My Top 10 Films of 2007

*Note: The following is part of the continuing "10 FOR 10" series in celebration of ten years of "Jeremy The Critic," in which my choices for the top 10 films of each year from 2006-2015 are revealed. 2006 can be viewed here. This installment will be focusing on 2007.  

                                                                            2007

How great a year was this? It was so great that, for change, I actually did compile a belated Top 10 List for it in 2008. But we'll just have to throw that out the window because a lot can change. The biggest leap of faith in tackling this project was trusting that enough time has passed that I'd "just know" what my top 10 films of each year are. That understanding is seriously tested with '07, the strongest movie year of the entire decade and the cinematic fuel that kept me going to the point we've arrived at now.

Surprisingly, when it came down to the much anticipated Zodiac vs. Southland Tales vs. Into The Wild vs. There Will Be Blood showdown, I knew. You try out a couple of films in that top spot and it just feels wrong. It's a testament to the staying power of David Fincher's Zodiac that this is the closest this obsessive procedural has come to getting that spot and when Paul Thomas Anderson's masterpiece, There Will Be Blood is coming in at number four, you know it's a formidable field like no other. He'll have another shot later, as will Fincher.

Given the current events, Southland Tales seems more prescient than ever, and remains one of my favorites regardless of contrary popular opinion, which seems to have shifted toward my side of late. It's so unusual that honoring it with a best of the year honor feels almost like an insult as it defies labels of any sort. It's simply something else entirely. After an initially lukewarm reaction, I've come around on No Country, which in hindsight stands as one of the strongest Best Picture winners of the modern era, despite its controversially wide open ending. Michael Clayton is such a well-oiled machine, the idea of seeing it in the number one spot is far from absurd, as it boasts what's easily the best performance of Clooney's career.

To the likely delight of anyone who's seen it, The King of Kong becomes not only the first documentary to place, but my first unreviewed pick, forcing me to come up with a quote that somehow, at least partially, does it justice. I'm Not There, The Assassination of Jesse James and Atonement all held strong, whereas inclusions from the last list like the poorly aging Juno, Ratatouille and Bridge to Terabithia got knocked off, with only Terabithia earning runner-up status alongside Superbad, The Lookout, Alpha Dog, Once, American Gangster, The Mist and Gone Baby Gone.

This leaves us with Sean Penn's Into The Wild, an experience that only seems to grow richer with each passing year and rewatch. Techically undervalued and emotionally transcendent (who can forget that scene on the street with William Hurt or any featuring Hal Holbrook?), it's still the film from that year I get the most out of and best connect with. But the real winners were moviegoers and critics spoiled by all these quality titles in a loaded 2007.  


10. Atonement

"I’d call it a 'twist ending' but that would be inaccurate since the beauty of it is in how it follows the narrative course set from the beginning. We just never bothered to notice. It causes you to go back to reevaluate every scene and word spoken in the film and view it in a completely different context. At the beginning I nearly giggled at how much the script expected me to care about these young lovers and the seemingly contrived situation they found themselves in. By the end, it's no laughing matter." - 3/30/08


9. The Assassination of Jesse James by the Coward Robert Ford

"(Ford's) obsession with James also causes him great embarrassment and humiliation at the expense of his brother and his peers who view him as nothing more than a pathetic, whiny little boy who would do anything for his hero. They're right, and Ford's resentment over the situation builds slowly , leading him down a moral path he didn't think himself ever capable of traveling." - 2/14/08


8. The King of Kong: A Fistful of Quarters

"When creepy, mullet-haired Donkey Kong champion Billy Mitchell appears to be physically stalking earnest challenger and potential successor to his throne, Steve Wiebe, at the arcade, we realize that within the framework of a non-fiction documentary, director Seth Gordon has managed to create a good vs. evil dynamic surpassing any superhero movie. And it all actually happened. The phrase, 'You can't make this stuff up' has never seemed more applicable."


7. I'm Not There

"...while most films have only one method of entry, this has seven, with a new way to get in each time. Any way you approach it, you end up knowing no more about Bob Dylan the person than you did before, and that’s okay. He remains exactly as he should be: An enigma. And in telling us nothing about him, Haynes somehow reveals so much more than we could have hoped." - 5/9/08


6. No Country For Old Men

"The film, set in 1980, finds a way to remain very much of that time period while still telling a story that’s just as relevant now. The Vietnam wounds are still fresh in these characters’ minds and there’s a new kind of evil emerging. It’s an evil Sheriff Bell and even his father’s generation before him couldn’t have possibly prepared for. It’s encapsulated in Anton Chigurh and Bell wants no part of it. With time passing him by and retirement on the horizon, he’s just going through the motions and would likely prefer not to come face-to-face with this monster. If he does, he’s through." - 5/13/08


5. Michael Clayton

"There isn't a single twist or turn in the film that's revelatory and the plot is one we've seen before. It moves methodically toward its predestined conclusion. And yet, it succeeds by executing its premise with laser-like precision and uncommon intelligence. Gilroy knows what he has to do and does it expertly, not getting bogged down in silly sub-plots or unrealistic situations. It also features the best performance of George Clooney's career, as well as two more supporting performances of nearly equal value." - 2/20/08


4. There Will Be Blood

"Some have criticized Day-Lewis' performance as being hammy and over-the-top and it sort of is, but what's so remarkable is how he turns those qualities into attributes that deepen the story's psychology. On a first viewing it may not be entirely noticeable, but on repeated ones it comes clearly into focus. And surprisingly, that only makes Plainview's downfall scarier and that much more desperate. Even while hating him with a passion, we still care deeply about his fate." - 4/11/08


3. Southland Tales

" It helps that Kelly is an equal opportunity offender, hilariously taking swipes at both sides. It works as a hysterical spoof of everything from YouTube to cable news channels to celebrity culture. Maybe it’s just my weird sense of humor, but I laughed harder during this than any mainstream comedy in years. Labeling this a masterpiece is false advertising if only because it’s just such a beautifully flawed mess. Perfect in its imperfection."- 3/24/08


2. Zodiac

"Of the many cryptic notes sent from the Zodiac, one left the most lasting impression. It reads: 'I am waiting for a good movie about me.' He gets a great one. But you can't fight the uneasy feeling that maybe he's still out there and knows it. If that's not enough to send chills down anyone's spine, I don't know what is. Unfortunately, by making such a brilliant film about one of our country's greatest unsolved cases, Fincher may have also given this deranged killer exactly what he wished for all along." - 7/30/07


1. Into The Wild

"You’re not sure whether to be angry at or feel sorry for this admittedly selfish protagonist and Penn wisely doesn’t force us to make such a determination. He’s not asking us to like McCandliss or condone his decision to abandon his life and family, but only to understand what he was doing made sense to him. Foolish as it may seem to us and those he encountered in his travels, he left this Earth on his terms. The degree of empathy you feel for him or his family may vary, but your heart will break for the people whose lives he touched along the way." - 3/7/08

Top 10 Films of 2007
1. Into The Wild (dir. Sean Penn)
2. Zodiac (dir. David Fincher)
3. Southland Tales (dir. Richard Kelly)
4. There Will Be Blood (dir. Paul Thomas Anderson)
5. Michael Clayton (dir. Tony Gilroy) 
6. No Country For Old Men (dir. Joel and Ethan Coen)
7. I'm Not There (dir., Todd Haynes)
8.  The King of Kong: A Fistful of Quarters (dir. Seth Gordon)
9.  The Assassination of Jesse James by the Coward Robert Ford (dir., Andrew Dominik)
10. Atonement (dir. Joe Wright)

My Top 10 Films of the Decade (Part Two: 5-1)

Click Here for Part One


5. Donnie Darko (2001, dir. Richard Kelly)

"I'm voting for Dukakis." Those are the first words dryly spoken at the Darko dinner table in October 1988, in the cult classic of the decade, Donnie Darko. Writer/director Richard Kelly's debut film, a time travel quagmire that's Back to the Future meets The Catcher in the Rye on acid is one of the many films on this list with an ill-timed release, far enough ahead of audiences that they had to catch up with it. It's understandable that on the week of September 11, 2001 the public wouldn't feel like warmly embracing a sci-fi mood piece that features a jet engine crashing through troubled teen Donnie Darko's (Jake Gyllenhaal) bedroom, nor favorably respond to his hallucinatory visions of giant rabbit anointing him savior of the world.

In the months and years following it would deservedly earn its cult status, yet it still feels somehow under-appreciated both as an ingenious genre bender and an angsty coming-of-age drama. At first, I didn't "get it," not realizing that full enjoyment of the experience has nothing to do with that at all. You could see the film as many times as you wish, immerse yourself in the details of the fictional "Philosophy of Time Travel" book, defer to the director's cut for more concrete answers (I've opted not to), but while the plot remains a brilliant, mulit-layered construct, it's actually the characters and performances that stay with you and demand revisiting. Donnie's relationship with Gretchen (Jena Malone) and the hypocrisy of the adults in the movie vividly brought to life by Beth Grant as the school's religious zealot and Patrick Swayze (in the edgiest role of his career) as motivational speaker Jim Cunningham. And of all the closing shots this decade, I have trouble coming up with anything more memorable than the one that ends this film. It's just perfect.

What's most shocking about Donnie Darko for me is that after a six year wait that was well worth it, Kelly would go on to write and direct a movie I believe is even better (see below). And although many would probably disagree with me on this next point, all the promise he showed in his debut feature would be fulfilled in the next two, creating a wholly original sci-fi trilogy and in the process making this film play even better in retrospect. It's just a shame even many of Darko's supporters don't see it that way, seemingly unaware of the risk-taking weirdness they signed up for nine years ago.



4. Southland Tales (2007, dir. Richard Kelly)

Defending Richard Kelly's messy, apocalyptic pop culture disasterpiece Southland Tales on the basis of creative perfection would be foolish (though it's perfect to me), but rallying behind its creative genius and far-reaching ambition isn't. Sure, there may have never been a Southland Tales without Dr. Strangelove, Brazil, The Book of Revelation, reality television, Fox News, Phillip K. Dick, T.S. Eliot, Robert Frost, Pulp Fiction, Mulholland Drive, Donnie Darko, Kurt Vonnegut, The Big Lebowski, MTV, Kiss Me Deadly, Saturday Night Live, Repo Man and Andy Warhol but where I differ with dissenters of the film is that this somehow makes it unoriginal or lacking an original voice. To me, the fact that a filmmaker incorporated so many influences that he obviously loves into a movie in such a unique way makes it MORE ORIGINAL to the point that the filmmaker's DNA is spread all over the entire picture, challenging whether the term "self-indulgent" should carry the negative baggage it does. It just doesn't work in a way we're accustomed to movies "working" and it couldn't possibly when the filmmaker has so much to say. Should Kelly have been reined in? Is it too sloppy? Maybe, but if that happened there's no way this would have been as much fun.

There's more going on in a single scene in this movie than many contain in their entire running times, and no matter what you think of what's going on, it's tough to turn away. Yet, it breaks every rule in the book. There isn't a single character you can actually relate to as a human being. The person who should be the main character isn't. It's jammed with sub-plots that seem to go nowhere and everywhere at the same time. And it's filled with enough voice-over narration to fill an entirely separate film. And I don't even know how to explain away the cruel irony that my favorite scene of the decade is a musical number. The thrilling scene in question (Justin Timberlake's hallucinatory lip synch to The Killers' "All These Things That I've Done" surrounded by Marilyn Monroe looking women in scantily clad nurses uniforms) does little from a narrative perspective to advance the actual story in any way, yet somehow the film feels like it couldn't exist without out. The plot isn't complicated there's just A LOT going on and things are moving so fast and bursting with all this energy that at times it's tough to keep up. What's really required is an open mind and repeated viewings. Story-wise all the pieces fit together perfectly, it's the underlying meanings and symbolism that require extrapolation.

We're so used to actors being chosen on the basis of whether they "fit the part" but here the game completely changes as everyone is cast ironically. The parts seems to be tailored to who's playing them in an intentional attempt to go against type in a way that spoofs their celebrity and pushes them as actors to go places we never thought they would. Justin Timberlake as a Robert Frost-quoting scarred war veteran and Old Testament prophet. Dwayne "The Rock" Johnson as an amnesiac movie star with ties to the Republican Party who co-wrote a screenplay foretelling the end of the world. Mandy Moore as his wife. Sarah Michelle Gellar as a porn star and aspiring reality TV hostess. American Pie's Seann William Scott as, um, I can't even begin to describe it. Kelly's decision to basically throw a party on screen and invite all of his favorite actors and celebrities (a who's who of former Saturday Night Live players like Sheri O'Teri, Jon Lovitz, Norah Dunn, Amy Poehler and '80's cult favorites like Wallace Shawn, Zelda Rubenstein and Christopher Lambert) inexpicably drew really strong criticism. He wanted to give comic actors he's a fan of a chance to show audiences that they're capable of more, which they all did. It's just about the best reason there is to cast someone.

There are plenty of movies to return to repeatedly but this feels like a completely different one each time out. A dark political satire, A science fiction romp, a laugh-out-loud comedy, an action adventure, a social commentary, a film noir, a thriller, a musical and a mystery. I don't need ten films this decade when they're all in here. And each time it ends I just want to go back to the beginning and start all over again, hoping I'll understand everything, but knowing that I don't really want to. That's where most of the fun lies. It would be nice if eventually the movie gets the respect it deserves but that's inconsequential. Just that it was made and somehow released is proof that even the craziest ideas deserve a canvas for expression.



3. Almost Famous-Untitled: The Bootleg Cut (2000, dir. Cameron Crowe)

I remember reading an online article a few years back criticizing Almost Famous for essentially being over 2 hours of Cameron Crowe declaring himself the greatest music journalist in Rolling Stone history. Of course, the real irony of that criticism is that the film works so well because he did just the opposite in declaring himself the LUCKIEST journalist in Rolling Stone history and the film he made reads as a thank you note. It would be fun to imagine Kate Hudson retired from acting after being nominated then robbed of a Supporting Actress Oscar for her transcendent role as "band-aid" groupie, Penny Lane, and also pretend her career hasn't been an ice pick slowly chipping away at the film, but I can't. Any more than I can pretend that being a journalist for Rolling Stone magazine would mean much of anything these days. So the reasons the film didn't play quite as powerfully for me as it had in the past (and admittedly felt a little more scripted and fantasy feeling) are the very same reasons we still need it. Watching the FAR SUPERIOR 165 minute untitled directors cut again recently it was surprising just how little of its power was lost considering the circumstances. Despite its surprising third place finish here, this is still a mostly perfect film.

It's difficult to find anyone who can't in some way relate to the protagonist or doesn't love the music. Or anyone who didn't feel as if they already knew (or desperately wanted to know) Penny the second she appeared on screen. We're as beguiled by her as Crowe's onscreen alter-ego William Miller (a pitch-perfect Patrick Fugit), the 15-year-old aspiring rock journalist covering the fictional band Stillwater in 1973 and discovering himself in the process, much to his overprotective mother's (Frances McDormand) horror. Billy Crudup's performance as guitarist Russell Hammond is an underrated turn if there ever was one, still sold short to this day. It's not easy playing the guy that crushes this kid's (and the audience's) dreams while somehow managing to escape as a pretty cool guy. That Philip Seymour Hoffman is most associated with his turn as rock critic Lester Bangs amidst a career of more substantial leading and supporting roles says everything about how memorably he played it. Bangs' advice to William on writing and criticism is hysterical, but made more hysterical by the fact that most of it's true.

It shouldn't come as a surprise the biggest worry revisiting this is Hudson, who's spent the better part of the decade attempting to completely erase this iconic role from our memories. Nice try, but not a chance. If you could win an Oscar for delivering a single line, she'd deserve it for the way she asks "What kind of beer?" showing a vulnerability and depth in this part we'd never glimpse from her again. She wasn't just "playing herself," as the results of her later work would unfortunately confirm. Unlike some other films on this list, I can't say this is a film where you necessarily discover something new on each viewing, but it does provide music and memories that don't easily fade away.



2. Wonder Boys (2000, dir. Curtis Hanson)

I realize the selection of Curtis Hanson's Wonder Boys as the second best film of the decade will seem perplexing to many. That maybe the dramedy, based on Michael Chabon's 1995 novel, appears on the surface too small or insignificant to be occupying such an exclusive spot. But to me it looms larger than anything and might be the only movie on the list that feels as if it's completely mine. When it was released ten years ago I was excited that my favorite actors were all appearing together in a single film and revisiting recently it shocked me to discover that enthusiasm has not only grown, but I was far enough removed to grasp subtle nuances I couldn't have possibly appreciated then. When it opened I may have related to the situation and setting, but it's really the theme of failure that plays the most important role in shaping the decade's deepest, most insightful comedy. And in exploring this heavy issue with such a deft, light touch it does something rare by actually choosing to celebrate the good in people rather than bask in the dreary, hopeless depression that's sabotaged so many other promising films in this genre. Every single moment of this movie succeeds in capturing LIFE in all its sloppiness and absurdity.

Michael Douglas isn't usually a performer associated with projecting warmth and humanity, but as Grady Tripp, a pot-smoking, bathroom robe-wearing, creative writing professor in the midst of a mid-life meltdown, he reveals a hidden dimension to himself as an actor, stretching far out of what we've perceived is his comfort zone. During a chaotic rainy weekend at a Pittsburgh university he's clearing page 2,000 on the follow-up to his first hugely successful novel, "The Arsonist's Daughter" while dealing with his loony editor (Robert Downey, Jr.), an eccentric student (Tobey Maguire), another star student (Katie Holmes) with a crush staying under his roof and his frustrated mistress (Frances McDormand). Who knew Douglas could be so funny? Watching his exasperated, deadpan reactions to all the craziness surrounding him is priceless. Almost as priceless as the actual craziness. "Wordfest," Vernon, Marilyn Monroe's jacket, the Hollywood suicide list, the tranvestite, Rip Torn's silly lecture, the red cowboy boots, the Chancellor's dog. Every scene. Every joke. It all clicks. Comedy is hard but the actors (working from Steve Kloves' Oscar nominated script) make it look effortless and each hilarious moment is peppered with with small treasures and chestnuts intended for re-discovery. It's almost indescribable to anyone who hasn't seen the film how Hanson creates such a warmly inviting atmosphere you want to live inside and the city of Pittsburgh becomes as much a character as anyone else in the story.

While most movies about inspiring mentors almost always ring false and contrived, but when Maguire's James Leer is being hauled away by the cops and tells Professor Tripp he's the best teacher he ever had, considering the events that put him in that car to say it, you realize this is only film to actually earn the line. It's difficult to even pinpoint exactly what James, Grady or anyone else was going through but we still completely relate to them and understand, which is the mark of truly exceptional writing...in a story that's all about unexceptional writing. The trajectories Maguire and Holmes' careers have since taken should taint the picture, but it instead seems perfectly fitting for a story all about failing to meet expectations. That neither went on to the kind of success we anticipated adds a poignancy to the performances that weren't there a decade ago, making it almost impossible for me to be too disappointed in them. And that Robert Downey, Jr. did go on to that success, allows us to see one of his most enjoyable, underrated performances in a whole new light, while wondering how much of his personal demons he summoned up at the time to deliver it. It goes without saying Douglas was robbed at the Oscars but it's hard to get upset when the one statue the film did win belongs to Bob Dylan, whose music is so fully ingrained into the fabric of the picture he feels more like an honorary member of the cast than a soundtrack contributor. And by invoking the same mood and spirit his songs do it captures his music better than any story actually focused on the singer could.

Released in the shadow of my other favorite film about writing, Almost Famous, neither cleaned up at the box office, but it was Wonder Boys that actually flopped TWICE when re-released for awards consideration. Ironically now, this is the film that feels to me the more authentic and lived-in of the two, ten years aging it in ways I couldn't expect. You'd have to assume director Curtis Hanson was drawn to the material because he also felt the pressure of having to follow up on the enormous success he had with 1997's L.A. Confidential, a movie that has nothing on this. It knows that writers' are unusually in touch with quirky details and the humor does in a strange way seem directly aimed at them, which would explain its failure to strike a universal chord. Just more proof that great films can bring you close to a certain time, situation, characters or state of mind, but it's only the really great ones like this that actually bring you closer to you.



1. Into the Wild (2007, dir. Sean Penn)

For me, the defining moment in Sean Penn's criminally overlooked and underrated masterpiece Into the Wild occurs toward the end. It's when Walt McCandliss (played by William Hurt) wanders the streets in a daze, suddenly overcome with the enormity of everything that's happened---what his son did and what he has to bare the burden for partially causing. With everything hitting him all at once, he collapses to the ground in exactly the same position we saw him in during the earlier home movie footage, only years later and under very different circumstances. The moment doesn't last long, but tells us everything we need to know and serves as a reminder of how a single, powerful image can carry more impact than any line of dialogue could.

Detractors claiming that the film glorified its protagonist or didn't truly explore the negative consequences of Chris McCandliss' (Emile Hirsch) actions when in 1990 the Emory University grad burned all his cash and credit cards, donated his entire savings, and rechristened as "Alexander Supertramp," embarked on the journey of his life that that would eventually lead to his death. It's there on the street where we as viewers are forced to admit that no matter what his parents did or didn't do, he went too far, and regardless of how tempting it is to support his anti-materialistic philosophy, crossed the point of no return. His sister, Carine (Jena Malone) is now a victim and the people whose lives he impacted on the way to his final destination are officially casualties.

If there was ever a film destined to strike the critical and commercial jackpot it was Into The Wild but somehow it flew under the radar of audiences when it was released in 2007 with many unfairly accusing Penn of pushing some kind of an agenda. As if an endorsement of the picture would mean an endorsement of the actions or a left-leaning view in line with the director's politics. But the evidence points the opposite direction, with every character attempting to break through McCandliss' self-imposed emotional wall (you know it's a bad idea when Vince Vaughn is the voice of reason). From hippies Jan (Catherine Keener) and Rainey (Brian H. Dierker) to free spirit Tracy Tatro (Kristen Stewart) each chapter provides a chance for redemption that never comes because his trek to the "magic bus" in Alaska is just as much a misguided suicide mission as it is a life-affirming adventure.

Emile Hirsch never shies away from those harsher truths in his performance, which go beyond merely conveying pent up resentment or bitterness, but subtly hinting McCandliss might actually know just how misguided this whole thing is and still can't stop it. And neither can elderly leather maker Ron Franz, who Hal Holbrook justifiably won high praise and an Academy Award nomination for embodying in his brief, but unforgettable appearance. He's the supporting standout but each time I watch can't help but think that the most overlooked performance belongs to Jena Malone, who's our sensitive entrance way to the film at its start while also delivering invaluable voiceover work that acts as our guidepost through the story. It shoots a hole right through the popular theory that any use of voiceover narration is lazy.

Like others, I'm guilty of at first classifying the film as a purely emotional experience that wouldn't likely hold up to close critical scrutiny or repeated viewings. You'd figure a story that ends so tragically couldn't carry an urgent pull beckoning you back for more, but it does because from a technical standpoint it's unmatched. Every shot (lensed by cinematographer Eric Gautier) could be framed and mounted and Eddie Vedder's music is such a part of the journey it's difficult even envisioning the movie without it. How much the film editorializes or exaggerates the content of John Krakauer's book or even the real-life events doesn't interest me. But I do think the movie would have more fans if it were actually released during the early 90's period the events took place, when we would have been less cynical and more grateful Sean Penn even dared to ask the big questions, instead of arguing whether we agree on the answers to them. This film isn't just the most complete moviegoing experience of the decade, but the only one that feels monumentally important.


Recap:
1. Into The Wild
2. Wonder Boys
3. Almost Famous (Untitled: The Bootleg Cut)
4. Southland Tales
5. Donnie Darko
6. Zodiac
7. There Will be Blood
8. Punch-Drunk Love
9. The Squid and the Whale
10. Adaptation


Year-By-Year Breakdown:
2000-2
2001-1
2002-2
2003-0
2004-0
2005-1
2006-0
2007-4
2008-0
2009-0


Actors/Actresses Appearing in Multiple Films:
Brian Cox (2)
Robert Downey, Jr. (2)
Jake Gyllenhaal (2)
Jena Malone (2)
Frances McDormand (2)

The Ten Best Films of 2007

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)

Into The Wild

Director: Sean Penn
Starring: Emile Hirsch, Marcia Gay Harden, William Hurt, Jena Malone, Catherine Keener, Vince Vaughn, Hal Holbrook, Kristen Stewart, Brian Dierker
Running Time: 148 min.
Rating: R

**** (out of ****)

"I read somewhere... how important it is in life not necessarily to be strong... but to feel strong."
-Christopher McCandliss

Sean Penn’s Into The Wild isn’t merely a great movie, or just the visual documentation of an incredible journey. That’s selling it short. What really is, at its core, is a life-altering experience that reaches deep and touches your soul. Usually after I’ve seen a movie I give it some time to sit in my mind a little and let it "sink in" before attempting to write a review. It took a little longer this time since I actually had to emotionally compose myself when the film reached its conclusion.

It’s been about 8 years since I cried during a movie, but I guess I must have been due because I completely lost it during this one. And The Academy of Motion Picture Arts and Sciences have some serious explaining to do. I can deal with them not nominating works of deserving quality. That always happens. What I can’t deal with is them overlooking an important American cinematic achievement that speaks to who we are as individuals. Of all the Oscar snubs I’ve seen over the years, this is one of the worst.

When it ended I knew I witnessed something unique and special but it’s difficult to put the exact feelings into words. I’ve been trying to figure out why the movie moved me to the level it did what can be taken away from a story that can be viewed as either a modern day tragedy or an uplifting story of independence. You’re not sure whether to be angry at or feel sorry for this admittedly selfish protagonist and Penn wisely doesn’t force us to make such a determination. He’s not asking us to like McCandliss or condone his decision to abandon his life and family, but only to understand what he was doing made sense to him. Foolish as it may seem to us and those he encountered in his travels, he left this Earth on his terms. The degree of empathy you feel for him or his family may vary, but your heart will break for the people whose lives he touched a long the way.

Penn’s film adaptation of Jon Krakauer’s bestselling novel employs multiple timelines to translate the story of Christopher McCandless (Emile Hirsch), a top straight "A" student who upon graduation from Emory University in 1990 donates his $24,000 in savings to OXFAM, burns all the money in his wallet and sets off on a 2-year hitchhiking trek to Alaska. We join him at the end of that journey with Chris (going by the alias "Alexander Supertramp") hauled up inside his Alaskan "Magic Bus" as we’re given the details of the trip that brought him there. Flashbacks narrated by Chris’ sister Carine (Jena Malone) tell of their troubled family life that led him to rebel this dramatically. Their father (William Hurt), a strict disciplinarian who emotionally and physically abused their mother (Marcia Gay Harden), was arrogantly oblivious to the additional pain he was casuing his children. Talk of divorce never actually materialized, which just made the suffering drag on that much longer.

Chris’ parents have high expectations for the overachieving student to attend Harvard Law School after graduation but don’t realize he’s the type of person whose beliefs don’t come wrapped nicely in a box and can’t just be bought off with a new car. Material possessions are of little value to him as he questions society’s role for him, and many of those questions are good ones. A lot of movies have attempted to explore post-graduation angst but I think this is the only one to really ever get it right. It’s that feeling of not wanting to do anything and be completely freed from the shackles of responsibility placed on us by society and our parents. It’s every son or daughter’s worst nightmare to wake up one morning and discover they’ve turned into their mom or dad. This movie understands that. You could write Chris off as just an angry young punk but doing so would be failing to acknowledge that he brings up some real issues that we’re afraid to bring out into the open. And does the fact that we’re afraid to talk about them help create a Christopher McCandless?

The relationship between Chris and Carine represents the rarest sibling dynamic depicted in movies: A brother and sister who not only get along, but actually love each other very much. They lean on each other for support in the midst of their parents’ battles instead of choosing sides and drifting apart. She understands Chris’ decision to leave even though she can’t fully support it and the more lies and secrets he learns about his parents the more determined he becomes to continue on his ill-fated journey and cut them out of his life completely. And if it means cutting out his sister also then so be it.

It’s worth pondering whether his family's "punishment" is truly deserved or Chris is punishing himself more than anyone else. Jena Malone’s narration is the unsung crown jewel of the film, depicting all those conflicted feelings and her delivery of some of the script’s most emotionally stirring lines convinced me if she weren’t an actress she’d find permanent work doing voice-overs. The decision to use narration can make or break a movie and this is one of the best uses of it imaginable. The story couldn’t be told without it.

It’s insulting to call the individuals Chris encounters on his trip "characters." They’re real people with hopes, fears and strong opinions about life. Each of these actors, no matter how much screen time they’re given, flesh them out completely. We don’t want his time or our time with them to ever end. Vince Vaughn’s role as a farmer who briefly employs Chris is miniscule but it represents the most restrained work of his entire career. It’s the only time I’ve seen him not playing a goofier version of himself and mocking every line he delivers. He’s a real working-class person you care about and a voice of reason you hope can get through to this kid who clearly isn’t listening.

Catherine Keener and Brian Dierker play middle-aged hippies with relationship problems of their own and help center the story with their homey, down-to-Earth charm. They respect Chris’ free spirit, but like Vaughn’s character, see through him and can’t completely condone the direction he’s chosen to take his life. Kristen Stewart’s role as a teen singer who’s the ultimate temptation for Chris is smaller, but she’s unforgettable in it.

Hal Holbrook’s Academy Award nominated supporting performance comes late in the film but in just only 10 minutes he truly becomes Ron Franz, a lonely aging man who’s let time slip him by and becomes almost a surrogate grandfather to Chris. Something is awakened in both of them and when it’s time for Chris to move on to the final, inevitable leg of the journey his reaction becomes the beating pulse of the picture. I’ve always been a fan of Holbrook’s work in underrated gems like Capricorn One and Creepshow, but he never got the mainstream recognition he always richly deserved as being one of our most reliable supporting actors. I was so thrilled for him at age 83 to be given a role this meaningful that I felt like cheering. Sean Penn gave him the ball, but he ran with it. Regardless of what the Academy’s intentions may have been, this won’t be remembered as a one of those lifetime career sympathy nominations. He earned it as it’s the best role of his long, impressive career. And as tough as it was for me to keep it together during various points of the picture, I may have had the toughest time during Holbrook’s portion.

Emile Hirsch has slowly been building toward this for a while and it’s is an extremely difficult part to pull off well, not just because of the required physical demands (evident by his frightening skeletal deterioration at the end), but of the responsibility that comes with portraying a real person, especially one as complicated and potentially unlikable as Chris. This pushes the boundaries of what great acting can be. It’s a transformation, and it’s unfathomable that the Academy didn’t deem it worthy of recognition because this is usually the kind of immersive and self-sacrificing performance they shower with praise. 2007 may have been a strong year for films but it wasn’t THAT strong and I could name stronger ones off the top of my head (’94 and ’99 come to mind immediately). There’s no excuse for this.

Even worse are the oversights in other key Oscar categories. This isn’t a dialogue-heavy film and there are many scenes where it’s up to Eddie Vedder’s music and Eric Gautier’s gorgeous cinematography to tell the story. So many times I wanted to just hit PAUSE on my DVD player and take in the scenery. Every shot is like a love letter to nature. And who would have thought Vedder’s music could fit this so story so perfectly? There were about three or four songs in the picture that were so far superior to anything the Academy chose to nominate this year, or even in the past few years. It’s rare when music compliments a film this well.

There’s a point of no return for Chris and it comes in a scene where he gets a glimpse where his life would have been had he followed the road map his parents laid out. It just wasn’t for him and he wasn’t up to faking it anymore. After that moment he’s filled with a renewed sense of purpose in reaching Alaska and we realize then that there’s nothing anyone can do to try to stop him anymore. The most impressive aspect of Hirsch’s performance is how he hints that a small part of him does really want to forgive his parents badly. He just can’t bring himself to do it. I braced myself for what was inevitably coming (not that it made it any easier) but what really took me by surprise was HOW it ended, which I later found out differs from the account in Krakauer’s book. In the film’s beautiful final moments Chris’ and our eyes are opened, awakening us to the world as if we’re seeing it clearly for the very first time.

You could almost view this film as a warning to families everywhere who let issues fester and keep things bottled up inside. This is the worst possible result of that. Anyone harboring grudges and carrying anger will want to think twice about whether that’s really worth it after viewing this film. When it ended I was overcome with mixed emotions and wasn’t sure whether I should be angry at him for emotionally torturing his family or be happy that he stuck with his convictions until the very end living the life he chose for himself.

There was great potential in Chris that was both wasted and completely fulfilled at the same time, as strange as that seems. But I think the part that got to me the most was that he’ll never see those people he befriended on his journey again and there was never a chance to say goodbye. The movie perfectly captures that moment when someone special walks into your life and an important bond is formed, whether or not either party is consciously aware of it at the time. But as deep as those bonds were, there was nothing they could do to prevent this. Only Chris could save himself, and he didn’t want to. Or if he wanted to, he couldn’t.

It’s so ironic that a film like this came from Sean Penn. While a brilliant actor, he’s always come off as an independent minded individual who’s been difficult to get behind and root for, not unlike the protagonist. Maybe that’s partially what drew him to the material. Chris McCandliss may have been out for himself, but Penn wasn’t this time. He’s had a career full of cinematic contributions, but this stands as his greatest…and most important.

It’s been a year of strong films that were exercises in technical expertise, but they also left you cold and depressed when they were over. This is a tragedy, but it isn’t depressing. It’s life affirming. Maybe it’s for the best that it was overlooked at the Oscars because the Academy doesn’t deserve to own any of this film. It’s ours. It contains that extra ingredient that separates four-star movies from masterpieces. That feeling when you’re done watching it that you’ve seen something substantial that will always stay with you. Into The Wild really is about the journey.