I’m not among the many who believe 2007 was an “INCREDIBLE YEAR” for movies. Still, it was pretty damn good and a definite step up from the past couple of years (especially the dreadful 2005), I found the big problem though was that it filled with films that were brilliant technically but failed to make that extra connection. And those that did make that extra connection tended to fall just short technically. I actually think there’s a HUGE GAP between the first couple of films on my list and the rest. It’s always a blurry line between “BEST” and “FAVORITE” but I’ve always had a theory that once you get to the top of any list like this that line starts to fade.
When compiling what I felt were the best films of the year I look for movies that excite me as a fan AND a critic, which is more difficult than you might imagine. When I could only find one that was able to do both equally my top choice became crystal clear. I should want to go running down the streets screaming to the world how much I love my top film and be able re-watch it multiple times, discovering something new with each viewing. It should be able to stand the test of time, with me being unable to look back and ask, “What the hell was I thinking?” when I made the choice. There’s no foolproof guard against that other than going with your gut, yet it must work because somehow I’ve yet to make a selection in any past year that I’ve regretted later.
It’s funny the tricks that time plays on your perception of certain films. I was certain that movies from earlier in the year like Grindhouse and The Lookout would make the list. They didn’t. Going in I was 100 percent sure that The Mist, which I loved and actually re-watched in preparation to do this, had a spot locked up. It didn’t. I’m still not sure what happened there but it can't speak too well for the horror genre when the best executed horror movie in years can’t even crack my top 10. Looking back, of the two Westerns released this year, I can’t believe I actually thought at one time 3:10 To Yuma was a superior to The Assassination of Jesse James By The Coward Robert Ford. Jesse James ended up staying with me long after the final credits rolled. Yuma did not. And what was I thinking giving 4 stars to Shoot Em’ Up? Talk about over-praising a film.
I guess it’s to the Academy’s credit that four out of the five Best Picture nominees made my list, but unfortunately the one that didn’t ended up winning. Oh well. If anyone had told me a year ago that a period costume drama, 2 (!) family films and vehicles starring George Clooney and Justin Timberlake would make my list I’d tell them they were crazy. As much as I tried to avoid it happening, a film I didn’t review made it, but given the sheer glut of movies released within a calendar year that possibility was almost inevitable. I also didn’t want to declare any ties, but that happened too. When I asked myself whether I could sleep the next night without both of them making it and the answer was “no” the decision became a no-brainer.
Only two out of the ten films ended up going the distance from very early in the year to hold on and make cut. Two of our greatest living directors, David Fincher and Paul Thomas Anderson, both contributed very strong efforts but neither was able grab the top spot. It was a strange year…at least for me. As I waited until I saw everything to do this it was my secret hope that my list wouldn’t look exactly like everyone else’s, but if it did I’d be fine with it so long as the right choices were made. For the most part it does look like everyone else’s, with one very glaring exception. The list counts down from the bottom up and following it is an "honorable mention" category. Enjoy.
10. (TIE) Bridge To Terabithia (Director- Gabor Csupo)
I saw this one very early in the year and regrettably didn’t block out the time in advance to review it. That I didn’t should tell you how bias I am against most “family” films and that I put it on here should let you know how special I think it is. The most mismarketed film of 2007 was pitched to audiences as a Chronicles of Narnia rip-off with fancy CGI and wondrous creatures. That's such a small part of this. In truth, it’s a touching story of friendship and loss that echoes My Girl and Little Manhattan with a touch of Pan’s Labyrinth, except maybe better than all those. Had they advertised it as it was, however, it’s possible no one would have gone to see it, which would have been beyond a shame.
In conveying the importance of tolerance, creativity, hard work, loyalty and imagination without ever once piling on the clichés or preaching, it features two of the best children’s performances I’ve ever seen from Josh Hutcherson and AnnaSophia Robb. The smaller adult roles are treated with just as much care as Robert Patrick is for once in his career given an unlikable character to play with real depth and it’s the rare film that actually seems to know the gift it’s been given with the presence of Zooey Deschanel and doesn’t squander it.
Those reasons above would be enough for it to make this list even if everything else in the picture were garbage, but it’s far from it. It could have coasted along, smiling and skipping its way to the finish line ignoring Kathleen Paterson’s 1977 Newberry Award winning source material and still have been a very good film. But credit Disney and Walden Media for realizing that by staying true to the absolutely horrifying third act there was a chance to do something GREATER. At first I was angry at the dark twist the story took, but it wore off quickly when I saw the intelligence and dignity with which Csupo and screenwriter David Paterson (the author’s son, whose childhood experience influenced the novel) handled it. Assuming they’re of the appropriate age (and not being a parent I wouldn’t dare speculate on what that is) I’m willing to bet children will leave this picture feeling more inspired than traumatized. I’d even go so far as to say it could invoke a positive change in their lives.
I’ve yet to meet anyone of any age or gender who saw it and wasn’t fighting back the tears as it reached its conclusion. Only one other movie moved me more this year and that one’s near the top of this list. A great film is a great film regardless of whether it’s considered a “kid’s movie.” If you ask me, adults probably have more to learn from it since kids can often be smarter than we give them credit for. There’s so much more to talk about but I can’t at the risk of giving too much away. Everyone underestimated the difficulty of what this movie had to pull off. It’s the best family film in decades and and recalls an era when seeing the Disney logo on a project actually meant something.
10. (TIE) Ratatouille (Director-Brad Bird)
Is there any movie this year (other than Juno) that had a worse premise on paper? A rat travels to Paris to become a gourmet chef. The idea of rats in the kitchen isn’t exactly appetizing nor is it likely to have small kids begging their parents to see a film tackling the subject. I saw this when it was first released in theaters and an interesting thing happened. The adults were laughing and transfixed by what was happening on screen while most of the children were restless and bored. Despite the film being rated “G” a lot of the humor is for adults and I think some of it may have flown over young audience’s heads. But like the other Disney film that shares its spot on this list, assuming they’re the right age, they’ll love it and find a lot to extract from its message of tolerance and cooperation without being hit over the head with it.
It’s a huge step up to the highest level for director Brad Bird (who previously helmed The Incredibles and the criminally underrated The Iron Giant) and a landmark release for Pixar. You’ve never seen animation look this beautiful and crisp and if you visited Paris yourself I’m guessing it probably wouldn’t look half as good as it does here. It boasts peerless voice work from Patton Oswalt, Ian Holm and Peter O’ Toole and is also one of the few animated films to deservedly earn a Best Original Screenplay Oscar nomination. There’s a speech toward the end of the film (delivered by O’Toole’s evil food critic) that’s among the best dialogue written for any film this year, animated or otherwise. It was so deep and multi-faceted it’s almost impossible to believe an animated character is delivering it.
At the beginning of the film we’re told that “Anyone Can Cook” and Bird takes that relatively simple notion and expands it to mean so much more than that and in the process give us a family classic that can be revisited time and time again. There were a lot of technical achievements in film this year and this could be grouped among them but where it breaks from the pack is in taking that extra step to reach out and do more. One of the year’s most magical filmgoing experiences.
9. The Assassination of Jesse James By The Coward Robert Ford (Director-Andrew Dominick)
“Yes, the title's too long. And yes, so is the film. And it isn't even the best Western released in 2007.”
That ridiculous statement was written by none other than myself when I reviewed The Assassination of Jesse James By The Coward Robert Ford back in February. There was a lot of shifting and feeling out as to what deserves to make this list and what doesn’t, especially at the bottom. It was amazing how films I hadn’t previously given the time of day to held up really well and those I loved months aged poorly on second viewing. A “so what” feeling even accompanied many of them I re-watched. I still found them somewhat great, but so what? They were just great and entertaining. There was nothing else there and I couldn’t justify including them.
There’s no “so what” with this. After watching Jesse James again I now more fully understand my initial, less than stellar impression of the film and why I reacted the way I did. It isn’t the kind of movie that provides instant gratification and on a first viewing all you’re doing is concentrating on how long and slow it is. It isn’t “knock your socks off” action/adventure Western like 3:10 To Yuma. But when Yuma ends, it’s over. This film never ends as certain scenes constantly play over again in your mind . It just sits there ingrained in your consciousness just waiting for the opportunity to be viewed again. And when it is a different result emerges. It isn’t too long or too slow. You realize there’s simply no other way for a story like this to be told effectively. It engulfs you in its dream-like atmosphere.
The haunting narration and cinematographer Roger Deakins’ unforgettable visual rendering of the Old West (which should have won the Oscar) make this less a film than a work of art, a novel captured on film. It’s a no-brainer that this is the most beautifully shot film of the year so let me go a step further and say it’s probably the best shot Western ever made. And with apologies to screenwriting guru Robert McKee, isn’t it about time we finally admit that voice-over narration (employed by no less than three other films on this list) can, if executed well, enhance a film tremendously?
Maybe I approached it all wrong in assuming that the film was actually about James and the wussy man-child Ford (brought to wimpy, pathetic life perfectly in an Oscar nominated performance by Casey Affleck) who worships him. It’s less about the legend and more about us, our celebrity obsessed culture. That should make the casting of Brad Pitt as James a stunt but the actor transcends that notion by delivering what’s hands down the best performance of his career. Rarely has an actor manipulated his own image to such successful effect as Pitt does here.
You’re on pins and needles and in a constant state of discomfort wondering what the unpredictable, wildly inconsistent Jesse James will do next. He doesn’t even know what he’ll do next. And when he’s gone we’re forced to reevaluate everything we initially thought of him and the film itself. In the final half hour when we expect the dust to be settling and the film to start crawling, Dominick makes it come alive in the most dazzling way, reversing our expectations and proving just how important it is to finish strong. 2007 was truly the year of the throwback film but classifying it as just that denies how timely (and timeless) it really is. It may not be for everyone, but try naming 10 better films released in the past year.
8. Juno (Director- Jason Reitman)
Rather than talk about the actual film (since we all know the last thing it needs is more exposure) I’ll use this space to go on a rant instead. There was a time not too long ago when a movie like Juno could have actually meant something. Expectations would have been lowered and it would have been worth rooting for. Unfortunately, Fox Searchlight and the media took it upon themselves to shove it so far down our throats that we were choking. The victim of an epidemic that’s reached alarming proportions in recent years: The over-aggressive Oscar campaign. Normally that wouldn’t bother me but it does here because I actually thought the movie was excellent.
If I had one wish though it would be that screenwriter Diablo Cody held back a little in the first 10 pages of the script with all the hipster dialogue (the only minor flaw in an otherwise superb script) so the haters wouldn’t have all that ammunition. Oh, by the way, did you hear that she used to be a stripper? Argue all you want about the quality of her script, but you can’t tell me Jason Reitman and his cast didn’t handle it as well as humanly possible and mine everything they could from it.
I think everyone knew going in Ellen Page would be perfect (and she was), but what about Jason Bateman? Am I crazy or would we have had a far worse movie if another actor were playing that part? Juno is neither as good or as bad as everyone has said it is and at its worst it’s still better than many of the films released in 2007 (what that says about the year is open for interpretation). And whatever you think of it I’m sure we can all universally agree that between the hype, the backlash to the hype and the backlash to the backlash to the hype, the whole thing was a nightmare that hopefully will never be repeated again.
And here’s something you may not have heard about Juno and why I think it works. Reitman and Cody took the most thankless topic imaginable (teen pregnancy) and did something unique and memorable with it. No other film on this list had more problematic material to work with and accomplished so much with it. We’re all about to find out just how talented Reitman, Cody and Page really are because their careers may have been permanently damaged by all the nonsense surrounding this film. It looks like they (and us) have a huge challenge ahead in recovering from all this chronic overexposure.
7. Atonement (Director- Joe Wright)
Hell has officially frozen over. A period piece starring Keira Knightley is on my list of the year’s best. There wasn’t a movie in existence this year I had LESS interest in seeing than this one, but thank God I did. Another film that plays with perceptions. You think it’s going somewhere but then takes a detour into entirely unexpected territory giving the film an added emotional kick. That problem I mentioned about certain films being brilliant technically but missing that extra special something? Not an issue here. Besides being a technical marvel (witness the now infamous 5-minute long Dunkirk tracking shot) it contains a twist ending that would make M. Night Shyamalan turn green with envy.
Nearly all of its emotional power is contained in the final minutes with a sucker punch to the gut that reveals the story was far more powerful than we originally suspected. I prepared myself for a sappy romance, but instead was handed a deep meditation on the power of storytelling that’s impact only increases in repeated viewings. The performances from James McAvoy, Knightley and Oscar-nominated Saoirse Ronan are all flawless, but I though the best one came from the criminally overlooked Romola Garai, who carries the most difficult part of the picture.
I never fully realized until viewing Atonement that, as much as I made fun of them in the past, how important it is to have big sweeping epics during Awards season (like 1996's The English Patient), and how much I’ve missed them. They used to be nominated all the time but it seems lately the Academy has been on this kick of trying to become edgy and cool by going with offbeat, smaller films. The result of which has been the unfortunate near-extinction of nominated movies like this, which make the little movies actually mean more. Without them smaller, supposedly “underdog” films (like you know what) can pick up too much steam and become overrated. That’s why this, despite earning a Best Picture nod, was actually UNDERRATED, if that makes sense at all.
6. Michael Clayton (Director-Tony Gilroy)
Another screw-up on my part. I first found Bourne trilogy screenwriter Tony Gilroy’s directorial debut barely recommendable and spent most of that review mocking star George Clooney and making fun of legal thrillers. While that was fun at the time I happened to see it again (and again after that) and realized something. It isn’t a legal thriller at all. It’s a gripping character study…and it’s perfect. Each time I watch it it just gets better. The movie Michael Clayton can best be described as the girl you meet at the party who doesn’t impress you all that much at first, but then the more time you spend with her, the more you start to discover things about her you really like. I changed my rating for this movie twice and looked like a major tool as a result of it. Except, those changes were justified. I was wrong.
Gilroy’s script is completely airtight, an unheard of achievement in the legal drama genre. There wasn’t a single event that occurred in this script was unbelievable or even stretched credibility in the slightest, which is miraculous given the plot. It starts with the most memorable dialogue-free scene of the year and then returns much later in the film. How we get back to it is a wild trip and the scene means that much more that second time.
Like Jesse James, it's a throwback, but this time to the intelligent, character-driven thrillers of the '70's like The Parallax View and The Conversation and at its center is work from Clooney that qualifies as both a great movie star and great acting performance. If Daniel Day-Lewis wasn’t in the race he would have won and deserved it. The supporting turns from Tom Wilkinson and Oscar winner Tilda Swinton are just as good if not better. The film also features one of the most emotionless, workman-like murders I’ve seen depicted on screen in a long time as well as a climax that will have you jumping out of your seat, pulse racing and cheering.
5. Zodiac (Director- David Fincher)
A David Fincher movie coming in at number 5 almost qualifies as an off year for him. Think about that for second. Even though Zodiac isn’t his best career effort he still made the top 5 with ease. That’s scary. I’d rank this way above Seven and (especially) Panic Room but below The Game and Fight Club. It could almost be considered the anti-Juno of 2007 because I’m convinced had it been released in December and not the Oscar dead zone of March it would have earned nominations for Best Picture, Director, Cinematography, Adapted Screenplay and Supporting Actor (Robert Downey Jr.) Why it wasn’t we’ll never know but its release date does nothing to dilute the power of Fincher and screenwriter James Vanderbilt’s gripping cinematic adaptation of Robert Graysmith’s non-fiction books Zodiac and Zodiac Unmasked.
Part police procedural and part character study it manages to keep us at a terrifying arms length from the killer while at the same time bringing us closer to him than we’ve ever been before for nearly 3 gripping hours. Downey is typically amazing as the troubled San Francisco Chronicle reporter who befriends the paper's curious and later obsessively compulsive cartoonist Graysmith (played with reluctant precision by Jake Gyllenhaal).
It’s All The President’s Men for a new generation as Fincher and his cinematographer Harris Savides brilliantly realize late 70’s San Francisco at the height of the Zodiac killing spree. Years pass but we feel his legacy grow along with Graysmith’s obsession. Character actor John Caroll Lynch as Arthur Leigh Allen (the man who may or may not be the killer) in just one heart stopping interrogation scene, brings to frightening life our worst fears of what he may be. Credit him and Fincher for exceeding those wildest expectations. One of the most underrated and overlooked films of 2007.
4. There Will Be Blood (Director-Paul Thomas Anderson)
If I were going by which film “technically” was the most impressive of the year this would win hands down. The mitigating factors necessary for this to be considered the absolute best may not be present but everything else is. Anderson is a filmmaker known for taking huge risks but he may have taken his biggest risk yet by reversing all of our expectations in making a period epic and playing it mostly straight. Looking at his other previous work it would appear he’d be way over his head and out of his comfort zone here but you’d never know it watching the film.
Almost Kubrikian in its execution, Anderson uses Upton Sinclair’s novel, Oil! as his basis to tell the story of prospector Daniel Plainview whose greed during the turn-of-the-century oil boom destroys everything and everyone around him. Yes, Daniel Day-Lewis is every bit as incredible as you heard he was and of all the Best Picture nominees this year, this is the one that should have won, not No Country For Old Men. You could mention it alongside such classics as Lawrence of Arabia and not be too far off the mark. It really is that good. Of the films on this list, this wins as most likely to enter the American Film Institute's Top 100.
Between Robert Elswit’s sweeping cinematography, Johnny Greenwood’s loud, pulsating score and a final 20 minutes that’s just about the darkest and most depressing thing you could ever imagine seeing on screen, this is a new classic. The American dream is built up, then dragged straight to hell kicking and screaming. Despite what the media tells you, it’s not a film about just milkshakes and catchphrases. It will never go down as my favorite P.T. Anderson picture (see Boogie Nights for that), but it’s probably the one I have the most respect for.
3. I’m Not There (Director-Todd Haynes)
Bob Dylan finally has a movie as bizarre, inaccessible and polarizing as he is. And for fans of his this is a dream come true. Haynes uses six different actors playing seven different versions of the legend at various stages of his career and life. Each one brings something different and special with none of them ruining the enigmatic aura that’s always surrounded him. A big fuss has been made about Cate Blanchett’s Oscar nominated turn as the egotistical jerk Bob Dylan from the Blonde on Blonde era we’re all so familiar with. There’s no doubt it’s impressive and dead-on in its accuracy, but I was more interested in the others. Like Christian Bale’s bizarre and compelling take on Dylan’s religious conversion, Richard Gere’s underrated interpretation of his reclusive later years, and most unsettling of all, Heath Ledger’s troubled movie star with the rocky marriage.
You could ask a dozen different people and probably get a dozen different answers as to what it all means or what it says about Dylan, or if it really even says anything at all. There are so many different things going on at once it’s impossible not to be transfixed (even if you hate it) and while everyone will have certain sections of the film and performances they favor over others, Haynes never stays with one long enough that you’d get antsy. With certain sections filmed in good old black and white it’s also one of the most interestingly shot movies of the year and the only one other than my number one pick that I feel showed me something I've never seen before.
2. Into The Wild (Director- Sean Penn)
When most films reach their conclusion I’m left thinking about the direction, the performances, or maybe the script. Not here. When Into The Wild ended all I was thinking about was THE MEANING OF LIFE. That’s how deep it cuts. In telling the story of Christopher McCandliss, who abandoned his family and worldly possessions to head off into the Alaskan wilderness, many accused Sean Penn of glorifying the journey. Well…what was he supposed to do? Penn told this story exactly how it should have been and he doesn’t, despite popular opinion, ignore the fact that this kid’s actions were misguided and selfish. We’re not supposed to necessarily like him, just come to some kind of understanding why he felt compelled to take the actions he did. Emile Hirsch, quite simply, gives the performance of his life while Eddie Vedder’s music plays just as an important role in telling the story as any line of dialogue in the script.
I’m glad I’m not a voting member of the Academy because it would have been impossible for me to put objectivity aside and cast a vote for Javier Bardem as Best Supporting Actor. With not much more than 10 minutes of screen time acting legend Hal Holbrook gives one of the most heartbreaking supporting turns in years as the aging retiree forever changed by McCandliss' journey. Everyone knows how this one ends, but that doesn’t make it go down any easier. Quite possibly Sean Penn's most important and unselfish contribution to cinema, either as an actor or director.
I should point out that the reason this movie is not in the number one position has nothing to do with any shortcomings on its part. It’s flawless and actually better than many of the films I’ve picked as my top choice in previous years. I even tried this out in the top spot but it just didn't work. And believe me I really, really tried. It just didn’t FEEL RIGHT. I knew what film was the best of 2007...
1. Southland Tales (Director- Richard Kelly)
Maybe the most ambitious and self-indulgent brilliant mess of a movie I've ever seen. With the pressure to follow-up his 2001 cult classic Donnie Darko, Richard Kelly was given (you could argue unjustifiably) the budget and free rein to do whatever he wanted for his sophomore effort. And THIS was his response. If you think about it, that’s pretty funny. When I first heard about this film a couple of years ago and found out who was behind it and the actors attached to star, I couldn’t wait. That enthusiasm started to diminish when the release date started to constantly be pushed back and word leaked of disastrous early screenings (like the infamous one at Cannes). If you had told me a year ago that this film would be sitting at the top of this mountain I would have jumped through the roof, but I started having serious doubts, not only that it could be as good as I hoped, but that it could be any good at all. I also know whenever a filmmaker tackles a project with this ambitious the potential for disaster is enormous. But it ended up not only being as great as I wished it could be, but a million times better than that.
In my review of this a couple of months ago I compared it to Dr. Strangelove and Brazil and that wasn’t hyperbole. I’d put it right up there with those, which is appropriate considering both weren’t received well at all by most critics and audiences upon their release. They later came to be appreciated as cult classics and after that took their place as being genuinely respected as important, groundbreaking films. All I can do is just wait and cross my fingers but if it doesn’t pan out that way it’s okay. The public’s perception can do nothing to diminish my love for this film. There are a lot of fantastic movies on this list but all of them (with the exception of maybe number 3) are great in ways that could be duplicated in the future. This can’t. Even those who think the film failed (and I know there are many) would admit it did so more interestingly than many others succeeded in 2007 and could only have been made by a true visionary.
Every time I watch it (four times and counting by the way) I notice details I never saw before and the second it ends I have this burning desire to just start over and see it again. I think that’s because the story twists in so many different directions that you could come at it from any angle you choose. If you wanted to just watch it as a slapstick comedy you could. It works equally as well as an action/adventure film. You can shut your brain off and choose to not even bother following the plot (which does eventually reveal itself as a brilliant construction that holds together perfectly) or you can attempt to put the pieces together as you go along. Unfortunately, most chose to view it the one way they probably shouldn’t: Literally. As if it were trying to make some deep, important thematic point. IT’S A SATIRE. It knew how to have fun, which is something too many of the year’s films completely forgot how to do.
In creating an alternate 2008 Richard Kelly came closer to depicting the world we live in now than any of the serious dramas released in 2007. It actually comes way closer than people are ever likely to admit and is only cinematic effort this year to incorporate politics and the Iraq War into its story successfully. It can also boasts an awesome score from Moby, mind-boggling visuals and one of the most memorable musical numbers ever committed to celluloid. In short, this is one for the time capsule.
It would be tough for me to claim that it’s filled with our generation’s greatest actors, but I can argue they’re among our most entertaining celebrities and all deliver terrific performances, pushed and challenged like they’ve never been before in roles no one imagined they could play. Kelly was smart enough to know a film this insane warranted casting choices that were equally crazy. Just get a load of this:
-Dwayne Johnson as an amnesiac movie star with ties to the Republican party.
-Mandy Moore as his bitchy, slutty wife
-Sarah Michelle Gellar as a porn star and aspiring reality talk show host
-Justin Timberlake as a wounded Iraq war veteran
-Seann William Scott as kidnapped twins
-Jon Lovitz as a psychotic cop
-Midgets (in S.W.A.T uniforms!)
Special mention should be made of Johnson, Gellar and Scott who deliver performances way beyond what anyone thought they were capable of. Especially Johnson, who I’ll never refer to as “The Rock” again after witnessing what he pulls off here. Most filmmakers would consider themselves lucky if they accidentally made one cult classic in their career. Kelly wrote and directed two…intentionally! As a human drama Darko wins, but as a work of science fiction it’s got nothing on this. I feel with Southland Tales Kelly made the kind of film I always secretly wanted to see, whether I was consciously aware of it or not. And I suspect it's infuriated so many because it challenges the perceptions of what we feel movies are capable of and what they can do. It's a misunderstood masterpiece.
Honorable Mention (in no particular order):
The Lookout (Scott Frank)
The Mist (Frank Darabont)
Superbad (Greg Motttola)
Grindhouse (Quentin Tarantino/Robert Rodriguez)
No Country For Old Men (Joel and Ethan Coen)
Gone Baby Gone (Ben Affleck)
American Gangster (Ridley Scott)
3:10 To Yuma (James Mangold)
Margot At The Wedding (Noah Baumbach)
Rescue Dawn (Werner Herzog)
Live Free Or Die Hard (Len Wiseman)
Alpha Dog (Nick Cassavettes)