Johnny Simmons

I like to rethink my favourite parts of films as the year ends. Of course it’s a work in progress. Quite often a favourite does not mean that said film is my favourite and sometimes it does. It’s the moment of the film you remember most, the scene that makes you shed a tear or makes you laugh…the scene that brings my nostalgic memories or worry for the future. It’s the power of films as such. So I’m unveiling my 25 scenes of 2009. I did not include openings or endings because they often serve a completely different purpose, maybe I’ll recap my favourite of each later, perhaps. I can’t say. I tried as much to prevent repeats, but I couldn’t. The fifteen runners up will be listed in alphabetical order and then the top ten by favouritism. It’s purely subjective though, so bear with me.

   

     

I know quite a few were bowled over by this, and I suppose there were many more obviously funny or romantic scenes that I could have chosen – the greeting card moments come to mind, but this is the single moment of 500 Days of Summer that I carried in my memory after seeing it. The preamble of it begins at a club as a persistent patron asks to buy Summer a drink. Tom gallantly gets into a fist fight and he is nonplussed when Summer is miffed on their return home. She grimly responds that they’re just friends when Levitt gives his best scene. His response is so real and so emotional as he leaves – it’s the most poignant part of the film.

     

MaGuire’s breakdown as the end was a contender but the film finest scene occurs with the ensemble present as they all gather for Maggie’s birthday. Sam is already on edge and the tension is palpable.Isabelle opens the door to see her Uncle there with his new date, and she’s already upset. Grace can feel something is amiss and Izzie just keeps pushing it further and further. Sam keeps telling her to stop playing with the balloon with leads to her (fraudulent) claim – you’re just mad because Mom would rather sleep with Uncle Tommy than you. It’s piercing, it’s surprising and it’s incredibly memorable. I love Jake’s reaction as he looks down, as if disappointed and Natalie’s Grace is not so much aghast as saddened and of course Tobey and his perpetual look of bewilderment. A wonderfully directed scene.

    

Duplicity thrives on the mystery, and that ridiculous hair growth scheme. My favourite part occurs when Julia’s Claire must find the blueprints and fax it to her allies in the dead of night. The fine editing is in place and Julia, Clive and the rest of the ensemble do fine work – considering that many of them are already lying to begin. Gilroy knows how to up the adrenaline and he does it here, pulling out all the stops.

     

This scene is just a tidbit, but it stands out. The tale of “Mr. Rochester” has travelled to The Head Mistress, whose office Jenny is called to. It’s a monologue really, and Emma sells it completely – “There may well have been the odd sixth form girl who has lost an important part of herself – perhaps the best part – while under our supervision. These things happen, regrettably. If however we are made aware of this loss, then of course the young lady in question would have to continue her studies elsewhere, if she still has any use for A-Levels. Is that clear?” It is perfection.

    

It’s one of the most chilling parts of the novel and it translates well to screen. Gambon and even Radcliffe sell the emotional weight of the scene and it is sooooo beautiful to look at. The mosaic image is palpable; the cinemotgraphy is enchanting the visual effects are always subtle but never underwhelming. The finest part of an already good film.

   

The scenes don’t seem to have a specific beginning or end, though I did appreciate the cameo of the always wonderful Ralph Fiennes, but the film makes it point in when a suicide bomber enters the picture. Jeremy Renner’s guilt as he’s unable to defuse the bomb is potent and the tension is built up so heavily. It’s a powerful scene.

     

This another film with continuous pieces of brilliance, the one that stands out is the first press conference as a self conscious Tom Hollander all but sinks his career. It’s the first time we see the wonderful Mimi Kennedy (who I cannot stop singing praises to) and the diffidence of Hollander and the obvious humour of the situation cannot be ignored. Such an uncomfortable moment for the characters, such a lovely moment for the audiene.

       

I didn’t expect this to be my favourite of the film, but weeks after it’s the one that I remember vividly. Susie’s sister enters Harvey’s house to find important evidence. The screen is taut with tension and shot by shot Jackson keeps up hooked. It’s also a strong moment for Tucci who sells his character without words. What thrill ride.

     

Need I go on? It's more than the hook being catch, because it's not my favourite song. But the choreography is sensational, the imagery is lovely, the sand in the tambourines, the dancing whores. It's a number that completely satisfies.

    

Precious soars highest when it comes down to the simple things, like Each One, Teach One. The chemistry of the girls is lovely to watch and Paula Patton oversees it all with such candour. I love Jo Ann’s colour choice – fluorescent beige and I love Gabourey’s delivery here – so blunt, and yet a little shy – I can cook. If only the entire film could have felt so sure of itself.

     

It’s the token “I want” solo number [Part of this World, Belle, Reflections] and Anika owns it with those vocals, and of course the design is beautiful too.

      

I really wish Charlize had more to work with in The Road, she’s phenomenal with her slight role. Her departure from the film is heart-rending and I love Viggo’s reaction. It’s the saddest moment of the film, which is strange considering it’s all rather depressing.

     

I didn’t like this much, but it has one of the best scenes this year, when Judith asks for a divorce I thought the Coens’ were on to something. The dialogue here is brilliant.

It all leads to one of my favourite lines this year “I haven’t done anything. This is not some flashy thing. This is not about woopsy-doopsy." I am so going to use that in a conversation some time.

    

I’ve told you before I was very impressed with Ms. Moore’s bit role in A Single Man, and of course she’s in a favourite scene of mine. As she and Colin dance it’s a really lovely moment in the film (though I suppose it’s not as important as some of the more obvious ones) still, the scene and the subsequent confessions is just sublime in my eyes. Perfection.

     

Whatever it’s errors Jonze captures the wonder of this other world brilliantly. Max's meeting with the wild things is funny, and sweet and magical all at once. It's also a surprisingly strong acting moment for Records who meanders through brilliance and mediocrity for me. Of course Catherine O’Hara’s Judith is a good source of laughter here already setting the pace for her excellent voice work to come.
      

...kind of.

  

I remember when the AFI made its ten top ten lists (by genre) it managed to confuse me – along with the rest of the world. I never before regarded Jerry Maguire as a sports flick, and I also didn’t think (at the time) that The Wizard of Oz was a fantasy, or – for that matter – The Lord of the Rings, though I suppose it obviously is. Science fiction is generally regarded as a genre of its known, though I suppose all science fiction is fantastical. A few have been calling this the year that science fiction returned to form, I can’t say – I’ve never been hot on it. I remember last year a seeming majority of the blog world were incensed at the entire situation of The Dark Knight etc; but I won’t rehash that, I didn’t care for it, and still don’t.

    

The first major (fantasy) film of the year was Watchmen. It has its supporters but I’m not one of them (D). Watchmen played for its duration and I felt unmoved for the most, hence the lack of a review. The reworking of the Star Trek franchise was the first significant fantastical film of the year. It’s another film that I didn’t review (B-); it was fine even if it went for a little too long. I was vaguely amused at the projections that Star Trek was a best picture contender when the Best Picture field was extended to ten, though I suppose that it wasn’t that far off from the ten the way that thing have been going. Harry Potter and the Half Blood Prince opened in the summer and I suppose I was a victim of being a fanboy, my review was probably sycophantic but I still stick by the B+, even though in light of recent films it probably seems lopsided. Few films went by with less fanfare than Duncan Jones’ Moon. Univarn is a great lover of it, and though I think it has its imperfections I don’t see why it didn’t garner of a following, its intelligent plot is better than many we’ve seen this year.

       

I wonder what New Moon would fall into. It’s probably a conceit to regard it as a fantasy, though I refuse to think of it as a romance, of course most of you are smart enough not to think of it all. I saw it of my own freewill though (for free, of course) and it was generally as bad as expected, worse than the original now (if you can call it that). I didn’t see District 9, and I really don’t care to. I know some are planning to see all the Oscar nominations, & etc but I’m out of that (for this year at least). I’ll see it when I see it, if ever, but I don’t feel any big desire. I wonder of The Road really is fantasy, I think it is. The post apocalyptic tale is one of the best technical achievements of the year featuring excellent performances from the cast especially Charlize Theron and Viggo Mortensen. But when even the awe inspring sets are ignored at awards ceremonies, I suppose few have seen it. With Harry Potter craziness waning Avatar filled my need for fantasy. The thing is, fantasy is not my genre my appreciation of Harry Potter is owed mostly to my residual voracious appetite for Rowling’s novels. It’s interesting how the worm has turned on Avatar, the more money it makes the more the “important” people seem to hate it, but I’m not going to get into that argument – again. Still, it gets almost ridiculous when even the special effects and other technical work are being lambasted. But it is what it is. I liked Avatar. Obviously.

       

I don’t think I’d be too miffed if film is short on fantasy this year, although it obviously won’t be. Two films I’m anticipating greatly (Alice in Wonderland, Harry Potter & the Deathly Hallows I) focus on special effects and it’s always the niche part of the market that manages to make millions of dollars. I’m not hating, I have my own weaknesses. Just don’t expect me to joining in as vociferously as most.Which was your favourite fantasy of the year?

     

I'm still on that somewhat foolhardy quest to watch as many films as I can before the end of this month when I'll start recapping the last year in film. So here are three more, somewhat overdue, reviews. Will either of them make a change to the Encore Award Nominations? Peut-etre.

Surprisingly, quite entertaining with good blends of drama and comedy. In a year of female directors it’s a pity that Drew couldn’t have gotten just a LITTLE more love. It seems like an ideal Golden Globe nominee for musical or comedy. Ellen Page is better here than in Juno, and that’s a bigger compliment than it seems. The film is actually casted to almost glorious perfection, which I was not quite expecting. But of course, the consummate supporting actress of them all steamrolls the entire cast even when she doesn’t try. It's Marcia Gay Harden for the win. Yep.        B

             

Damn, this is one bleak film. Clocking in at just below 90 minutes I don’t know why more people haven’t seen it. Of course it’s pretty grim. But it’s not as unnerving as previews would have you think. Viggo Mortenson is as usual excellent, perhaps his best ever – perhaps. The atmosphere is so palpably apocalyptic and Kodi Smith-McPhee is something of a revelation. But the person who deserves much praise is Charlize Theron who fades away before half an hour but is exceptional in her bit role. Is it too late to start a campaign for her and Mortenson?              B

                    

We see Amy Adams as an adult again; it’s been some time. It’s easy to place it as a trifling bauble but it has a whole lot of heart in it and does well what it has. It gets a bit of uncertain somewhere towards the middle but it’s able to pull it off, even though it could have been just a tighter. Still, it’s a pleasant piece and Alan Arkin is a charm to watch as is Emily Blunt who needs to get a significant role pronto. In the end I like it. And you’ll probably like it. B-