My Favorite Movies

Noah Baumbach's beautiful and heartbreaking story about divorce is an oddball of a film, but one that struck a chord with me. Daniels' performance as the emotionally distant and self-righteously intelligent father is astonishingly effective, and the kids both do remarkable jobs in very difficult parts. The screenplay is so honest and open, it's so hard not to see the soul of Baumbach and enjoy the film on many different levels.

Arguably the greatest original screenplay ever written by the modern day Shakespeare, Charlie Kaufman. Carrey and Winslet have delightful chemistry, and director Michel Gondry displays not only technical flair and brilliance, but strong storytelling skills.

Finding words to describe David Fincher's new film is difficult, because I think like when many classics were critiqued at the time of their release, the magnificence of the picture was so overwhelming that it transcended words. Thus is the case with Zodiac, the most sadly overlooked masterpiece in recent memory. Fincher demonstrates a fierce directorial prowess reminiscent of the glorious work of Francis Ford Copolla in his peak. Fincher's work is stylish, yet subtly so, and the pacing of this epic is some of the best in movie history. The focus is evenly distributed among his leads, and the film quickly makes it clear as the poster suggests, it is about less the names and characters in the film, but rather what it does not show. The very idea of this Zodiac killer. The intrigue and ambiguity of the real leading character is the real driving force in the picture, as the audience gets powerfully sucked along into the mess of mystery surrounding the case. We, like Jake Gyllenhaal's character, become obsessed by this unknown antagonist and swallow each scene up eagerly, then eagerly begin to devour the next. The acting is all, like in other masterpieces such as The Godfather and Goodfellas is sufficient. There are no real moments of brilliance, but everyone fills their parts exactly how Fincher needs them to. Reports of Zodiac's dull story and tedious length have been completely falsified. This is an engrossing mystery of genius construction for the most mature and appreciative audiences.

Watching Sunshine in theatres was incredible. Sitting there watching something so special and unforgettable unfold before my eyes was a movie experience that makes me remember exactly why I fell in love with film in the first place. This masterwork of sci-fi is a breath taking and nerve-racking thriller, but it's even more effective if not taken literally. The metaphorical implications of the light and sunshine, and the burning question (pardon the pun) posed; are we really worth saving, is enough to boost the film to the level of true greatness. Boyle and his DP and film editor work together brilliantly, and Sunshine marks their best collaborative effort to date. The score will undoubtebly be considered one of the best of the year, and while some of the acting is a little sketchy, on the whole everone is well cast and fills their parts well. To compare, Sunshine reminded me consistently of 2001: A Space Odyssey in tone and in both directors keen eye for memorable and haunting imagery.

The characters in the latest Wes Anderson film are wonderful and unique, and the whole film lays itself out somewhat predictably, but it's like falling into something warm and familiar. I think this one is not quite as well crafted as the Royal Tenebaums, but I enjoy it more because it invokes a larger emotional reaction from the audience because there is one character that stands out as the lead. Lovely movie.

Everything a good film should be can be seen in Trainspotting. Boyle's direction is the most effective perhaps ever seen, especially given the limitations of budget. His vision is inhumanly perfect, everything comes across vividly to the audience, and the actors, all aware of what lies in Boyle's mind, know exactly how to act. The script is structured tidly, filling the screen every second with fiery dialogue or brilliant situational drama and comedy. The unforgettable soundtrack spurs on a breathtakingly paced masterwork.

A fabulously woven tale of corporate immorality, with a stellar ensemble cast, and an important and interesting point to make.

A nightmarish symphonic orgy of violence that explodes off the screen and scars itself onto your psyche. Kubrick's ferocious and unrestrained vision is stunning, and his execution could not be better. McDowell's terrifying and difficult performance as Alex De Large is tragically underrated, probably because of the scope of excellent performances in all of Kubrick's films.

The most unique piece of direction in Allen's filmography and I think one of his least charming, if not even a little big ugly. The documentary approach could have sunk this film, but instead it adds a slightly different feel to what we may have become familiar with from Woody, and I absolutely loved it. See this one for the usual intelligent banter, sociological insight, and interesting performances. An instant favourite of mine.

One of the best scripts ever written is executed very well by video store generation filmmaker P.T. Anderson and his A-list emsemble cast. There's a bit of trouble in that the film seems to lead to a climax, but the audience never really seems to get a totally discernable one. But I think on the whole this is a magnificent and very admirable film, and something every film buff should watch at least twice.

The two jaw dropping leads in Hard Candy are the first in a seemingly endless list of reasons this is such a great movie. The directing from music video veteran David Slade is masterful to say the least, utilizing shot composition and pacing with such a gifted handed it makes my toes curl in pleasure imagining what he could come up with next. The use of the tight close ups, contrasted to the wide 2 shots of Wilson and Page is unbelievably effective in unsettling the audience. The production design dazzles with it's striking use of colour and hard shapes, and the fabulous photography only compliments it with it's consistent use of unfocused to focused images. But more than anything else Hard Candy benefits from gutsy and nuanced performances from Patrick Wilson, and in particular the best breakout start in recent memory Ellen Page. Her confidence on screen at such a young age is a sign of terrific things to come, and how this performance was overlooked by all major awards is beyond me. As if the technical achievements of this picture weren't enough, the story and subject matter are also incredibly relevant, and delivered with a ferocious punch. An instant favourite.

It's easy why to see how Julian Schnabel managed to snatch the director's prize away from the Coen Bros at the Cannes film festival last year. His exciting and innovative direction overcomes the limitations of the story marvelously, and his narrative powerfully drives this movie through the desperate experience of one man trapped in his own diving bell. It was an excellent choice on Schnabel's part to have the audience empathize with the Jean-Do character rather than sympathize, which may have been the instinctive choice. It makes for a different movie-going experience to live what this character lives rather than view it from afar, and I really enjoyed the change of pace. The lighting and photography compliments Schanbel's style beautifully, and you can see heavy influence from his French filmmaking counterpart Michel Gondry. The music is subtle and spare, but used to tremendous effect, and the performances are all fantastic given the difficult of some of the roles. It's too bad that most audiences will blindly name a mess of epics like There Will Be Blood, American Gangster, Michael Clayton, and even No Country for Old Men when there's a brilliant film like The Diving Bell and the Butterfly going virtually unnoticed.

Breathtakingly ferocious filmmaking, no-holds barred, a landmark in 90's cinema. A subtle social commentary acts as subtext to the violent tale of two crazed killers in love.

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The Tracey Fragments bursts off the screen with electrifying originality that makes even the best from Darren Aronofonsky, Michel Gondry, Dany Boyle, and David Lynch look boring in comparison. This film is an awe inspiring glimpse at things that we never knew cinema to be capable of. Bruce McDonald to put it quite simply has crafted one of the greatest Canadian works ever, and he and his film should be heralded as our most important cultural exports in years. Describing how well the multi-frame composition works and the storytelling style within them would be a useless effort on my part. See this film. If you have any love or appreciation for cinema, see this immediately.

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Paul Haggis crafts a flawless ensemble piece, a beautifully constructed screenplay, with an oustanding cast to back it. Seperated from many by it's emotional power and strong social commentary. This is a rare piece of cinema, that is strikingly iconic and instantly classic.

Robert De Niro plays madness to a tee, in possibly the most intense film ever made. Martin Scorsese delves deep into the mind of a well-intentioned psychopath, in a devastatingly powerful character portrait of Travis Bickle.

A forgotten foreign film that deserves more attention that it has got. Well crafted screenplay, acted brilliantly. I even thought that it managed to speak microcosmically despite being such a character specific story, which is really hard to do.

A gut-wrenching tale about shattered dreams and pursuits of passion that leave you filled with regret and pain. This film was really devastating to me because I recognized those themes as being my greatest fears for the future, and for that reason this is one of my favourite films in the last three of four years. Everything that has been said about Rourke's performance is spot on, he goes beyond method acting and actually lives this guy's suffering and desperation. But you've got to give serious kudos for the success of this picture to director Darren Aronofsky, who (eventually) made one of the most brilliant casting decisions ever and cohersed this once in a lifetime performance out of Mickey Rourke. I have renewed respect for Aronofsky, showing incredible versatility and resiliency after the setback that was his poorly received opus "The Fountain". Here is his directorial precision stripped bare of imagery and flashy editing, painting such a vivid portrait of how pathetic this man's life has become. The sights and sounds of the wrestler's environment really sink into your bones and stay with you after you've left the theatre. A simply written piece that refuses to ever become melodramatic or overly wordy, but tells a man's story as straightforward as he lives it. Clint Mansell's subdued score is effective without being very noticeable, and the cinematography while for the most part lacking in visual style still manages to be quite striking at times and very memorable. The Wrestler is highly comparable to films like Half Nelson, Love Liza, or even About Schmidt, and I highly recommend it to fans of those pictures. Don't see it expecting any kind of redemption for Randy the wrestler, it's not that kind of movie. But depending on how you see it, at the end you may be uplifted, or you might be beaten into the ground. Depending on what kind of audience member you are.

Gut wrenchingly funny, the highlight being the amazing characters from John Goodman and Jeff Bridges. The writing is fresh and spunky, refusing to give into convention. It's great to see people having fun making movies.

A satirical masterwork, featuring the natural brilliance of Peter Sellers in 3 roles.

Gosling's devastatingly realistic portrait of a reclusive and awkward young man grounds this very effective drama. The film is full of quirks and laughter, but the real hilight are the tears it draws. Loved it, reminiscent of the Jimmy Stewart classic 'Harvey'.

The most tragically forgotten of all of Hitchcock's movies. I love the story to death (if you'll pardon the pun) and Hitchcock directs it with such a sombre attitude, that the dark irony throughout is even more delicious.

A recent re-watching of this film provided tremendous insight into how underrated this film really is. The mincing of the bleak photography (some of the best i've ever seen) with Nick Cave's score, the eloquent and effective voice over narration, the casting and performance of Brad Pitt, the complete personification of the Robert Ford character by Casey Affleck. The Assassination of Jesse James is a movie that begs to be viewed more than once, as it's depth and Andrew Dominik's comprehension of the material is expansive and thorough. This is a true work of art that requires a patient and attentive audience, but they will be well rewarded by the end of the picture.

A must see for everyone. This is a do it yourself manual for new filmmakers, brimming with masterful use of film technique both old and freshly created by Hitchcock himself.

Awkward, at times misdirected, but adorable. The themes that occupy the soul of this movie aren't easy to pick up on, but when you do, it's a real treat to watch. Full of wonderful character work, and a delightfully original script, Little Miss Sunshine is one of the year's best. Abigail Breslin is a scene stealer with tons of potential. This is the kind of indie film that I love to see. More of these please.

A warmly written comedy with a very mature edge to it. While it doesn't have nearly the intelligence level of a Charlie Kauffman script, or the thoughtfulness of a Woody Allen penned film, it's still cute and quirky. Ferrell and the cast are charming and convincing, and Forster behind the camera shows care and a tender touch. Great flick, definitely worth checking out. Works on the emotional level it should better on the second watch.

I have never, in all of cinema, seen a movie that fits together as fluidly as Memento does. It transposes the celluloid film that it resides on and becomes more than a movie, but a cinematic experience. It's orgasmically engrossing, and brimming with intelligence. Christopher Nolan's genius shines through the camera for all to see, orchestrating what could be a confusing mess into a symphony of masterfully crafted images and smart prose. Guy Pearce is a joy to watch, delivering a really underrated and theatrical performance.

Not just a cute and charming comedy, but also a highly imaginative tale with some terrific artwork. Some wonderful performances from these young actors, and the script has tremendous heart to it. Definitely one of the best of the year.

Christopher Nolan performs a cinematic miracle to create Following, a modern film noir, that betters "classics" like Maltese Falcon and the Big Sleep by starring an egmatic and fascinating lead, and a plot to boot.

Rian Johnson's twisted genre detective story is a real treat in 2006's cinematic wasteland. Inspired by 40's film noir, Johnson spins a high school murder mystery, with Shakespearean writing skill, and stylish directing.

A brilliant script highly reminiscent of Paul Schrader's Taxi Driver is the backbone of this deeply disturbing and taught thriller. The eeirly beautiful narration of Dench sends shivers up and down the spine, and her performance is (as usual) quite exceptional. Blanchett, who I've never been crazy about as an actress, delivers a devastatingly convincing portrayl, and forces the audience to empathize with her despicable character. The director kind of just stands back and lets the phenomenal script play itself out through the cast, and the film succeeds in every way it should. Bill Nighy's work as husband to Blanchett needed to be scaled back just a tad, but ultimately it doesn't hurt the movie that much. If I were to nitpick, I would say this isn't a masterwork because the casting of Judy Dench was a mistake. Not that the woman isn't the best for the role, not that she's not talented, not that she doesn't do a great job, but I thought as a director, that the film would have been even more creepy and disturbing, if she was played by an unknown actress. But a really underrated film here, certainly one of the best of the year.

Kaufman manages to create a twisted and introspective story about the frusteration and futility of life, while still being mindful of all the other themes abundant in the material. Beautifully constructed, original, and strongly acted. Jonze's direction provides a much needed clarity to Kaufman's bizarre narrative.

Payne's most recent effort, while not my favourite, is his best. The direction is unobtrusive and subtle, and it reminds me somewhat of The Shawshank Redemption, in that it's one of those few films that transcends the medium, and the audience becomes unconcious of the fact they're watching a movie. Giamatti's brilliant piece of character acting is some of the most underrated work in the history of all cinema, and his casting by Payne is the embodiement of perfection. The themes of this picture might not hit everybody quite right, but it truly is beautiful, with a slightly European sensibility that gives it a terrific artsy edge.

A truly heartbreaking story about a great everyman character, and Nicholson's portrayl is mesmerizing. Payne brilliantly steps back, and lets this story tell itself, and channels the perfect performances to great effect. Not as funny as a lot of people claim it to be either, but rather a somber and resignly depressive.

The best sleeper hit of a film I've ever seen. It's so unconvetionally brilliant that most movie-goers fail to appreciate the powerful subtleties involved in the character work.

The best heist film of all time was panned by most Tarantino fans, but just because it lacks the cool factor of Reservoir Dogs and Pulp Fiction, does not make it less of a movie. The cast is phenomenal, and Taratino's direction is skillful and clever. The film is exhuberantly entertaining, as well as being deep in it's character development.

The simplicity of Shawshank is it's genius. Roger Ebert said it best when he described it as one of the few films in history that the viewer watches without the concious knowledge that what they're are watching is unreal. It's just like being there. Darabont's storytelling is superb, surely some of the best work the cinema-going audience has ever had the pleasure to watch. There's an intangible quality about The Shawshank Redemption that really makes it a timeless picture.

What more can you say about the Manchurian Candidate other than it's perfect. But unlike some classics uttered in the same breath, it's original and full of creative sparks in the writing, as well as being genuinely enthralling.

Jesus Christ WHERE THE FUCK HAS THIS MOVIE BEEN? This is a haunting and powerful character portrait, played with such an amazing sense of self-conciousness onscreen that Hoffman would make Pacino and Cage envious. More known for his acting work, Todd Luiso displays a knack for creating dramatic poignancy, and his indie masterpiece should be praised for it's fantastically depressing tone, and emotional punch.

Seemingly objective in it's narrative, but on a re-watch is slyly manipulative and powerful. Big kudos to Clint Eastwood.

I'll admit that I wrote this film off when I learned that it somehow beat both The Elephant Man and Raging Bull for Best Picture in 1980. What kind of movie could compare to the emotional power of The Elephant Man, or the tightly wound intimate study of Jake LaMotta in Raging Bull? Probably another Academy flub I said. Well let's not mince words. That was a pretty idiotic point of view on my part. Here I am putting off watching it, and when I finally get around to it it turns out to be one of my favourite films. Make no mistake this film does not make it's way through a two hour run time without a few awkward scenes and the editing is often quite jarring, but the story and the acting and Redford's tender direction overcome every flaw. Rarely do you see regular everyday people fleshed out so accurately onscreen, and even rarer do you see those same characters in a story told so ineloquently that you could swear it was happening in real time right before your eyes. I loved the total lack of style in this movie, Redford just lets the drama happen for you, without trying to alter it or make you see it a certain way. I can see how people could dismiss this movie, but really it is a great piece and everyone should give it a chance.

A magical piece of cinema, too often forgotten in Jimmy Stewart's repetoire of fabulous work. His charming and nuanced performance makes this simple but powerful story work on a gut emotional level. Wonderful movie.

Watching Jimmy Stewart perform is astounding. To see a man play one specific character brilliantly is something, but to see him play that one character, but at the time representing millions of others is a cinematic miracle. Stewart's perfect embodiement of the American everyman and Capra's complete understanding of humanity and our very inner workings makes this piece beyond brilliant, and I think the greatest motion picture of all time.

Very smartly structured, with a gentle stroke from director Ron Howard, and a fascinating character from Russel Crowe.

Richard Kelly's cult masterpiece is a film light years ahead of it's time. A plot that boggles the mind, a directorial style unlike anything seen before, a stunning lead performance, and a sheer genius screenplay.

Possibly the best foreign language film of all time. Strikingly beautiful, elegant, and classic.

The most remarkable film achievement of all time. I honestly did not believe anything like this was possible until I saw Peter Jackson and his team pull of one of the most amazing cinematic creations of all time.

Like the 2001 masterpiece Fellowship of the Ring, Titanic is an incredible achievement, whose flaws are overwhelmed by sheer directorial brilliance and technical mastery. Cameron's writing as per usual is a little corny and unrealistic, and the acting from a few cast members is shaky, but I love watching it and just oggling at the majesty of it's construction, and the time and effort that went into every shot. No doubt about it, this is what movie making is all about.

Without a doubt the best science fiction film ever made, the Wachowski's bible inspired techno-punk styled apocalyptic tale is an ass-kicking thrill ride with mind blowing visual effects.

An odd movie to fall in love with, but that's what I've done. Kathy Bates is terrifying and empathetic as Annie Wilkes, and Reiner directs with great care.

Stunning in it's perfection, and touching in it's humanity. Nicholson and the whole cast are brilliant.

Absurdly fascinating, filmmaking with serious balls. Fincher's direction is inspring.

This is a ghastly underrated thriller, powered by a terrifyingly intense performance from Robin Williams. The first time direction of Mark Romanek is astonishingly effective, calling to mind the (good) work of M. Night Shyamalan. The colour palatte and some of the visual ideas from Romanek's mind in this film are horrifying, but absolutely gorgeous.

Perfectly structured, skillfully directed, and acted with for the most part quite well.

A different kind of love story. Maturely written, strongly developed, and brilliantly played by the actors. Kar Wai Wong's visual approach to this film is stunning, he moves the camera and utilizes different frame rates to create some of the most haunting and romantic moments I've seen. While at times I got a tad confused, and I thought the ending left me a little bit let down, I still loved this film. So much depth in the characters, a perfect blend of foreign culture and familiar feelings. Highly recommend this movie.

A hot-blooded and lively American independent film that is not only Spike Lee's finest film, but one of the best from the early stages of the independent movement that featured work from people like Quentin Tarantino, Richard Linklater, PT Anderson, and Michael Moore. Do the Right Thing is smartly socially aware, but street wise as well, bringing it's message to the viewer in an easily accessible and entertaining package. Even the production values on this film were surprisingly god, with Lee making the best of use of the camera I've seen in his career. But Christ the guy can't act to save his life. He's got to stop casting himself in his movies. Everybody else was fantastic though.

Poetic and profound filmmaking. A truly mesmerizing performance from Juliette Binoche, sound design that is out of this world, and forceful and innovative direction scene after scene. This is a perfect example of the grace and power of European cinema.

This film deserves 5 stars simply for for being one of the most distinct and memorable pieces of cinema to emerge from the wave of new media artists that are completely changing the way movies are made and distributed. Godard says cinema is dead. If movies like Four Eyed Monsters are any indication of what we can expect in the future, I would be inclined to disagree completely.

An inspiring work.

"I remember in grade eleven it seemed like there were so many possibilities after high school. I remember I was excited and nervous about all these things to choose from, but when I finally got to grad it seemed like there was only a small handful of things left to do and... I wondered where all the choices went"

"You have to be out in the world a while before you realize it's not the place you want to be"

"I feel like I barely have enough time to keep my head on straight thinking about the things I need to think about now as it is"

Sound familiar?

Generation Why is a low-budget independent film from Calgary, Alberta, Canada that attempts to express the all the feelings associated with the time after graduating from high school. If you've felt frustrated, confused, and uncertain about your place in the world, then this movie is for you.

Thoughtful, smart, perceptive, and naturally performed by a talented cast this is one of those feature films that proves the potential for great art to be created outside of conventional production methods.

Please take time to check out our website for a full plot synopsis, cast bios, images, videos, screening details, updates, and other links. We are available to follow on facebook, myspace, youtube, and twitter.

www.generationwhythefilm.com