My Top 10 Films of 2009

*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. Don't forget to check out my previous posts for 2006 and 2007 and 2008. This installment will be focusing on 2009. Just a reminder that movies must have a U.S. release date of that particular year in order to qualify.

A passing glance at my selections for the Top 10 Films of 2009 might have some mistaking it for a "Worst Of" list, as three choices in particular leap out as being universally reviled by critics and audiences alike. Whereas my previous entries for this series carried few surprises, mostly falling in line with the general consensus, than this year provides the first major deviation. But I'm most definitely not being contrarian for the mere sake of it, as all three of those films did initially receive raves from me upon their release.

The bigger surprise is that the needle hasn't moved very much in my original assessments of The Box, The Informers and The Lovely Bones since then. If each are extremely galvanizing in its own way, no one can claim any of them are forgettable, which helped them here. While I sometimes saw the same flaws others did, I mostly read them as something that improved the overall experience or didn't care because they came as a result of reaching and risking than most other efforts that year.

That Richard Kelly's The Box made the cut despite it being the weakest of his three outings and my waning interest in the Sci-Fi genre, only underlines the fact that his absence (semi-retirement?) has left a void, as more recent films rarely dare to challenge audiences or provoke nearly as much thought. I wouldn't go as far as to say The Lovely Bones or The Informers are necessarily misunderstood, as people have very valid reasons for disliking each, but much of what bubbles under the surface of both didn't go unnoticed by me. The same is true for The Girlfriend Experience, which through time has revealed to be one of Steven Soderbergh's most successful and memorable indie "experiments."

While Crazy Heart follows a formula as old as time, it's also a reminder why such a formula exists, and what an acting treasure Jeff Bridges is, winning what has to be one of the more tolerable, career "make-up" Oscars in history. Looking back on and rewatching it, it's surprising how well it still plays, guaranteeing its spot. Without its sensational, painfully realistic ending, I'm not sure Up in the Air would get such high marks, but it's a smart character-driven picture director Jason Reitman would only end up topping with his following effort.

I struggled with where to place Inglourious Basterds, if at all. While it's considerably superior to the aforementioned titles, Tarantino suffers from constantly repeating himself in the revenge genre with none of it even remotely approaching his greatest creative success in Pulp Fiction. But he's very good at what he does and therefore can't justify ranking many films from a surprisingly rich '09 above it.  Except three. Another thinking sci-fi entry, Duncan Jones' Moon, deserved all the adulation that the similarly themed The Martian received over the past year, while lacking the unnecessary jokiness. A "romantic comedy" of sorts makes its first top five appearance on a list, if you'd even categorize (500) Days of Summer as that, which I wouldn't.  And neither would anyone who's been through anything resembling what happens between those two characters. It's also a reminder how strong a movie actress Zooey Deschanel was becoming before we lost her to comedy TV.

The number one pick was easier than expected. What Spike Jonze did with his really out there interpretation of Maurice Sendak's Where The Wild Things Are is hypnotizing, haunting and captures childhood in difficult ways mainstream audiences weren't prepared for. It stands as the 2009's most fully realized vision in American filmmaking and one of the great children's book adaptations of all-time. In this fairly competitive year, there were many runners-up, including The Hurt Locker, The Brothers Bloom, Away We Go, World's Greatest Dad, An Education, The Informant!, Bronson, The Messenger, Adventureland, A Single Man, Observe and Report, Pirate Radio (aka The Boat That Rocked), and Halloween II (Director's Cut). All strong candidates, but when pushed to replace any of the titles below, I just couldn't do it. Ask me in a month or two and it's possible you'd get a slightly different response. But not likely.  

                                                                    2009 

10. The Box

"Was there ever any doubt critics and audiences would despise 'The Box?' Seriously, any doubt at all? Burdened by belonging to a genre that doesn't get any respect, made by a director few want to see work again, and starring a polarizing A-list actress, minds were already made up. This never stood a chance. And if that wasn't enough, how many times have we heard the phrase, 'It's like an extended episode of The Twilight Zone' as a supposed insult aimed at high-concept sci-fi or mystery/suspense thrillers? There's no doubt critics' mouths were watering at just the thought of bashing a movie THAT ACTUALLY IS based on an episode of 'The Twilight Zone.' But it turns out writer/director Richard Kelly's third feature can in no way be described as merely an extended version of anything." - 11/23/09


9. The Informers

"Ellis' work has always been more dependent on capturing a specific mood or feeling. This is a far different '80's than the warm, nostalgia-filled one presented in 'Adventureland' earlier in the year, or the alternate version of the decade we saw in 'Watchmen.' It's much more lived in. The fashions (Ray-Bans), and the music (Flock of Seagulls, Wang Chung, Simple Minds) are all there but they exist only as part of this cold, desolate landscape of greed and excess. As frighteningly accurate as it's portrayed, it's even scarier that you rarely stop to notice. It just is. More than simply watching a movie, you've committed to taking a disturbing time travel trip from which there's seemingly no recovery." - 10/20/09


8. The Girlfriend Experience

"The men Chelsea encounters and keeps company with aren't nearly as interesting as she is, though that's likely the entire point. We have a protagonist who doesn't know herself or feelings at all and men so incapable of forming emotional bonds that they have to hire someone to pretend that they can. We can only hope the movie's wrong--that people aren't this lonely. But that's probably wishful thinking. For better or worse, it's an experience that stays with you." - 1/23/10


7. Crazy Heart
 

"There's relief in discovering the movie never feels like it's trying too hard, instead casually letting this world the protagonist inhabits wash over you. The music and performances are what I'll come away remembering most, but it's surprising how much respect rookie writer/director Scott Cooper shows the audience by not playing any games and just delivering it as is. And that was more than enough considering it's Bridges who carries much of the load in the role that justifiably won him an Oscar." - 4/29/10


6. Up in the Air

"Much of the way through, Reitman handles a sensitive subject with intelligence, but also kid gloves, avoiding any shades of gray or pushing uncomfortable buttons that would compromise its mainstream appeal. Then come the final 15 minutes in which all of my complaints are addressed and the events that occur call into question the real purpose of everything that came before. In other words, Reitman takes those gloves off and only the most cynical of audience members need apply. All the accolades and likely awards the film will receive are almost exclusively earned in its final act. I appreciated the rare display of brutal honesty, as at odds as it must seem with the rest of the picture." - 1/15/10


5. The Lovely Bones

"Reaction to this much-maligned adaptation of Alice Sebold's 2002 bestseller was almost destined to split viewers into two camps: Those who read the novel and hate what he's done to it and those who never read the novel and are impressed. I fall into the latter category, but wouldn't plead ignorance to any of the film's perceived or actual flaws, remaining completely cognizant of why it's attracted so much animosity. But the one complaint against it I won't accept is that it in any way "wussed out." Especially when it so thoroughly denies the characters and audience closure, or at least closure as it's traditionally expected in American movies. Or not a single story beat going down as it normally would in this genre. Are these problems? Or did Jackson actually find a way to capture the sloppiness of everyday life? Part thriller, part metaphysical drama, 'The Lovely Bones' is the best 'Unsolved Mysteries' episode that never aired. Just as long as you don't read the book first." - 5/10/10


4. Inglourious Basterds

"There's usually a section in any bookstore where you can find those speculative fiction novels dealing with various alternate history scenarios. The victory of the South in the Civil War. The survival of the Byzantine Empire. Nazi Germany's victory in World War II. Quentin Tarantino uses the pages of those books as toilet paper in Inglourious Basterds, the alternate history to end all alternate histories, and easily his best film since 'Pulp Fiction.' What everyone expected to be another one of his fun  B-movie tributes (this time to Spaghetti Westerns) over-performs considerably to become something far more, representing a giant leap forward for a director who was written off as peaking a while ago." - 12/23/09


3. Moon

"The most obvious aesthetic influence on the film is '2001: A Space Odyssey,' even if its theme and consequences more closely parallel 'Solaris.' But in reality it's nothing like either, sucking the viewer into a hypnotic vortex of confusion that mirrors the plight of the main character(s). It's appropriate I re-watched the film right after it ended because the entire experience of watching the film is re-watching it as the narrative travlels in circles before shocking us, then arriving at its mind numbing conclusion. Many won't care for it, but the kind of cerebral filmmaking on display here is something we rarely see anymore, as deserving of recognition as the compelling, career defining performance that carries it." - 2/7/10


2. (500) Days of Summer

"In somewhat of a breakthrough, the script doesn't take sides, presenting a free-thinking female lead who's an agent of action rather than a prize to be won. It acknowledges neither character is blameless, with Levitt and Deschanel's performances filling them with too much complexity for you to completely dislike either. Both have their issues, but at the same time actually seem real, making the same mistakes we would. He didn't get the message, while she was careless with his feelings, but the screenplay cleverly disallows us from viewing the film through the same one-sided prism Tom saw 'The Graduate.' It isn't just about a failed relationship and there's a universality in recognizing that everyone's a "Tom" or a "Summer," or at least a combination of both." - 8/23/09


1. Where The Wild Things Are

"Those thinking they wanted an inventive, mature interpretation of the material should have known the commitment that would entail as audience members and the sacrifices the studio would have to make to do that. One of those was not making a children's movie. Instead, Jonze was more interested in making a movie ABOUT childhood and the pain, sadness and confusion that can accompany it, especially for kids with overactive imaginations. More than that though, it's about the child in all of us that fades away as we enter a world full of responsibilities and burdens. If you're lucky enough, a small piece of that kid hangs on for the ride. That small piece is immortalized in Max's journey." - 3/12/10


My Top Ten Films of 2009
1. Where The Wild Things Are (dir. Spike Jonze)
2. (500) Days of Summer (dir. Marc Webb)
3. Moon (dir. Duncan Jones)
4. Inglourious Basterds (dir. Quentin Tarantino)
5. The Lovely Bones (dir. Peter Jackson)
6. Up in the Air (dir. Jason Reitman)
7. Crazy Heart (dir. Scott Cooper)
8. The Girlfriend Experience (dir. Steven Soderbergh)
9. The Informers (dir. Gregor Jordan)
10. The Box (dir. Richard Kelly)

Oscar Predictions

Well, my master plan to squeeze in viewings of all ten Best Picture nominees before the big show Sunday doesn't look like it'll come to pass. So far, I've seen 7 (not bad) and am still attempting to plow through the remainder of the nominees in a few other categories before the week is out but it's not looking so good. A lot of catching up to do. Regardless, I feel I still have enough familiarity with this year's contest to comfortably make my predictions on how things will turn out in all the major categories as well as the minor ones.

Of course, I'm more confident with some selections than others but overall I feel better about my chances of nailing these categories than I do about the chances of seeing an entertaining show given the pointless changes implemented and embarrassing presenters announced in a desperate, pathetic attempt to boost ratings and drive away any viewers left who watch to see quality films honored. Expect a little more of WHO WILL win than WHO SHOULD in my analysis below but I'll definitely be weighing in with my opinions on the films and performances I've seen and the way I'd like things to go.

Best Actor in a Supporting Role
Matt Damon, "Invictus"
Woody Harrelson, "The Messenger"
Christopher Plummer, "The Last Station"
Stanley Tucci, "The Lovely Bones"
Christoph Waltz, "Inglourious Basterds"

As the charismatically evil Nazi Col. Hans Landa in Inglorious Basterds Christoph Waltz is just about as much of a lock as Heath Ledger was last year. Had he not appeared in any part of the film but the opening scene he would still win this. By far the non-race of the night, but in a way it's great to have a performance so deserving it just towers above all the rest. Will be the third consecutive villainous role to win in this category. What's Matt Damon even doing here? Harrelson's nomination was reward enough. No one knows Plummer's in this race or saw his movie while the word on the street is that Tucci was merely creepy in a stock role. Not much competition. Even the Academy can't screw this one up. You can check off Waltz with a permanent magic marker.

Prediction: Christoph Waltz


Best Actor in a Leading Role
Jeff Bridges, "Crazy Heart"
George Clooney, "Up in the Air"
Colin Firth, "A Single Man"
Morgan Freeman, "Invictus"
Jeremy Renner, "The Hurt Locker"

Analysis: This is really Jeff Bridges' career achievement award which is fine since we all know this guy should have half a dozen Oscars on his mantle already. But that's not implying the performance (which I still haven't seen) isn't deserving on its own merits. Rarely does he ever do work that isn't award-worthy. If that's not enough, he playing an alcoholic and we know how much they love it when actors do that. Clooney fell behind in this race a while back, having the misfortune to be nominated against a huge favorite much like he was a couple of years ago against Daniel Day-Lewis (for a far better performance in Michael Clayton). Freeman's nod feels obligatory. Colin Firth suffers from a common problem: Highly praised performance in a small film no one's seen. The spoiler could be Renner because as over-praised as the Hurt Locker is, his performance is strangely kind of underrated in a way. The film isn't generally viewed as an actor's movie but it should be because he carried all of it. The only small glimmer of hope he has is that Bridges' film isn't nominated for Best Picture. But as it stands now, this one isn't even close.

Prediction: Jeff Bridges


Best Actress in a Supporting Role
Penélope Cruz, "Nine"
Vera Farmiga, "Up in the Air"
Maggie Gyllenhaal, "Crazy Heart"
Anna Kendrick, "Up in the Air"
Mo'Nique, "Precious: Based on the Novel 'Push' by Sapphire"

Analysis: In a category with a long history of shocking upsets don't expect any this time around. It's no secret Mo'Nique's taking this for her role as monstrous mother from hell Mary Jones in Precious and no matter what you may think of the polarizing film, she's earned it. Kendrick and Farmiga will split their votes, but it still boggles my mind Farmiga's performance as basically a female George Clooney is deemed Oscar worthy in the slightest. That she's in while Inglourious Basterds' Melanie Laurent and Diane Kruger are snubbed is a joke. Penelope Cruz is just lucky to be there so if there's a spoiler it'll be the respected and well-liked Gyllenhaal for her turn as a reporter opposite Bridges in Crazy Heart. But that's not happening. It's a done deal.

Prediction: Mo'Nique

Best Actress in a Leading Role
Sandra Bullock, "The Blind Side"
Helen Mirren, "The Last Station"
Carey Mulligan, "An Education"
Gabourey Sidibe, "Precious: Based on the Novel 'Push' by Sapphire"
Meryl Streep, "Julie & Julia"

Analysis: A two-way Streep/Bullock race with Bullock firmly in the lead. Mirren is the only nominee with NO CHANCE of winning since no one's seen that film and she was just nominated because she's Helen Mirren. If anyone's going to sneak in it will be Sidibe. No one's had a bad word to say about her performance and if voters get tired of hearing about the two front runners, she's a worthy alternative. The same could be said (to a lesser extent) for Mulligan but the film she stars in probably doesn't have enough mileage to secure her the votes necessary for a surprise win. With newcomers the nod is often reward enough. Everyone loves a comeback story and there's no better one than Sandra's...at least commercially. If nothing else, expect a memorable speech.

Prediction: Sandra Bullock

Best Directing
James Cameron, "Avatar"
Kathryn Bigelow, "The Hurt Locker"
Quentin Tarantino, "Inglourious Basterds"
Lee Daniels, "Precious: Based on the Novel 'Push' by Sapphire"
Jason Reitman, "Up in the Air"

Analysis: Unless James Cameron gets a sex change operation before Sunday we can comfortably call this race over. He's probably thought of (rightly or wrongly) by voters as more of a motion capture or special effects coordinator than a director anyway. It's just a shame all the focus is on Kathryn Bigelow being the first woman to win Best Director rather than the actual work itself. Sure, she may have been nominated because of the work but she'll be winning because of her gender and the Academy's need to "make history." And I can't think of a worse reason to hand someone an Oscar. Lost in all this is the fact that Tarantino deserves to win. How many other directors could have taken that material and accomplished what he did? Unfortunately, he doesn't stand a chance. No one else in this category does either.

Prediction: Kathryn Bigelow

Best Picture
"Avatar"
"The Blind Side"
"District 9"
"An Education"
"The Hurt Locker"
"Inglourious Basterds"
"Precious: Based on the Novel 'Push' by Sapphire"
"A Serious Man"
"Up"
"Up in the Air"

Analysis: The field of nominees may have expanded to ten this year there's really only five to talk about here: Avatar, The Hurt Locker, Inglourious Basterds, Precious and Up in the Air. The remaining pictures are just filling up slots and don't have chance. A win for Avatar is a win for big budget, effects-driven movie making and sci-fi, which is never recognized for anything. Commercialism wins out and the profile of the Academy Awards as a barometer for public taste rises slightly. Finally a movie wins that people have seen and heard of.

A Hurt Locker victory accomplishes just the opposite. No one's heard of it. It made no money. It covers a depressing topic. Film snobs everywhere rejoice while Hollywood bleeds money at the worst time and ratings for the Oscar telecast plummet. None of this should matter and the BEST FILM should be awarded the statue, but it matters... to them. It seems everything but the actual quality of the films is taken into account when voters fill out their ballots which is why the Oscars have very little credibility left.

That The Hurt Locker would be the lowest grossing winner in history hurts its chances but Avatar has even more going against it. It's the type of movie guaranteed to get a strong response either way while it's almost impossible to find one person who didn't at least like The Hurt Locker (if they saw it). Besides featuring new technology many in the industry (especially actors) aren't yet willing to embrace, Cameron isn't exactly known as the most likable guy around. Nor was it nominated in any screenplay or acting categories, which is unheard of for a potential Best Pic winner. And with the exception of the Golden Globe, it's lost every precursor award usually needed to win. So it won't.

I still haven't seen Avatar so can't comment on its worthiness, but plan on re-watching THL before Sunday in hopes of seeing this "masterpiece" everyone is raving about because, while I still respected it greatly, I just don't get what all the fuss is about. It feels like something we've seen before. On the other hand, Inglourious Basterds was a film that should have felt very familiar but didn't because Tarantino took an issue and completely revolutionized it. It works as compelling drama AND a fun piece of entertainment that should hold up years from now. I'm still hoping the top two favorites cancel each other out and it somehow pulls off the upset but that's wishful thinking.

Prediction: The Hurt Locker

Other Categories:

Best Writing (Adapted Screenplay)
Neill Blomkamp and Terri Tatchell, "District 9"
Nick Hornby, "An Education"
Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche, "In the Loop"
Geoffrey Fletcher, "Precious: Based on the Novel 'Push' by Sapphire"
* Jason Reitman and Sheldon Turner, "Up in the Air"

Best Writing (Original Screenplay)
Mark Boal, "The Hurt Locker"
* Quentin Tarantino, "Inglourious Basterds"
Alessandro Camon and Oren Moverman, "The Messenger"
Joel Coen and Ethan Coen, "A Serious Man"
Bob Peterson, Pete Docter, Tom McCarthy, "Up"

Best Animated Feature Film
"Coraline"
"Fantastic Mr. Fox"
"The Princess and the Frog"
"The Secret of Kells"
"Up"

Best Art Direction
* "Avatar"
"The Imaginarium of Doctor Parnassus"
"Nine"
"Sherlock Holmes"
"The Young Victoria"

Best Cinematography
"Avatar"
"Harry Potter and the Half-Blood Prince"
* "The Hurt Locker"
"Inglourious Basterds"
"The White Ribbon"

Best Costume Design
"Bright Star"
"Coco Before Chanel"
"The Imaginarium of Doctor Parnassus"
"Nine"
* "The Young Victoria"

Best Makeup
"Il Divo"

* "Star Trek"

"The Young Victoria"

Best Documentary Feature
"Burma VJ"
* "The Cove"
"Food, Inc."
"The Most Dangerous in America: Daniel Ellsberg and the Pentagon Papers"
"Which Way Home"

Best Documentary Short
"China's Unnatural Disaster: The Tears of Sichuan Province"
"The Last Campaign of Governor Booth Gardner"
* "The Last Truck: Closing of a GM Plant"
"Music by Prudence"
"Rabbit à la Berlin"

Best Film Editing
"Avatar"
"District 9"
* "The Hurt Locker"
"Inglourious Basterds"
"Precious: Based on the Novel 'Push' by Sapphire"

Best Foreign Language Film
"Ajami," Israel
"El Secreto de Sus Ojos," Argentina
"The Milk of Sorrow," Peru
"Un Prophète," France
* "The White Ribbon," Germany

Best Music (Original Score)
"Avatar"
"Fantastic Mr. Fox"
"The Hurt Locker"
"Sherlock Holmes"
* "Up"

Best Music (Original Song)
"Almost There," "The Princess and the Frog"
"Down in New Orleans," "The Princess and the Frog"
"Loin de Paname," "Paris 36"
"Take It All," "Nine"
* "The Weary Kind (Theme from 'Crazy Heart')," "Crazy Heart"

Best Short Film (Animated)
"French Roast"
"Granny O'Grimm's Sleeping Beauty"
"The Lady and the Reaper (La Dama y la Muerte)"
"Logorama"
* "A Matter of Loaf and Death"

Best Short Film (Live Action)
* "The Door"
"Instead of Abracadabra"
"Kavi"
"Miracle Fish"
"The New Tenants"

Best Sound Editing
* "Avatar"
"The Hurt Locker"
"Inglourious Basterds"
"Star Trek"
"Up"

Best Sound Mixing
"Avatar"
* "The Hurt Locker"
"Inglourious Basterds"
"Star Trek"
"Transformers: Revenge of the Fallen"

Best Visual Effects
* "Avatar"
"District 9"
"Star Trek"

Inglourious Basterds

Director: Quentin Tarantino
Starring: Brad Pitt, Melanie Laurent, Christoph Waltz, Michael Fassbender, Eli Roth, Diane Kruger, Daniel Bruhl
Running Time: 152 min.
Rating: R

★★★★ (out of ★★★★)

There's usually a section in any bookstore where you can find those speculative fiction novels dealing with various alternate history scenarios. The victory of the South in the Civil War. The survival of the Byzantine Empire. Nazi Germany's victory in World War II. Quentin Tarantino uses the pages of those books as toilet paper in Inglourious Basterds, the alternate history to end all alternate histories, and easily his best film since Pulp Fiction. What everyone expected to be another one of his fun  B-movie tributes (this time to Spaghetti Westerns) over-performs considerably to become something far more, representing a giant leap forward for a director who was written off as peaking a while ago. It stands as his least indulgent, most assured effort, playing on all the strengths that were evident in his best work and finding a way to incorporate his cinematic influences and fanboy instincts into a film that's uniquely his. A substantial, focused work from a filmmaker who for the past decade has mostly been prone to taking crazy detours and marching to the beat of his own drum.

It wasn't until it ended that I realized most of the picture is in subtitles, not as if it matters because I was too enraptured in the story to even notice, hanging on every word in each tension filled scene. Tarantino milks every moment for all its worth but as impressive as it is, it's his ability for discovering and fostering underseen talent that reaches unthinkable heights. There's a brilliantly understated performance in this that even eclipses the film containing it, which is saying a lot considering the film itself is a near-masterpiece. This is the rare motion picture that will likely invite many repeated viewings to fully grasp all its crazy complexities and its ending, backdropped against an unforgettable final image, is as controversially cathartic a release as you hope a movie could deliver.

The film opens in German occupied France in 1941 with a visit to a dairy farm from "The Jew Hunter," Nazi Colonel Hans Landa (Christoph Waltz). He suspects the farmer (Denis Menochet) is hiding Jews and after initiating a bizarre conversation about squirrels and rats, he kills the Dreyfus family, found hiding under the floorboards. All except one. Daughter Shosanna (Melanie Laurent) escapes and we catch up with her four years later when under an alias she now operates a small Paris cinema. All is fine until she encounters war hero Frederick Zoller (Daniel Bruhl), who's interested in her theater (and actually a lot more than that) for the premiere of the new Nazi propaganda picture, Nation's Pride, in which he stars and will be attended by Hitler and Joseph Goebbels. She agrees, plotting the ultimate revenge against the Nazis who murdered her family, provided her cover isn't blown first. Revenge is also on the minds of "The Basterds," a gang of Jews who kill and scalp Nazis. Led by Lieutenant Aldo Raine (Brad Pitt), they have a dangerous plan of their own for the premiere involving infiltration from undercover former film critic Archie Hicox (Michael Fassbender) and a famous German film actress turned Allied double agent named Bridget von Hammersmark (Diane Kruger).

What's always been the long-running joke with Tarantino as a filmmaker, even amongst his most loyal supporters, is that he's a far better writer than director and that the guy just loves movies. That former criticism is called into question for the first time with this film while the latter isn't so much a criticism as it is the God's honest truth. But they've manifested themselves as criticisms mainly because he's spent the years following the enormous success of Pulp Fiction applying them to exciting diversions and genre tributes. That's not to say his day at the playground with a Jackie Brown, a Kill Bill or a Death Proof wouldn't be the equivalent of any other director's career best, but this one is more than that. Here he's really channeled and harnessed his self-indulgent tendencies and cinema obsession in the best possible way, applying them for more than just a good time (although this certainly delivers that in spades).

The love for movies does not only factor into the screenplay, for the first time it seems fully ingrained into the entire picture. Like Pulp Fiction, this is divided into chapters (five of them) but what's so curious about that is how each of them is so tightly constructed as to feel like five huge scenes. There are two or three huge ones while the rest wrap around it perfectly. Christoph Waltz is in most of them and his Landa is a Nazi unlike any we've seen depicted on film before. Rather than project him as pure evil personified, Waltz plays him as charming, intelligent and slick. His chief motivation really is simply doing his job and doing it well and it's that approach that makes the character so much more chillingly terrifying than it could possibly be otherwise. What Waltz does in the opening interrogation scene to get to the point he needs to with this character and jump start the story has to be seen (and heard) to be believed. Had he only appeared in those first ten minutes and nothing else he'd still have the Supporting Actor Oscar in the bag.

All the praise and awards attention for Waltz is justified but on equal ground, if not higher, is the work of newcomer Melanie Laurent as Shosanna. Part of why I'm so partial to it is that there are just so few strong starring roles available for women and it's something Tarantino has always excelled at writing, but takes to a new level here. Laurent doesn't have a lot of lines. Most of them are in foreign tongue. Yet she expresses all she needs to without words and just her eyes. A scene where Shosanna sits and eats with Landa, the man who murdered her family. As he questions her about the movie premiere the tension and suspense becomes unbearable. Just watch Laurent's face the entire time and when the scene ends witness her let it all out. She also expertly sells the most difficult part of the story--Shosanna's complicated, seemingly one-sided relationship with war hero Zoller, which we're not quite sure what to make of even right up until its tragic end.

At risk of overstating the case, Laurent gives the kind of iconic performance you can see being looked back on years from now as a landmark. The final image we get of her is so memorable it could very well be burned (literally) into our psyches. Considering this is an ensemble film I'm not sure which Oscar acting category she'd fit into but here's hoping they figure it out soon. And that's no knock on Diane Kruger as a separate review could be written exploring how Tarantino somehow managed to get such a thrilling performance out of an unproven actress barely memorable in the National Treasure movies. She's a surprise but Laurent's the heart and soul, so much so that movie actually suffers a little when she or Waltz aren't onscreen.

The Basterds are entertaining as hell, which is all they need to be and Brad Pitt (in a less pivotal role than you might expect) delivers a turn as broadly comic as his work in Burn After Reading. Of course, the most controversial casting decision is non-actor Eli Roth in the role of Staff Sergeant Donnie Donowitz (aka "The Bear Jew"), who takes a baseball bat to Nazis' heads. Roth really isn't asked to do a whole lot and this isn't a challenging part but he's adequate enough in it. The irony isn't lost that the "torture porn" director of Hostel brutally hands out the most controversial killing at the end of the film. There's a message in that somewhere. Make of it what you will.

The biggest accomplishment is that Tarantino takes the most sensitive, shameful subject imaginable and makes it fun. Barrels of fun. It's almost horrible to say, but true. And by having the Jews mimic the atrocities that were done to them by the Nazis and reversing the balance, he also forces to look at history in a way that goes beyond the normal black and white textbook depiction found in so many dry war epics, as uncomfortable as that may make us feel. It's a fascinating experiment because they become real people rather than labels or footnotes in history. As a result, this movie feels alive with an energy and importance. It's really a complete subversion of all genres and though its title may be inspired from Enzo Castellari's little seen 1978 war film The Inglorious Bastards, there's no mistaking this as a wholly original work. It's all Tarantino, who's back with a vengeance, and now has us wondering again if all the massive hype surrounding him was true.