D_Davis’ Top 10 For 2005:
Here is my list of the Top 10 Films I saw for the first time in 2005. The reason I decided to make our lists like this is simple: there just aren’t enough new films worth mentioning. It’s sad but true. The more films I see the more I realize that the age-old saying is true: they just don’t make them like they used to. I’m sure if I really scoured the shelves of the local video shop, or scoured through enough pages on Netflix, or went to the damnable movie theatres with their overpriced concessions, uncomfortable chairs and noisy crowds enough I could come up with 10 great films made in 2005. But you know what? I don’t care – plain and simple. With the plethora of classic genre cinema being released on DVD from around the globe, there is no better time to be a fan of great genre entertainment. With the likes of Ebay, HKFLIX, Nicheflix and Netflix at our disposal, a new film is only a click and an envelope away. So, enough gibber-jabber, on to the list – these are in no particular order, except for number 1.
Oldboy (Winner of my Favorite Film of the Year) (2004) – There are quite a few films on my list that I have not written about at length for the website, this being one of them. If I could sum up my feelings in a sentence, it would be this: Oldboy totally and completely destroyed my senses. The reason I have not written more about this marvelous film is that I don’t know if there is anything left to say about it that hasn’t already been said on other websites or message boards. Oldboy caused quite a stir in the film world, and rightly so, it easily out-does most other modern offerings.
I purchased my Korean DVD of the film in January of 2005, and proceeded to devour it three times in one weekend. The film then wedged itself in my mind for weeks on end – I couldn’t escape its lasting impact. I was completely haunted by the utter tragedy and absurdity of it all. My every thought turned to the film as I wondered how a man might feel living the life Dae-su Oh had to live. The acting, the directing and the narrative are all examples of A-class cinema and only strengthened each other to create a film of unparalleled brilliance. Honestly, I have never witness a film that moved me with such force, and with all the hyperbole in the world I cannot bestow upon this film enough praise to be worthy.
I laugh at the users on the IMDB who have since given Oldboy 1-star ratings, and written so internet-eloquently about what an over-hyped piece of cinema trash it is. The film caused such a stir that the normal time span between love, hype, and internet-backlash happened very quickly – too quickly – and people who dismissed the film as over-stylized tripe really haven’t given the film its fair shake – nor do they deserve to. Most of the time I respect differing opinions. But, in the case of Oldboy, I seriously have to question anyone who can dismiss this film as nothing short of brilliant – you may not like its subject matter, fine that’s one thing it’s one hell of a rough narrative, but to deny the moving power of it as pure cinema is asinine.
A Bittersweet Life (2005) – This one I have written about, and I do not have much more to say. I was as shocked as ever to follow up one kick ass Korean film with another, almost back-to-back, but it happened. What I still love most about ABL, is its pure simplicity. It never tries to be anything more than pulp entertainment, and relishes in the style, violence, and grittiness of the Korean underground. The film is an absolute joy for the senses, as the colors strike like knives ready to slice. It is rare these days to see a film that is so comfortable and secure with what it is. It is even more rare still to see a genre film with this much self-confidence that can deliver on every possible level. A Bittersweet Life does all of this and more.
Heroes of the East (1979) – I still stand by my initial review and first impressions of this classic Kung Fu film directed by Lau Kar Leung and starring Gordon Liu: it’s simply the finest kung fu film made. Every time the film throws something awesome at you, and you think you’ve seen it all, it comes back with something even cooler. The sheer amount of weaponry used throughout the film should make any kung fu film giddy with joy, especially the not often seen tongfa and sai which are both put to amazing use in two spectacular fight scenes.
Gordon Liu turns in a spectacular performance as he, through a series of fights with various Japanese masters, learns about the culture of Japan, and their code of the warrior. Lau Kar Leung once again creates a film that is full of drop-dead amazing action, and yet he still steers clear of gratuitous violence. He would rather use his skills behind the camera (and on the camera when he plays the amazing part of the drunken master) to showcase martial chivalry and the mutual respect martial artists have for one another and the differing styles.
The Place Promised in Our Early Days (2004) – Another film without a proper write-up, and the only animated film on my list this year, even beating out Miyazaki’s Howl’s Moving Castle and the wonderful Korean film Blue Sky. Early Days is a very small and personal film. The director, Makoto Shinkai, has a wonderful knack for creating very personal films while also crafting narratives that possess traditional (as in not space opera) ideas of science fiction. He is able to perfectly balance the ideas contained within his sci-fi narratives while seamlessly weaving in very personal character studies. Early Days is a film about the innocence of youth, and how easy it is for the young to dream of better times. The narrative deals with how changing ideals and responsibilities often cause people to forsake their dreams and the heart-felt ambitions of their youth.
The drawings are nothing short of amazing, and I guarantee that you will never see a more beautifully painted sky anywhere. Shinkai can draw clouds and the sunset like it’s nobody’s business. The most amazing thing is that Shinkai does everything himself on his own personal Power Mac: he is a one-man animation studio that does everything except for the sound work. The fact that he can craft a more moving animated film by himself than the entire animation departments at Walt Disney or Pixar can is a testament to his skill and brilliance. The Japanese press is already calling him the next Miyazaki, as he works with similar themes and maturity, and if Early Days is any indication, animation fans will be left in good hands once the old master final retires.
We’re Going to Eat You (1980) – Another film not yet given a proper write up, but it will be soon as part of my ongoing (but recently not updated) series on Tsui Hark’s films. I seriously waited 12 years to see this film. I saw my first Hark film in 1993, and that was Once Upon a Time in China, the film that launched my love for Asian films into the stratosphere. Around that time I heard of Hark’s “kung fu cannibal comedy” but it was long out of print, and finding a watchable copy with subtitles was close to impossible. So finally in 2005, Eat You was remastered and released on DVD, and cries of overwhelming joy were heard from fans of Asian cinema everywhere.
Eat You not only stood up to my 12 years of expectation – it far surpassed them. There are two words that perfectly describe this wonderful film: completely gonzo. This film has everything: cannibals, kung fu, thieves, weapon fighting, hand to hand fighting, horror, comedy, a fight scene involving roller skates and fire crackers, butcher’s knives and cleavers, gore, and a heroic adventure. There are so many little perfect moments throughout the film that I can safely call Eat You a cinematic classic.
The Descent (2005) - This is quite simply the best horror film since Scream. Easily. Hands down. No question. The Descent is pure terror captured on celluloid (or magnetic tape, or digital bit, not sure how it was “filmed” and one cannot be to careful with these terms in our modern age). Not only does the film deliver on the promise of horror, but it also does something most horror films never even try to: it gives the audience characters they can care for AND characters who are not stupid beyond their years – not only this, but in The Descent we are given a group of very fine female characters, and there is not a single gratuitous nude scene (which honestly, is a fact I was a tad bit disappointed with at first). Its just too bad that The Descent will not be shown in the United States until later this year, especially coming after the God-pounding The Cave, which carries a similar premise. I just pray that Neil Marshall’s wholly terrifying film is not dismissed as a wannabe Cave. Call it Aliens in a Cave if you will, but make sure you also tell it like it is: The Descent is pure terror and one hell of a film.
The Wild Parrots of Telegraph Hill (2003) – The only documentary on my list this year. Parrots is a fantastic little film. This film directed by Judy Irving is the story about a man, Mark Bittner, who takes care of a flock of wild parrots living on Telegraph Hill in San Francisco. It’s one of the most heartfelt and moving stories I have ever witnessed. Mark’s relationship with the birds is both loving and a little sad, because he seems to connect to the flock of birds better than he does his own human world. However, Bittner is not a semi-crazed psychopath like Timothy Treadwell in Herzog’s Grizzly Man. Mark Bittner has a heart of gold and a compassionate mind but still maintains his humanity.
There is one bird in particular named Connor, who Mark really cares for. Connor was rejected by the flock, and was a loner and a social misfit. I think Mark identifies with Conner’s struggles, and the tow on screen share many moments that one might call magical. What is most moving about the film is how through the flock of parrots, Mark Bittner learns to become more human and connect with others of his own species. By the end of the film, he and the director struck up a romantic relationship, one that continues to this day: a perfect ending for a wonderful and compassionate man.
Seven Swords – Once can I say that I haven’t already about Hark’s semi-flawed, and critically panned masterpiece? I still like it, a lot. I still don’t know what people were expecting, or what they wanted and I fail to see the majority of the negative comments the fans and critics pointed out about the film. It’s grand, and if given the chance the narrative will only become grander with the promised sequels. The action is top-notch, chaotic, and feels brutal, unlike most wuxia films that are more ballet-like. The drama is moving, and the characters (a bit underdeveloped yes, but come on, give the series time) along with their swords are majestic. If I could have one film wish it would be this: I would wish that Tsui Hark and his crew would make the entire series of seven films, and that they would be able to make them uncut and how they would like to make them. I think given the opportunity, the Seven Swords film series would be unequaled in its scope and cinematic qualities. If you have ever clamored for more films in the vein of Conan the Barbarian, look no further – Seven Swords is as close to that wonderful film as you can get.
Godzilla Final Wars – Another film where my views drastically differed from those possessed by most other critics and fans. Like Hark’s Seven Swords, I loved this film, while most people thought it was pretty lame. However, I am also a huge Kitamura fan, and I love films that are unpretentious and not afraid to just have some fun. GFW is such a film: it never trys to be anything but big bombastic popcorn entertainment. I will never understand the Godzilla fans that shunned this film. It’s got more monsters, more mayhem, better f/x, and the best human narrative of all the G-films. For once, when I watch a G-film, I do not fast forward though all the boring human stories to get to the giant rubber-suited monster fights. The film is cheesy, corny, and downright fun – pure entertainment.
Kung Fu Hustle – Another film that blew away my expectations. I mean, I knew it would be good with Stephen Chow directing a send up to the classic kung fu genre and Yuen Woo-Ping choreographing the fights, but I had no idea it would be as good as it is. The first big fight scene between the old masters who disguise themselves as a tailor, a cook and a laborer is freaking gorgeous. From the music, to the cinematography, to the action, to how the set piece escalates form minor-mayhem to full on balls to the walls loony action is nothing short of brilliant. I was surprised by how little screen time Chow devoted to his character, but his intentions were clear: he wanted to give the screen time to the older generation out of respect for what they have done for the genre as a whole. The comedy is never too broad and is often times hilarious, and the narrative is somewhat touching in that Rocky-like-pull-for-the-underdog way. This is one film that I can watch over and over again and relish in its creativity and technical skill.
