda Seyfried, from out of nowhere and with no motivation, sucker-kicks a nurse who has done nothing to warrant such violence. The nurse flies through the air (accompanied by mind-numbing sound editing) and falls bloody and battered into an array of tables. This lurid act of violence received huge rounds of applause from an apparently blood-thirsty audience. Grade: D+

More fun than the film itself were the proceedings. The whole cast and crew were in attendance and up on the stage were: Karyn Kusama, Megan Fox, Johnny Simmons, Amanda Seyfried, Adam Brody, Diablo Cody and Jason Reitman. The rowdy crowd was quite thrilled at the appearance of Fox, and asked numerous questions about the kiss between her and Seyfried. However, Diablo Cody stole the show announcing that her greatest contribution to cinema has been the words "Stick it in".

*Not that I am, by any means, Juno's biggest fan.

related posts: "Places Willem Dafoe's Ass Has Been" / Jennifer's Body trailer

Snip Snip Go the Posters

Glenn from Stale Popcorn again with another entry while Nathaniel helps his parents move house across the country.

As anybody who reads my blog is that I have a mild obsession with movie poster art. The good, the bad, the very bad and the occasionally deranged. One of absolute favourite key art designers is Jeremy Saunders (his official site) who is an Australian designer. His poster work tends to be for Australian films or Australian exclusive versions of international films.

Recently on his Twitter feed he started going on about "the best poster design he's ever done" and "Praying (to whatever) that @lars_von_trier approves my poster for the Australian release of Antichrist". While I'm not sure if Von Trier accepted it, but he posted the poster on his website and I thought, considering the number of people who want to see this movie desperately, I'd share it.


As anybody who has seen the film (such as myself) can attest to, the image represented on here is... somewhat apt. I do like to imagine this hanging up in the local arthouses and having some unsuspecting victims moviegoers mulling to themselves or their friends "well that's looks intriguing!"

And just to spread the word of Jeremy Saunders here are some of his most amazing work for you to drool over. Aah, the beauty of it all.

Come Join the Party!

Hello, Jose here to remind you all that it's Madonna's birthday!

The Queen of pop/ businesswoman/ kabbalist/ mother/ 90's tabloid fodder/ safe sex advocate/ sex advocate/ entrepeneur/ icon is celebrating her 51st birthday today (and with those arms!). But along with everything she's done, many people forget (on purpose mostly...) that she's also an actress/director. The notorious perfectionist has never been able to master the cinematic arts, even if she tries and tries and tries. But since it's her birthday we should acknowledge that not all she's done for the silver screen is bad and since we can't take a holiday to get into the groove with her, here's...

51 Reasons to Celebrate Madonna... in the Movies!

51. Daring to take on a role created by Katharine Hepburn...sort of in Who's That Girl.
50. Her endorsement of Michael Moore.
49. Setting a whole new clothing trend with Desperately Seeking Susan.
48. Her deep love for classic films.
47. Looking cute despite reviews in Shanghai Surprise.
46. She didn't get to play Ginger McKenna in Casino, but we know how that turned out for Sharon Stone.

Madonna & Sean early on... Their birthdays are just one day apart

45. Rupert Everett.
44. She didn't get to play Roberta Guaspari in Music of the Heart, but we know how that turned out for Meryl Streep.
43. The cute anecdote about endorsing Sean Penn's first gay kiss in Milk.
42. The "Vogue" sequence in The Devil Wears Prada.
41. Her delicious line delivery in Dick Tracy.

40. Warren Beatty's cameo in Truth or Dare.
39. She didn't get to play Catwoman in Batman Returns, but we know how that turned out for Michelle Pfeiffer.
38. Dreams of the Chicago that never got made with her as Velma Kelly.
37. She didn't get to play Susie Diamond in The Fabulous Baker Boys, but we know how that turned out for Michelle Pfeiffer (hmmm am I smelling a thing in the weird fact that the performances she doesn't get end up with Oscar nods...)
36. She didn't get to play Frida Kahlo in Frida, but we know how that turned out for Salma Hayek. She even thanked Madonna, because without her the movie would have never been made.

35. Francis Ford Coppola is a fan of Madge!
34. "Into the Groove" from Desperately Seeking Susan!
33. Her concerts involve video art that make any artsy film flicker in comparison...
32. "Who's That Girl"...the song.
31. That performance of "Sooner or Later" at the Oscars.

30. She didn't get to play Bess McNeill in Breaking the Waves, but we know how that turned out for Emily Watson. It's rumored that Lars von Trier wanted her badly to play this part!
29. "I'll Remember" from With Honors.
28. "This Used to Be My Playground" from A League of Their Own.
27. The Fabier Baron footage from "Erotica" which became an underground documentary of sorts.
26. Introducing us to Adriano Giannini, and his abs, in Swept Away.

25. For being so moving in "I'm Going to Tell You a Secret".
24. Without "Like a Virgin" we'd never have that hilarious prison sequence in the Bridget Jones' sequel.
23....or Jim Broadbent's divine interpretation in Moulin Rouge!.
22. Her homage to Marilyn in "Material Girl".
21. "Crazy For You" from Vision Quest.

20. Making fencing look sexy in Die Another Day.
19. ...and trying to give her cameo some depth by making her a lesbian.
18. Her care for the world as shown in "I Am Because We Are".
17. "Beautiful Stranger" from Austin Powers: the Spy Who Shagged Me
16. "Die Another Day" from Die Another Day (does this make her the only artist who's made songs for James Bond and a Bond spoof?)

15. Her decadent Guinness world record from Evita -- most costume changes in a movie -- which had been held before by Liz Taylor in Cleopatra.
14. The original "American Life" video which is more political than anything being done in movies today.
13. She's Gwyneth Paltrow's best friend.
12. Her directorial debut Filth and Wisdom isn't as bad as they say, it has some Richard Lester vibe to it.
11. Playing Madonna in Truth or Dare. Call her what you will but she's a movie star in this one!

10. Reminding us how refreshing the HFPA's choices can be sometimes by winning Best Actress over eventual Oscar winner Frances McDormand in 1996.
9. Both her husbands have been in the movies and are great at their craft...the first one more than the latter, but still...
8. Bringing sexy back to German Expressionism in the "Express Yourself" video.
7. Bringing the musical back, sorta...with Evita and proving she can be a good, award worthy actress when needed.
6. Showing us that documentaries can make profits.
Truth or Dare was huge in its day.

5. Her groundbreaking work with top notch movie directors in her videos.
4. Christopher Walken in the "Bad Girl" video paved the way for his brilliant work in "Weapon of Choice" years later.
3. Her homage to Joan Crawford in "The Power of Goodbye" video.
2. The Luc Besson musical she never got to make inspired "Hung Up" (her greatest single this decade).

1. The video for "Vogue".
It's arguably the greatest music video of all time and its love of cinema is just so evident, it probably encouraged a million people to seek the work of the people she mentions in the interlude. And that is spectacular in every single way!


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Cannes Winners for 2009

OFFICIAL COMPETITION
Jury president was French actress, deity, provocateur Isabelle Huppert
Palme D'or: The White Ribbon by Michael Haneke. Cannes loves him long time. And so does Isabelle Huppert, his La Pianiste leading lady. Sony Pictures Classics has US distribution rights to this black and white costume drama about German village and school prior to World War I. It sounds like something of a departure for Haneke since his films are usually contemporary and often tightly focused on small casts. The extensive German voiceover will be rerecorded in English for that release.

Michael Haneke nabs the top prize

Grand Prix: Un Prophète by Jacques Audiard. Sony Pictures Classics also has this one -- winner and runner up prepping for release? Not bad, SPC, not bad.
Jury Prize: It was a tie between the family drama Fish Tank by Andrea Arnold and vampire drama Thirst from Oldboy director Park Chan-Wook

Special Jury Prize: Director Alain Resnais won this special prize for Wild Grass. He's 86 and he's still making movies. His most famous film is probably Hiroshima Mon Amour (1959) but, rather incredibly, he's never had a film nominated for Oscar's foreign language race and he's only had won prize winner at Cannes, Mon Oncle d'Amérique (1980)
Best Director: Brillante Mendoza competed last year with Serbis and for this prolific Pinoy director, the second time is the charm. He won the prize for his violent drama Kinatay. This award will cause a ruckus. Many people detested the film, including Roger Ebert who declared it the worst in Cannes history.


Best Actress Charlotte Gainsbourgh for Lars Von Trier's Antichrist. This film just keeps adding fuel to its media fire. Well done Lars and your latest actress victim. You continue a grand tradition.
Best Actor Christoph Waltz for Inglourious Basterds (see previous post for Rosengje's very similar enthusiasm)
Best Screenplay Feng Mei won for writing Lou Ye's explicit gay romantic drama Spring Fever
Palme D'Or (Short Film): Arena by Joao Salaviza

CAMERA D'OR
This award goes to the best first film. Warwick Thornton's buzzy Australian feature Samson and Delilah (pictured right) took the prize. He's previously made three short films. Special Mention went to Ajami by Scandar Copti and Yaron Shani

FIPRESCI
Competition: The White Ribbon by Michael Haneke
Un Certain Regard: Police, Adjective by Corneliu Porumboiu
Directors Fortnight: Amreeka by Cherien Dabis

UN CERTAIN REGARD
Jury president was Italian writer/director Paolo Sorrentino
Prize: Dogtooth by Yorgos Lanthimos. The synopsis sounds vaguely Virgin Suicides-ish, three teens are cut off from the outside world by their parents.
Jury Prize: Police, Adjective
Two Special Prizes: Father of My Children by Mia Hansen-Love and No One Knows About the Persian Cats by Bahman Ghobadi

CRITICS WEEK
Grand Prix: Goodbye Gary by Nassim Amaouche
SACD Prize: Lost Persons Area by Caroline Strubbe
Cash Prize, Young Critic Award and Regards Jeunes Prize: Whisper in the Wind by Shahram Alidi
Canal Plus Grand Prix (Short Film): Seeds of the Fall by Patrick Eklund
Kodak Discovery (Short Film): Logorama by Francois Alaux, Herve de Crecy and Ludovic Houplain

DIRECTORS FORTNIGHT
Art Cinema, 7e Prix Regars Jeunes and the SACD Prize: Twenty year-old (!) actor Xavier Dolan-Tadros ' (pictured right) won an incredible three prizes for his directorial debut, a coming out mother-son drama called I Killed My Mother (J'ai Tue Ma Mere)
Special Mention: La Merditude des Choses by Felix van Groeningen
Europa Cinemas Label: La Pivellina by Tizza Covi and Rainer Frimmel
French short film: Montparnasse

THE SNUBBED
Whether you're in the main competition or outside of it in the sidebars, when reaction is very positive the snubs have to sting. The following films won coveted buzz but no hardware: Lee Daniel's Oscar hopeful Precious, Marco Bellochio's Vincere and Jane Campion's Bright Star.

FURTHER READING
Indie Wire live blogged the event. Time Warner Cable of New York wanted me to pay $9.95 per month for the French language station so sadly I couldn't gaze at Huppert and her fire-starter jury myself.

More From Cannes: Imelda, Penélope, Brad, Palme D'Or Frontrunners

I'm so far behind on the Cannes coverage! The festival wraps on Sunday. So, without further ado some red carpet beauties and some links to get you caught up if you haven't been online much or were trusting me to bring you the best bits ...so sorry to have kept you waiting.


First up is Imelda Staunton at the photocall for Ang Lee's Taking Woodstock. There was some very very early Oscar buzz for Imelda for her comic portrayal of Dimitri Martin's mom. Rosengje wasn't sold, writing...

I think people are going to be very divided about Imelda Staunton. It was a technically perfect performance and likely imitated the real life counterpart, but the character is written as too much of a caricature. Excluding one great scene involving some.. special brownies she is excessively shrill.

Saïd Taghmaoui, all in white, attended the Vengeance premiere. I feel like I haven't seen him in a movie in forever but I like him. Next up for Saïd is G.I. Joe: The Rise of the Cobra. Kristin Scott Thomas remains a classy red carpet must have. Michelle Yeoh and Kerry Washington, two undervalued actresses that we've always loved here at the Experience, have both been valiantly working the charity circuit at Cannes.

Kerry's getting muscled out of this picture by Brad Pitt & Angelina Jolie, mega-stars (heyyyy, just like she was in Mr. & Mrs. Smith. You're entirely forgiven if you didn't realize Kerry was in that movie. She barely is). Brad was in Cannes for Inglourious Basterds which seems to have a left a lot of people underwhelmed.

All Cannes! All the Time!
Go Fug Yourself salutes Penélope's game face after her food poisoning this week.
Eating the Sun Lots of Philippines upset abotu Roger Ebert's 'worst film ever' comments about Brillant Mendoza's Kinatay
IndieWire on why Cannes still matters
Living in Cinema is jazzed for the new Tsai Ming-Liang film Face. The early stills and the trailer do look like pure eye candy.
NY Post Did you know that Antichrist's end credits cite a "misogyny consultant" Ha! Lars Von Trier continually delights me... and I don't even need to see his movies (not that I don't -- love them, too) for this delight to take place. But then, I've always had a thing for artists who loved to push buttons just to be pushing them and/or to mock themselves or have fun with perceptions of their persona. Madonna used to be in this camp, too.
Twitch rumor has it: Universal is going to ask Tarantino to trim Inglourious Basterds down after the mixed reaction at Cannes. Hey, a little trim probably wouldn't hurt most QT movies.
Getty points to the trend for the red carpet at Cannes and elsewhere: nude (coloring that is)
Obsessed With Film enthusiastically offers 5 reasons to see Sam Raimi's Drag Me to Hell
IndieWire Director's Fortnight winners... a big night for the Quebecois film I Killed My Mother
My New Plaid Pants is waiting impatiently for each new bit on Michael Haneke's The White Ribbon
Risky Business thinks that Haneke's film is going to win the Palme D'Or.

Will these two films be the big winners?

As to who might win... Haneke seems like a good bet but it's not the only film that's been wowing them. Others are saying Jacques Audiard's Un Prophete could take it. (If you don't recognize the name just think of the lively, tense French hits The Beat That My Heart Skipped and Read My Lips... both of which did well in their US runs). But remember Cannes watchers... no one knows anything. The winners are never exactly predictable. This ain't the Oscars. It's a juried competition where they're encouraged to spread the wealth. No one knows who might win what... except maybe Isabelle Huppert.
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'Cannes you put a price on your dreams?'

My brain and heart are 3,990 miles away. If you have several minutes to spare you might want to check out this video of the Cannes ceremony. If you speak French you'll have more fun but even if you don't the montage of films showing at Cannes (14 - 22 minute mark) is still intriguing.You can see brief cuts from Bright Star, Emmanuelle Devos in L'Origine (Je l'adore), Broken Embraces, Spring Fever and many more including a bit from Heath Ledger in the The Imaginarium of Doctor Parnassus "Do you dream? Or should I say 'Can you put a price on your dreams?' "

A little kid in a Michael Haneke movie?!? Poor kid.
What horrific, psychologically distorting fate awates him?

Cannes over the weekend... for those of you who've been offline
Roger Ebert "fings ain't wot they used t'be" - lovely piece
Bright Star scrapbook. Jane Campion has such an eye
IFC Daily Strong response to Mother, from The Host director Bong Joon-ho

LA Times Doctor Parnassus still waiting for buyer. The last film of Heath Ledger and a f***ing Terry Gilliam movie with major stars and they don't want it? I will always love the cinema as an artform but as a business it sometimes seems like a malevolent soul crushing destroyer
In Contention joins the chorus singing that Cannes competition lineups need to be riskier than just 'insert 20 famous auteurs'
Getty Tilda Swinton & Agnès Varda of the avant-garde
IndieWire Lars Von Trier does it again with Antichrist. Boos and applause at the premiere
Spoutblog Lars Von Trier does it again for Antichrist. Quotable egomania

I am the best filmmaker in the world

I know it's too much to ask that all directors be as brilliant as Lars Von Trier. But why can't they all be this entertaining?

Cheeky Dafoe, 'the best filmmaker in the world' (?) and sweet Charlotte Gainsbourg

too much Cannes? These posts have never been to France.
PopWrap Shia Labeouf overshares with Playboy
Topless Robot Star Trek = Star Wars. It's Benji Button = Gump all over again
Lazy Eye Theater Remembering Royal Tenenbaum in The Royal Tenenbaums
BoingBoing Twitter graph -- how topics get played out. hee
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