Almost six months after the end of 2009, I've finally gotten my act together and put together my definitive list of what I consider the Top 10 movies of 2009. If you remember, I actually made this list at the end of last year, but because many of 2009's most prestigious films didn't get released in Australia until the beginning of 2010, I'm redoing the list.Ironically however, there is only one new movie to be added, and I actually saw it in 2009 not 2010. And yes, that is my way of saying that last years Best Picture winner The Hurt Locker did not make the list (it would have come in at number 11). There has however been quite a bit of order swapping after I had the chance to watch all of the films a second or third time.
As for the way I ranked my list, it comes down to what I want to rewatch. Of all the movies to be released in 2009, there were exactly ten that I either own or want to own. Based on this critera, the movie that was cut from my original list is Samson & Delilah; definitely a great movie, but not one that I have any desire to rewatch.
So without further adieu, here are my top 10 films of 2009
10. The Box
dir. Richard Kelly
"Somebody pushing your buttons?"
It wouldn’t be a really good list unless it had at least one movie on it that no one else will agree deserves to be there; at least I’m getting it out of the way early. And I fully admit, this mind bending science fiction thriller, written and directed by Richard Kelly, the man behind the equally weird Donnie Darko and Southland Tales, has its problems. It’s dense, confusing, and at times laughably ridiculous. And yet despite this, the disquieting atmosphere that Kelly brilliantly creates makes The Box, I believe, one of the best movies of the year. The indecipherable riddle of a plot is as fascinating as it is confounding, and what’s more, Kelly is a master of visual composition. The way he frames his shots, the use of strange imagery, alongside the eerie music and strong performances had me in a constant state of captivated unease. The Box is a masterpiece of uncertainty, and the most satisfyingly unsatisfying movie I have seen in a long time.9. Drag Me to Hell
dir. Sam Raimi
“I desire the SOUL of Christine Brown. We will FEAST upon it while she festers in the grave!”
A stupendous, gratuitous, over the top horror comedy tour de force, Drag Me to Hell is hands down the most brilliantly excessive movie of the year. Sam Raimi, the man behind the Evil Dead trilogy proves that there is a science to being gross; over the course of this film he bombards his heroine with a seemingly never ending supply of blood, bile, mucus, maggots and internal organs before finally having her flounder around in an open grave during a thunder storm, a scene for which she might have well have been topless. Drag Me to Hell is also at times a legitimately frightening horror film, but first and foremost it is a brilliantly campy comedy, filled with this master director's signature B-movie style; slow tilts, dutch angles, cheesy special effects and even a talking goat. This is Raimi at his finest.8. The Cove
dir. Louie Psihoyos
“We tried to do this story legally”
Presented by the Oceanic Preservation Society, this film has a very specific agenda: to highlight the atrocities that take place during the annual dolphin slaughter in Taiji, Japan and to convince an audience of the evils of dolphin exploitation by any means necessary. The Cove is a brilliant motion picture; centered predominately on a group of activists who are attempting to get video footage of the killings, the film plays like the tensest of thrillers only with real life stakes, and use of night vision and thermal cameras (as well as the brilliant score by J. Ralph) all enhance the sensation of genuine peril. And when we finally see the footage itself, it is more gut wrenching than you can possibly imagine. Emotionally devastating, incredible thrilling and undeniably convincing, The Cove will stick with you long after it finishes, and will no doubt provoke many conversations about both the issue it highlights and the means that it uses to do so.7. Watchmen
dir. Zack Snyder
“We're society's only protection”
Unnecessarily violent, strangely convoluted, with a bizarre soundtrack and performances that range from fantastic to…considerably less than fantastic, Zack Snyder’s film is never the less the absolute best adaptation of Alan Moore critically acclaimed graphic novel that we were ever going to get, slavishly loyal and visually spectacular. I fully admit my bias here; I love the comic book and could not wait to see the film, and Snyder almost fully delivered the Watchmen movie I wanted to see (and this from someone who flat out hated his previous directorial effort, 300). And while Malin Akerman left something to be desired as Silk Spectre, the rest of the cast performed admirably, capturing the graphic novels rich characters with consummate skill. Even the alterations that were made to the ending got my seal of approval, and by the time this movie was finished I was chocked full of geek joy. Unfortunately then that annoying My Chemical Romance song started playing over the closing credits…oh well. Even so, I would best describe this film as one of the most flawed masterpieces you will ever see, and a wonderful companion to one of the best comics ever written.6. Inglourious Basterds
dir. Quentin Tarantino
“Au revoir, Shosanna!”
I definitely have my problems with this film; to me it represents Tarantino at his most self indulgent, and the final few minutes of the movie infuriate the hell out of me. Never the less, Inglourious Basterds is a fantastic film, and one that only improves with repeat viewings. Scenes of brilliantly constructed tension are weaved around signature pulpy B-movie tributes, just as the two storylines, one following a group of American soldiers behind enemy lines and the other a young Jewish woman hiding out in Paris, weave around each other before coming together in the films climactic final showdown. And although it has been said many times before, German actor Christoph Waltz gives one of the best performances of the decade as the charming Col. Hans Landa, a character who makes every scene he is in an instant classic. From the glorious opening chapter which stretches on and on with an ever-growing sense of unease, it became clear that Landa will be remembered as one of the greatest villains in film history, and one of the best characters Tarantino has ever written. Inglorious Basterds is a tribute to one man’s love for cinema and so for anyone who feels the same way, the film is an absolute must see.5. (500) Days of Summer
dir. Mark Webb
“You should know up front; this is not a love story.”
Jumping up from the number ten spot on my original list, (500) Days of Summer is definitely a film that rewards repeat viewings. What could have been irritating overly quirky hipster porn was instead the sweetest and most ingenious romantic comedy of the year. The thing that makes the movie work so well is the way that it is structured: we jump back and forth from the very first moments of boy meets girl to the heartbreaking dying days of the relationship between hopeless romantic Tom (Joseph Gordon-Levitt) and "just looking for a fun time" Summer (Zooey Deschanel). The script from Scott Neustadter and Michael H. Weber and the direction from first time filmmaker Marc Webb breathes new life into this, the stalest of genres; this film is wonderfully inventive, featuring musical numbers, fantasy sequences and some of the most genuine and heartfelt dialogue you will have the pleasure of hearing all year. And despite not being a love story, (500) Days of Summer will have you believing in the power and potential of love.4. Mary and Max
dir. Adam Elliot
“You are my best friend. You are my only friend.”
A superb mix of sweet drama and the most twisted of black comedies, Adam Elliot’s feature length debut is a thematic sequel of sorts to his previous short films, most notably the Academy Award winning Harvey Krumpet, and is without a doubt my favourite Australian film of 2009. The quirky Claymation goes perfectly with the offbeat story about a lonely Melbourne girl, voiced sensationally by Bethany Whitmore and then Toni Collette, who becomes pen pals with middle aged Asperger’s sufferer from New York, voiced by the always incredible Phillip Seymour Hoffman. Rounding out the cast is Eric Bana as Mary’s neighbour Damian and Barry Humphries who delivers the often hilarious narration with perfect deadpan tones. Mary and Max is clearly a labour of love and you will marvel at the details you can find in the gorgeous hand crafted animation. And despite Elliot’s sometimes cynical sense of humour that lends itself to some very morbid plot turns, this movie is ultimately a heartwarming tale about the indescribable power of friendship.3. Cloudy with a Chance of Meatballs
dir. Phil Lord & Chris Miller
“You may have seen a meteor shower, but I bet you've never seen a shower "meatier" than this”
The only new entry on this list, and surely a surprise to many. And yet after two theatrical viewings and four more on DVD, I am happy to declare that Cloudy with a Chance of Meatballs is by far the funniest and most rewatchable movie of 2009. Despite appearing to be a simple kids movie, the humour in this film is almost unwaveringly hilarious, with recurring gags and references that make the movie grow better with each viewing. The animation is worthy of a Pixar film, and the final third of the movie actually put it in the running for one of the best action pictures of the year as well. And the voice cast will leave hardcore movie fans absolutely drooling: Bill Hader, Anna Faris, Mr. T, Bruce Campbell, Andy Samberg and Neil Patrick Hariss...as a monkey. Cloudy with a Chance of Meatballs is a very silly, silly movie, and one I absolutely adore.2. A Serious Man
dir. Joel & Ethan Coen
“Receive with simplicity everything that happens to you”
A tragic comedy based on the biblical story of Job, A Serious Man is the most thorough and controlled film the Coen’s have ever made, and may very well challenge Fargo as my favourite in their entire body of work. The total decimation of every aspect of Larry Gobnick’s personal life; familial, marital, professional and of course spiritual, is so devastating that we should for weep for the man and yet Joel & Ethan’s script is so perfect, their direction so ingenious, that we cannot help but laugh. On top of that, this film offers one of the best performances of the entire year from unknown actor Michael Stuhlberg, a man who embodies the constant confusion and agony of the central character with hilarious despair, as well a brilliant array of quirky minor characters, meticulous production design and a really terrific score from Carter Burwell. Of course we also get all the frustrations that come with a Coen brother’s movie; the inaccessible story, scenes that seem to go nowhere and an ending that…well, let’s just say it doesn’t exactly wrap things up. Despite this, as the end credits rolled after my third theatrical viewing of A Serious Man, I couldn’t help but smile wryly; the fact of the matter is these frustrations only serve the film, itself another slice of enigmatic cinematic brilliant from the two most talented directors working today.1. Up
dir. Pete Docter
“Sometimes, it's the boring stuff I remember the most.”
What can I say about Up? It’s probably not as clever a film as A Serious Man, the animation perhaps not as memorable as in Mary & Max, and I’m sure that I will revisit movies like Inglorious Basterds and Watchmen far more often. But on pure emotional resonance and wonderfully crafted storytelling, Pixar’s latest is without question my favourite film of 2009. This movie is beautiful to look at, incredibly touching, amusing, adventurous and endlessly fun to watch. I’ve gushed about the film in reviews, podcasts and even to random people I meet in the street. Someone asked me recently when the last time I’d cried was; as you would expect I made the usual macho show of acting like I never cry, and then pretended to have to search deep into the recesses of my memory to recall so distant an event. But of course I knew that the answer was during this films incredible opening act, featuring that wonderfully poignant montage that somehow manages to communicate a lifetime of love without the use of a single word. From there it explodes into a fun-filled adventure story, before returning to the idea that Pixar explore so well: the power of friendship. One for the ages, Up is intelligent, entertaining and incomparably breathtaking.
