Les Misérables.

In addition to the inherent difficulties of filming a musical, any cinematic version of Les Misérables is unenviably tasked with meeting the lofty and unavoidable expectations of those familiar with the beloved Broadway show (that's me).

Cramped by the awkward limitations of a single camera, this version of Les Misérables limped through the first act. Even with grandiose sets, several songs and scenes felt restricted by the size of the screen, as opposed to the more open space of the stage. The musical also encountered the usual issue of showing both the scope and intimacy of duets and ensemble pieces. 

Once the showcase solos arrived, Les Misérables took off, beginning when Anne Hathaway killed I Dreamed a Dream (in a good way) in a brilliant single take that may win her an Oscar. Similar lengthy shots greatly enhanced several songs, also adding a Broadway feel to other highlights like On My Own and Empty Chairs. The much-publicized method of having the actors sing live on set worked perfectly, allowing emotional nuances to be added in the moment, rather than limit them to the vocal inflections recorded months earlier. 

Amidst an all-star cast, new faces Eddie Redmayne and Samantha Barks stood out as Marius and Eponine, with their stage pedigrees beaming through. Helena Bonham Carter and Sacha Baron Cohen were perfectly cast as the crass and crude Thenardiers, whose presence felt as slightly out-of-place as it did in the show. 

As Jean Valjean, Hugh Jackman didn't always have the ideal voice for the part. But his presence was always right, and he nailed several key moments, including his final scene. Another big star was needed to play opposite Jackman, but Russell Crowe was not the best choice for Javert. He can sing decently, and interpreting the justice-obsessed lawman with more of an earthy voice is reasonable. But Javert has already been defined by a classic baritone with two show-stopping solos. Crowe simply doesn't have the pipes to fill that role. Even those unfamiliar with the music, will instantly recognize his shortcomings relative to his cast mates. 

With all the powerful music and numerous characters, the film misses the pacing of the stage, which benefits from the built-in pauses and interludes that come from scene transitions and set changes, giving the songs and story room to breathe. The film somehow rushed through its 2:40 running time, though it didn't need to be longer. This was probably more of an issue for those trying to absorb the story and/or music for the first time. 

Bringing Les Misérables to the big screen was a crazy ambitious project, and the film was never going to meet theatrical expectations. But thanks to the potent music, this film is a commendable effort that isn't perfect but soars to splendid heights and should satisfy fans. 8 of 10. 

P.S. I'm not going to quibble with how the movie skips verses or adds lines or changes words (even a few favorites). Tweaks are necessary for translation to film, and most of them are effective, or at least understandable.

The Hobbit: An Unexpected Journey

A few brief thoughts on The Hobbit: An Unexpected Journey, which provided a welcome reprieve from Friday's tragedy...

As anticipated, The Hobbit was a wonderful return to Middle Earth, like revisiting a loved vacation spot to see old friends. Watching known characters like Gandalf and Frodo is a thrill; seeing the grassy comfort of the Shire generates smiles; hearing the musical themes of hobbits and elves induces happy chills. The film succeeds wildly on these nostalgic levels, as any well-made Hobbit movie would.

An Unexpected Journey is Bilbo-centric, focusing on Martin Freeman's superb young version of Ian Holm's Bilbo, as he joins a baker's dozen of dwarves in an intrepid attempt to reclaim their home. With adversaries ranging from trolls to wargs to self-doubt, their adventures are indeed grand. The visual effects are expectedly spectacular, and the action does not disappoint. The film's primary shortcoming is the lack of small moments that make the big moments worthwhile, like a great meal lacking adequate salt to fully draw out the flavor.

What seasoning there is stems from the film's most potent moments, which involve Bilbo's stellar quiet interactions with Gandalf, Gollum and the dwarves. As the story breathlessly races from one massive set piece to another, the minimal small scenes aren't enough to fully round out the film. Great adventure movies succeed not only because of the action but because of the characters. The emotional connection to the main characters here is diluted by the sheer volume of dwarves and the fact that their quest isn't as inherently compelling as destroying a world-threatening evil, nor is Bilbo's participation as easily understood.

This should change as the trilogy develops. For now, An Unexpected Journey felt very much like the first of three movies, providing an exciting ride and an enjoyable stage-setting first act that begs for more. Still a solid 8 of 10, with the potential to rise as the series progresses.

Hope springs eternal, even for the Royals.

"Hope is a good thing, maybe the best of things, and no good thing ever dies." -- Andy Dufresne

The Royals pitchers and catchers report today, marking the start of another baseball season. Although the spring in spring training doesn't mean much when there are still piles of snow taller than Randy Johnson around, the more important portent is hope.

Even for Royals fans who fully expect their team to lose 100 games this season, hope still exists. Hope for a championship or merely a playoff berth...heck, even an 80-win season...is extremely minuscule, but hope still exists.

Hope exists in the little things like the green of the grass, the elegant simplicity of the KC logo, and Alcides Escobar's glove. Hope exists in big things like the crown scoreboard and Billy Butler's bat. And hope exists in between, in the spray of the fountains, the smack of ball into glove, and the hook of Joakim Soria's curve.

Hope exists because sometimes hope is rewarded, by the playoff push of 2003 or Zack Greinke's unforgettable 2009 season. No one expected Joey Votto to be the NL MVP last season. No one thought the Rangers would get to the World Series. No one thought the Giants would win it. Sometimes hope triumphs.

And so we Royals fans hope. Maybe Luke Hochevar will harness the potential he flashed in his 80-pitch complete game. Maybe Lorenzo Cain is the truth in center field. Maybe Alex Gordon will finally turn into Alex Gordon. Perhaps a few vaunted prospects will be shining by the All-Star Break. Perhaps by season's end, the bright future of 2012 will be blinding.

Maybe none of those things will happen. Maybe they all will. As camp opens, the beauty lies in the brilliant possibilities of the unknown. That's why we believe. That's why we hope.

The Fighter.

As expected, The Fighter is a sports movie. The basic story is familiar to anyone who's seen a sports movie, and little is surprising along the way. All of which makes the superior nature of the film even more remarkable.

The Fighter succeeds because it does everything well, particularly the acting and the pacing. The performances are what make the movie, as the familiarity of the genre allows the actors to shine. The Fighter would have been good with lesser actors, but the strong leads and stellar supporting cast elevate the film to Oscar contender.

Christian Bale will justifiably win awards for his masterful portrayal of the drug-addicted former boxer Dicky Eklund. Amy Adams will rightfully earn plaudits for sassily playing against type as a hard-edged bartender turned determined muse. The supporting cast is pitch-perfect in their various quirky roles. Amidst all the characters, Mark Wahlberg is the glue of the film as the titular Micky Ward, who battles adversity both in and out of the ring. Several other roles are showier, and the part may not be a big stretch for the Boston-born tough guy, but Wahlberg holds the story together with his more-difficult-than-it-looks combination of fierceness and likability.

In a cinematic age with too many bloated films, The Fighter moves steadily along, avoiding the superfluous scenes that plague most movies. Yet director David O. Russell hits all the necessary notes flawlessly and still finds time for beautiful small moments, from a tender hand holding to the jotting of a number to a passionate celebratory kiss. These poignant instants put the finishing touches on a thoroughly enjoyable drama.

The Fighter is more than just a good sports movie. It's a great movie regardless of genre, featuring numerous outstanding performances. 9 of 10, which feels high, but I don't think anything could have been done better.

The Voyage of the Dawn Treader.

The Lion, the Witch and the Wardrobe will always be the best Narnia story, because it's the original. But Voyage of the Dawn Treader has long been my favorite, due to a seamless blend of mysterious adventure and thought-provoking morality. With its episodic island-hopping, Dawn Treader always seemed the most cinematic book of the series, although I think it would make an even better single season of television.

Similar to the film version of Prince Caspian, Dawn Treader largely fails to capture the book's true spirit, which is the main element I ask for in an adaptation. By adding a singular theme of good and evil, the movie does drive forward more easily, but inserting the layer of intentionality ends up depriving the story of its wide-eyed adventure, particularly when the climax doesn't match the buildup. In trying to make Dawn Treader a more conventional tale, the filmmakers neutered too much of the narrative's soul.

Traces of the book's heart do shine through occasionally in small but thrilling moments involving Lucy's smiles, a dragon's tears, Reepicheep's valor and Aslan's words. Even filmmakers who don't truly understand the book can't screw up these remarkable moments, which make the movie worthwhile for Narnia lovers. Perhaps the best part was the credits, which featured colorized versions of the book's original drawings. Those were fantastic.

I suspect that those unfamiliar with the book will still enjoy the movie, perhaps even moreso. Dawn Treader isn't a bad watch. Frankly, it was about what I expected, though less than I hoped. 6 of 10.


One other side note...

I can usually understand why changes are made to source material, even extreme changes like those in Dawn Treader. I get that they wanted a more substantive antagonist. Fine. Reepicheep should have had darker fur...but maybe a lighter color looks better on film. Caspian should be blond...I guess he looked better as a brunette. I can even accept bigger things like Ray Liotta batting from the wrong side as Joe Jackson in Field of Dreams; he was the perfect actor for the part otherwise. Okay, I get it. What I'll never understand is why small things are changed. For example, in the book Eustace puts the bracelet on his left arm, not his right, as he does in the movie. In HP4, why is Hermione's dress pink instead of blue? Why can't filmmakers get simple facts correct? What legitimate reason could there possibly be for changing those things? Maybe it's just laziness or apathy, but that inattention to detail is too often a microcosm of what frequently separates movies like these from phenomena like The Lord of the Rings.

Inception.

Inception is yet another extremely well-made film by Christopher Nolan**. A fascinating idea executed perfectly by a strong ensemble of actors and a high-caliber technical crew.

The visual effects are very impressive and occasionally wow-inducing, so seamless and story-serving that they are almost overlooked. Avatar is a drastically different movie from Inception, but each uses visual effects perfectly, integrating them as part of the narrative rather than mere flashy eye candy.

Given the vibe of confusion emanating from Inception's buzz, I expected a labyrinthine story but was pleasantly surprised by its simplicity. The basic narrative structure is complex but fairly straightforward. It requires attention and thought but not to a painful degree, creating an excellent cinematic experience for those who want a dose of intellect with their entertainment. The production team deserves significant credit for that, as the various unique visuals made it easy to track the different arcs occurring simultaneously.

The film's primary shortcoming was the relatively weak emotional link. While most all the characters were likable, only one was fully three-dimensional, and his main emotional arc was more intriguing than engaging, interesting more as a plot device than for emotional reasons. Perhaps another viewing would enhance the emotional ties, which were overshadowed by the compelling main narrative. Inception was still a magnetic thriller despite that flaw, which speaks to how strong the mental and visual pulls were.

Inception may have been undone a bit by its own expectations. Despite reading little about it, but the positive buzz was unavoidable. I expected at least an 8 out of 10, so when I got exactly that, I wasn't underwhelmed; I was simply whelmed. Just like the United States soccer team, the movie met expectations so precisely that more seemed possible.

The best films execute inherently great emotional narratives in near-flawless fashion. Inception was a great story executed in that way but lacked power-infusing themes. 8/10 for the best film thus far this year (okay...it's actually the first 2010 movie I've seen in a theater).


**Can we discuss how ridiculously good Christopher Nolan is? Look at his six major films. Memento and The Dark Knight were two of the ten best films last decade. The Prestige and Batman Begins weren't far behind. Insomnia was well-made and decent, though a couple notches behind the other five, including Inception. That's an absurd career-opening run. He's the Albert Pujols of film directors.

Rich Heyroth, 1977-2007.

Bumping this on the three-year anniversary of the day I lost a friend...

(Audio version here)

Before Monday, I did not know Death. We had never met. He visited my neighborhood a few times, draping elderly relatives with his dark blanket, but that's about it. Until this week. Losing a good friend has been a difficult new experience, nowhere near as tough as it is for those closer to him, but difficult nonetheless.

People have a tendency to lionize the deceased, emphasizing the good qualities while ignoring their shortcomings. Somehow every single athlete who dies was the epitome of a family man, and all victims of tragedies powerfully transformed those around them. I tend to look at these flowery obituaries with a raised eyebrow, wondering about the shadows behind the praise. My point in saying this is not necessarily that those hagiographies are contrived, because extreme situations spawn extreme emotions. I merely want to emphasize that I do not throw the following cathartic words out lightly.

Rich Heyroth had an easy-going manner that allowed him to tread the line between friend and authority, both in and out of school. He was three years older than me, but was also deeper in life, already married and working on a child. We were in a Bible study together for a couple years, one that he led without coming across as a leader, but as more of a facilitator. He would often share the struggles of his life and marriage, not in a lecturing or warning manner, but in a simple, matter-of-fact way that oozed honesty. This ability continued when he and Elizabeth had a son last spring. He delighted in fatherhood, eagerly relating stories and lessons that Ethan created. As marriage loomed as a possibilty for me, I relished his encouraging thoughts. He was excited that I was getting married, and I was excited to learn more from his adventures and to share experiences of my own.

His gift of compassionate teaching was evident in the classroom and on the soccer field as well. By watching or reading media coverage or perusing comments on this page, one senses that Rich was the same person regardless of his surroundings. As the de facto Shawnee Heights soccer beat writer this spring, I observed his interactions with the girls team. He was the quintessential likeable assistant coach juxtaposed with the hardline head coach. He could joke and laugh with the bench players and managers with one breath, then bark instructions to a midfielder with the next.

A few years ago in our Bible study, we churned through the Book of Ecclesiastes with the help of Tommy Nelson's excellent book, The Problem of Life with God. Our Sunday School class went through Nelson's video series, A Life Well Lived, shortly thereafter. Appropriately enough, this Sunday we were to finish another run through it. Rich loved Ecclesiastes. As recently as a week before he departed this planet, we glanced at each other after the video, with a smile and a nod that expressed what we both knew: This is great stuff.Little did I know that a few days later, Ecclesiastes would serve as a great comfort. There is a time to be born and a time to die. Apparent injustices will occur, but God is in control. All we can do is be wise, be poised, be bold, and live life to the fullest under what our study termed the umbrella of God. Simple but profoundly insightful instructions.

Rich Heyroth was not a perfect man. Nor did he pretend to be. One of the things that made him so beloved was his ability to recognize his faults and ridicule them. In our fantasy leagues, the race to make certain comments about Rich was not only between Carrs and Congdons, but also against Rich himself. With a good sense of humor in hand, Rich worked hard at his jobs and roofing his house, and played hard when he had spare time, cherishing soccer, softball, and Band of Brothers. My earliest memory of Rich stems from playing chess at a lakehouse one summer. That scene epitomizes him, enjoying the freedoms of summer while actively seeking a challenge. He lived life well, and now he is partying in heaven, Twinkies in hand.



If you're interested in making a donation in Rich's memory, you have plenty of options. Contact Topeka Bible Church for information on donating to a family fund or a memorial fund. You can also participate in this fundraiser.

World Cup Report: Final Musings.

The end of the World Cup is near. One game remains. I've been in South Africa for over five weeks, living in a hotel, taking a bus back-and-forth to work, watching every single match, Skyping my wife. It's been a bizarre existence.

I've been doing de facto preparations for over two years, since before Euro 2008 and the United States qualifying process began. This feels like the end of an extremely long season. The closest emotional approximations for me are the end of college or perhaps the end of my high school basketball career. I know that I'll wake up tomorrow, and things will be a little different, in a good way.

In the short term, that means getting back to my remarkable wife and spending the next two weeks with her, away from everything. She has been amazingly supportive, and I am blessed beyond words to have her in my life. In the long term, I don't quite know what's next for me professionally. That's a little unnerving, but I know that God has me where I'm supposed to be, which is perhaps the most reassuring feeling in the world. In the longer term, who knows what lies ahead. Maybe another World Cup in four years...maybe not. A lot can change in four years.

During the 2006 World Cup, I was traveling Israel with good friends, perfectly content, but at the same time curious about the future. Little did I know that I had already met my wife-to-be, and that 10 months later I would be engaged. Little did I know that my pipe dream of attending the 2010 World Cup would begin to take shape a year later when I e-mailed a job application to ESPN. Little did I know the massive changes my life would undergo in the next four years.

I can only imagine what changes may occur by the time the 2014 World Cup kicks off in Brazil. Some potential changes seem obvious. Others are fuzzier. Others aren't even in the picture, at least not in my picture. But God has a bigger picture in perfect focus. Hallelujah for that.

In the much smaller picture, there's a game today. Netherlands. Spain. One of these countries will lift the trophy for the first time, ending decades of could've-would've-should've frustration. The emotion will be palpable before, during and after the game. There will be tears of both joy and sorrow. There will be memorable moments and iconic images. Today is the World Cup Final. Today is what's great about sports.

LeGone.

The LeBron James saga isn't a big deal here in South Africa, but (for better or worse) it became such a big deal in the United States that we even did a promo for it during World Cup coverage. I don't care much about it from an NBA perspective, since I have no rooting interest in the league. I don't think I watched even a half of total NBA coverage this past season. I haven't read much about The Decision. It wasn't on TV here, and I was asleep anyway. But I am intrigued by the decision-making process of one of the best athletes I've ever seen, along with the implications of James stabbing a fanbase in the back by going to Miami.

I'm not necessarily saying that he should have stayed in Cleveland. The Cavaliers have proven that they don't know how to build a team around the most talented player in the league. Then again, it took the Bulls seven years to win a title with Michael Jordan (James just finished his 7th season). But from a pure basketball perspective, nothing made more sense than going to Chicago. He would have one of the best young point guards in the league (Derrick Rose), one of the best power forwards (Carlos Boozer), a very good role-playing center (Joakim Noah), a solid two-guard (Luol Deng), and a promising new coach (Tom Thibodeau). That would be the best starting five in the league, and there's decent talent filling out the roster as well. The only downside is that he will never be Michael Jordan in Chicago. He could win 10 titles there, and he'd never surpass the Jordan legacy.

But that argument can't be used as a reason for choosing Miami, which is Dwyane Wade's town. James will never own the city while Wade is there, and the Heat will never own the city the way the Bulls owned Chicago, which is an exponentially better sports town than Miami. Not to mention the basketball factor, as he's now on a team with three other players (Wade, Bosh, and Chalmers), a few draft picks, and almost no cap space. I'm not convinced that half a dozen minimum-salary guys can fill out a championship roster.

(On a side note, who's happier about all this than Chalmers? He's suddenly running point with two of the five best players in the league, and he owns the number 6 that LeBron wants. What's he going to get for that? A six-figure car? A second home? A small island?)

Putting on my amateur psychologist hat, look at the teams James allegedly roots for: Yankees, Bulls, Cowboys. Notice a common theme? They all had dynasties in the late 1990s, when James was an adolescent. He grew up in a sports-mad state, yet didn't root for any of the area teams. Admittedly, the mediocre Browns were gone for a few years, but the Cavaliers and Indians were consistently in the playoffs. To me, this says that James was missing a father. He didn't and doesn't have that invaluable male influence in his life, someone to teach him things both frivolous and serious, from sports teams to life lessons.

Now this paternal absence is rearing its ugly head again. Much like Tiger Woods since his father passed away, James lacks anyone who will tell him the unvarnished truth with no fear of repercussions. He's surrounded by lifelong friends, which is admirable on one hand and frightening on the other. None of these people appear to have the guts to be straight with him, for fear of losing their hanger-on status. They let him follow this seemingly ideal path to a glamorous Miami Beach lifestyle of fame and fortune without offering any true advice on loyalty or class.

I can hear the whole process...Hey, we should let all these NBA teams treat us like rock stars...then maybe we can get an hour-long special on ESPN to make the announcement...we'll even give the money to charity to look good...you didn't get recruited to college...we deserve all this...who needs Cleveland...they never respected you anyway...let's go party in Miami! Faaaaantastic.

When James played for Cleveland, people outside of Ohio rooted for him (or at least the team). It was a great potential story: Ohio kid grows up to break the Cleveland Curse and lead the hometown Cavaliers to multiple NBA titles. Now what? He's going to a two-decade old team with minimal history in a middling sports town. Outside of Miami, who's going to root for him? NOBODY! Michael Jordan and the Bulls sucked in casual fans from around the country (like me), and James was going down the road. I've watched playoff games simply because he's playing, for the possibility of seeing him do something great. James won't do that in Miami. This whole ridiculous process will make people actively root against him. I hope he fails miserably.

LOST: The End.

The LOST finale was like a good chunk of the whole series. Characters: great. Powerful moments: ridiculously great. Throwback moments: deliriously enjoyable. Storyline: a little dicey.

I thought the finale was off-the-charts phenomenal until the last few minutes. The highs still greatly outweighed the ambiguity, and the episode still felt right and satisfied on the whole, with a slight aftertaste that wasn't bitter as much as perplexing. But I've always enjoyed LOST more for the characters than the Byzantine plot. If you wanted questions answered, I suspect you were severly disappointed, even angry.

In some ways, LOST reflects life. We don't always get answers, at least not ones we want, and I accept that.

Au revoir to LOST, my favorite television show ever.

Best Films of the 2000s: No. 3.

No. 3

Million Dollar Baby

Call this the Clint Eastwood representative in the Top Ten. If I expanded the list to 20, I might find room for four more of his films, but this is his best of the decade and thus the only one in the Top Ten.

I didn't know what to expect from Million Dollar Baby. At the time, I was just beginning to discover the greatness of Eastwood. I had loved the previous year's Mystic River, and I knew Baby had excellent reviews. But I still didn't know what I was in for.

Baby turned out to be the most enjoyable drama of the decade, filled with beautiful characters who are never perfect but always engaging. Eastwood is a flawless mix of tenderness and grumpiness as an aged boxing trainer and gym owner. Narrator Morgan Freeman plays the familiar role of wise and reliable friend. These two alone could have carried the movie; they are joy to watch, talking about anything from bleach to socks. As a young lady eager to learn boxing, Hilary Swank impressively meshes with these legends through her fierce determination. The story follows her boxing journey, and more importantly, the trio's various relationships, as they each deal with potent themes of loyalty, forgiveness, and love.

In the final act, Baby journeys to an unexpected moral marsh, one that could easily have overshadowed and swallowed up the preceding greatness. But Eastwood handles the situation delicately, and while a key decision may be overwhelmingly controversial on its own, it works within the film's context merely as a choice that was made.

Like much of Eastwood's directorial work, Baby possesses an elegant simplicity in every element from lighting to cinematography to music. The film plays like a visual symphony, with an engrossing assortment of crescendos and stillness. It's a ideal blend of character and story, guided confidently by the ever-steady hand of Clint Eastwood, who delivers yet another masterpiece.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic (2000)
7. The Incredibles (2004)
6. Ocean's Eleven (2001)
5. The Dark knight (2001)
4. Cast Away (2000)
3. Million Dollar Baby (2004)
2. Coming soon...

Best Films of the 2000s: No 4.

No. 4

Cast Away

I can hear Ben screaming already. Too bad, buddy. I love Cast Away in so many ways.

Cast Away is a story of survival, both physical and mental. It's the story of a busy man who must adapt to being stranded on an island, then re-adapt to society once he escapes.

I was annoyed the first time I saw Cast Away, annoyed that the trailers revealed that Tom Hanks gets off the island, annoyed that not enough time was spent on how he re-adjusted, and annoyed at the nebulous ending. But that was a case of not getting what I wanted from the movie rather than understanding and relishing what the film provided.

Upon a second viewing, I fell in love. I fell in love with the beautiful yet terrifying tropical island, with the roller coaster of emotion that Hanks rode, with his undulating determination. No other actor could have or would have attempted what Hanks did (though Will Smith did an admirable imitation in I Am Legend). Not only did Hanks lose 50 pounds for the role, he spent the entire middle half of the film as the only human on screen, co-starring with rocks, trees, and a volleyball. His was one of the best performances I have ever seen. The only reason Russell Crowe won the Oscar was the Academy's ridiculous unwillingness to give Hanks a third statuette.

The filmmakers ultimately made the right decisions in the final act, allowing Hanks to react with appropriate bewilderment at life's simplicities as he re-enters society. Yes, more such scenes would have worked, but I admit they weren't entirely necessary. Their absence allows for one of the most heart-rending scenes of the decade, as Hanks and his former fiancee Helen Hunt figure out what should happen next. The closing scene is a perfect denouement, an ideal reflection of Hanks' mental state.

Cast Away is filled with nearly as much physical and emotional beauty as anything in the 2000s. The film was riveting, impossible to take your eyes off, lest you miss a priceless moment, of which there are plenty. Perhaps the 2000s had a few other films that were better made (The Dark Knight), but I loved Cast Away more.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic (2000)
7. The Incredibles (2004)
6. Ocean's Eleven (2001)
5. The Dark knight (2001)
4. Cast Away
3. Coming soon...

Best Films of the 2000s: No. 5.

After creating one of the best origin stories ever with Batman Begins, director Christopher Nolan somehow raised the superhero movie to an entirely new level with The Dark Knight. He crafted a film that transcended the genre. It wasn't just a great comic book movie; it was a great film.

Heath Ledger's requiem performormance as the Joker gets all the accolades, and deservingly so. He embodies the villainous role is a possessive way rarely seen on screen, commanding attention with a breath-taking presence. But Christian Bale's titular character should not be overlooked, for he matches Ledger's intensity throughout. As they engage in a raging physical and emotional battle, each rises to meet the other, forming as great a pair of on-screen rivals as I've ever seen. A strong supporting cast adds significant depth, and the brilliantly dark art design holds everything together perfectly.

The Dark Knight is the Godfather of its kind, a sweeping epic that envelopes the viewer in an dramatic new world. As much psychological crime drama as superhero movie, the film is a vivid cinematic display of good versus evil, surpassing even its own mountain-high expectations.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic (2000)
7. The Incredibles (2004)
6. Ocean's Eleven (2001)
5. The Dark Knight
4. Coming soon...

Best Films of the 2000s: No. 6.

No. 6

Ocean's Eleven

This is the second movie in my Top Ten featuring Steven Soderburgh as director and cinematographer. Ocean's Eleven couldn't be much different than Traffic. Both are beautifully photographed, and the similarities end there.

Ocean's Eleven was pure fun, and no movie in the 2000s was more rewatchable. Clooney, Pitt, Roberts, and all the actors clearly enjoyed making the movie. More importantly, their experiences translate perfectly to the screen, propelling a story that crackles along at a pace that matches the twinkles in their eyes. The star-studded film is superficially a great heist movie, but is laced with sneaky humor, brilliant writing and beautiful underrated images that elevate the film beyond mere popcorn status.

I've seen Ocean's Eleven dozens of times, and nearly every time I notice something different. Perhaps a glance or a throwaway line, a subtle gesture or a breathtaking camera angle. Piling all of these layers on top of a good piece of entertainment makes for a great film that should be regarded as a classic.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic (2000)
7. The Incredibles (2004)
6. Ocean's Eleven (2001)
5. Coming soon...

Best Films of the 2000s: No. 7.

No. 7

The Incredibles

Call this the Pixar representative on the list, as both Wall-E and Finding Nemo were both strong candidates as well. But ultimately, Incredibles won me over the most with a deft combination of action and humor. It's a superhero movie with a Pixar twist, adding clever family dynamics to familiar comic-book action and characters.

The whole film takes known superhero stereotypes and churns them into into a delicious blend of characters that form the foundation of the movie's superb and often subtle comedy. Everyone knows about the practically impervious superhero (Mr. Incredible), but making him a married father of three turns convention on its head. Like Raiders of the Lost Ark, the entire film seems to be winking at the audience, simultaneously paying homage and parodying the superhero genre through all elements, ranging from a witty script containing terms like "monologing" to the wailing horns of the Bond-ian score. For fans of both comic-book movies and animated features (like me), this film hits all the right notes, clearly understanding and utilizing the possibilities of both genres to the fullest extent.

Like all Pixar films, The Incredibles entertains kids with its basic story, but its true achievement extends to all ages, as the film's youthful exuberance and wry sense of humor make it a classic.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic(2000)
7. The Incredibles (2004)
6. Coming soon...

Best Films of the 2000s: No. 8.

No. 8

Traffic

Traffic was the first "grown-up" movie I remember seeing in a theater. You know...one of those serious and dramatic Oscar-nominated films that teenagers never see. Well, I saw it because it had a good cast and an interesting trailer that promised multiple intertwined storylines.

I walked out wowed by the way that a film could balance three different storylines in a manner effective enough to produce gripping drama without much action. Doing that with one story is difficult, but each of Traffic's layers could easily have been its own movie. With their powers combined, they make ensuing films like Crash or Babel seem like mere wannabes.

Director/cinematographer Steven Soderburgh executed a clinic on how color palettes can play a supporting role, as each arc was imbued with a unique look that enhanced the narrative and functioned as a scene-setter. In telling these three frighteningly realistic stories, Soderburgh also expressed the multi-faceted bleakness that the illegal drug industry spawns at so many levels. Most impressively he did so without preaching or resorting to melodrama. Instead he simply told good, complex stories and told them exceptionally well.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban (2004)
9. Memento (2000)
8. Traffic (2000)
7. Coming soon...

Best Films of the 2000s: No. 9.

No. 9

Memento

I wanted to re-watch Memento immediately after the credits finished, because it took the movie's entire running length to figure out exactly what is happening. When it ended, I wanted to see it again to be sure. The film's single story is edited non-linearly, cutting back and forth between two different portions that are moving in opposite direction. The narrative starts at the beginning and end, and the two arcs meet in the middle at the movie's end.

Because of the film's back-and-forth non-linear nature, some decry the film as little more than a gimmick. But this isn't just some twist at the end. The non-linear nature makes the film. You can't separate the method from the story. No one complains that Godfather II is only great because it bounces between two stories that are decades apart. The brilliant interlacing of narratives is part of what makes that film great, and the same thing applies in Memento.

The unusual story-telling works because of Guy Pearce's short-term amnesia. The viewer sees things as he does, largely unsure of what has previously happened. Pearce nails the part with his various tics and habits, and his mindset vacillates beautifully between certainty and uncertainty. He is an ideal conduit through which the audience can experience the movie.

I saw it twice in four days...during Finals Week. That's how intriguing the movie was. No other film this decade bent the mind like Memento. Period. It might even be better than a few movies ahead of it, but I didn't love it with my heart as much as my mind.

Best Films of the 2000s
10. Harry Potter & the Prisoner of Azkaban
9. Memento
8. Coming soon...

Best Films of the 2000s: No. 10.

Taking a look back at the last decade of movies is an extremely enjoyable yet difficult task. To me, the list is far more than merely ordering the best films from each of the last ten years. For better and worse, the passing of time makes this list more objective, eliminating some of the in-the-moment passion, but also more subjective, as personal connections elevate great movies past others that lacked a connection. Rewatchability is also a factor, making certain films more powerful, memorable and enjoyable. Ultimately, the list emerges from a confluence of the best films and my favorite films.

Before getting to the Top Ten of the 2000s, here are a few movies that won’t be included, because they were released in the 1990s: Saving Private Ryan, The Sixth Sense, The Matrix. I would love to work them into a Best of the Decade list, but their time has passed. I feel old.

Now, on with the show...

No. 10

Harry Potter & the Prisoner of Azkaban

I still remember the thrilling moment early in Azkaban when I realized that director Alfonso Cuaron wasn't following in Chris Columbus' footsteps by merely telling the book's story with moving pictures. He was making a film, a clinic on how to adapt books to the screen. Take a good story and infuse it with cinematic flair. Use lush visuals, camera movements that breathtakingly sweep through the epic landscape of Hogwarts, vivid transitions that could almost be short films, and heartfelt moments that provide a massive yet concise narrative with a viable and visual soul. This was far more that just the best Harry Potter movie. It was a great film.

Up in the Air: a brief commentary.

This isn't a review as much as a commentary on Up in the Air, which addresses the classic dichotomous ideals of the American male.

The self-sufficient, independent male is an archetype that has reigned in cinema through stars ranging from Bogart to Wayne to Eastwood, and now to George Clooney, who has previously embodied versions of that persona in numerous movies including Out of Sight and Michael Clayton. He reprises elements of those roles in role in Up in the Air*, as his Ryan Bingham can live on the road 320 days a year, eschewing his spartan one-bedroom apartment for a cavalcade of keycards. There's an allure to this lifestyle. Isolation would be an easy and enjoyable choice, void of much of the world's pain and suffering.

*This familiarity doesn't mean that his performance isn't noteworthy. I would argue that it makes his turn all the more impressive, as he uses subtle facial expressions to brilliantly express emotions in ways beyond the capacity of mere words.

Isolation might be easier, and such a persona may be ideal in theory. But that doesn't mean it's better, and like Communism, it doesn't usually work in practice. Up in the Air explores this, as Bingham churns through the inevitable sequence of attitude-adjusting events. He eventually realizes that to some extent, everyone needs someone. If even the callous scribes of Hollywood admit this, musn't it be true?

Like the countless movies with this formula, Up in the Air doesn't necessarily have a life-altering happy ending, but the film also features introspective realizations that life is more than just oneself.

Maybe that's the ultimate lesson. The lasseiz-faire attitude is an idealistic veneer, one that can even be functional for a while and might be necessary at times. But in the end, a man needs more than himself. He needs others. He needs God.

Where Men Win Glory.

Where Men Win Glory: The Odyssey of Pat Tillman is a fascinating account of Pat Tillman's life and death, along with the inexplicably bad decisions made by the military/government before and after. Tillman was filled with a contagious verve, and though he didn't appear to find the right path, his thirst for life and knowledge can be an example for everyone.

If you want a short version of the book, Gary Smith's superb article in Sports Illustrated captures Tillman's remarkable essence and impact admirably well.