Another Top 50 Films of the 2000s List: 30-26.

This entry took me longer to write for a couple of reasons. First, I rewatched "Fulltime Killer," a film I thought was definitely going to make the list. Yes, the film has great action, but I wanted more. The action scenes are too short, and there's too much talking. Hence, "Fulltime Killer" didn't make the list, and I needed a replacement. Second, I watched three acclaimed 2009 films and wanted to take a breather in case they warranted inclusion. And I'm happy to say one of them made a lasting impression on me.

So the bottom 25 is over with this entry. Again, these choices are negotiable in their placement. I am far more concerned with the ordering for the top 25.

No. 30 – “The King of Kong: A Fistful of Quarters” (2007)

Yeah, yeah, it’s a documentary involving video games, but “The King of Kong” gets on the list because it lets us laugh at losers. I can appreciate the appeal of having The High Score on a video game, but professional gamer Billy Mitchell suggests he’s just as controversial as the abortion issue, and Steve Wiebe cries during one scene when he fails to beat Mitchell’s high score on “Donkey Kong.” The characters in this film gave me so much joy that I considered visiting them and writing my own story, but I have abandoned the idea.

Is the movie factual? For the most part it is, but a few people who appear in the documentary, Mitchell and Wiebe among them, dispute certain claims of the film. You could put yourself through many headaches trying to pinpoint lies. I’m sure these nerds are willing to say anything after being exposed for the crazy lads they are, but they might have a decent point or two. Honestly, I don’t give a shit because the movie is funny and well-directed.

No. 29 – “Amélie” (2001)

I always want to watch this movie again immediately after I finish it, a rather attractive quality for a romantic comedy considering that I usually find films in this genre unfunny and unromantic. “Amélie” is bloated with creativity, much like Woody Allen’s masterpiece, “Annie Hall.” Director/writer Jean-Pierre Jeunet is much more positive than Allen, though, and actress Audrey Tautou leads the march with her unique smile and penchant for mischief. The film basically tells you it is scripted, but unlike “Slumdog Millionaire,” it never takes itself too seriously. Admittedly, I wish the reference to Princess Diana’s death could have been traded for another equally ridiculous plot device, but you can’t have everything in a movie this wild.

No. 28 – “Ratatouille” (2007)

“Great art may come from anywhere—not everywhere.” Has the world of art and art criticism ever been summarized so well? Not to my knowledge. I don’t have much to write about this film other than it lives up to what it says. But yes, its voice-over narration is Shitty.

No. 27 – “The Fountain” (2006)

Many people like Darren Aronofsky because of “Requiem for a Dream,” but I didn’t appreciate his direction until I finished “The Fountain.” The film received mixed reviews, though, and I turned it off the first time I tried to watch it.

My second attempt to watch “The Fountain” was different. I completed it in one sitting, and the film’s three stories interlocked beautifully. Despite the film’s uncomfortable focus on death, the movie had a peaceful effect on me.

Going back to the mixed reviews, there was some common ground. No could deny the visual artistry of the film, and many noted the good intentions of Aronofsky. But some dismissed the film as pretentious and confusing with no emotional power.

Whereas I found it a mature take on life and death that doesn’t discredit emotion or intellect.

No. 26 – “The Assassination of Jesse James by the Coward Robert Ford” (2007)

Good luck guessing the ending to this one!

But it’s not that simple, and thank Christ. The relationship between Jesse James and Robert Ford is downright strange, but the movie works because of Brad Pitt and Casey Affleck. Pitt makes a great upscale redneck, and Affleck is a disturbing little bastard. Neither one is that likeable, but their interplay is a subtle breed of film magic.

If Pitt and Affleck make the movie worthwhile, director/writer Andres Dominik makes it a work of art. His script is an apt blend of the western and psychological thriller, and his use of hazy images gives the film a spooky quality that matches the story.

By the way, I briefly considered putting this sucker in my top 25, but it happens to feature annoying voice-over narration every once in while, so there you go. Don’t tell me what the fuck’s happening when it’s obvious, especially when you’re making a slow-paced film in the first place.

Another Top 50 Films of the 2000s List: 35-31.

My ordering has been off for the bottom 25 out of laziness, but these five choices could have been in my top 25 if I weren't such a snob.

No. 35 – "The Pianist" (2002)

This film was not easy to include in my list for political reasons. Director Roman Polanski is back in the news again, finally apprehended for fleeing the United States more than 30 years ago during his infamous statutory rape case. There is no excuse for Polanski’s crime, but his morality is not being judged here. This list is about films, and nothing is ineligible because of controversy related to a film or filmmaker. I know many people will not expose themselves to the works of particular criminals or assholes, but I would limit myself as a person if I adopted the same philosophy. It is certainly your right to feel differently, but any criticism of my inclusion of “The Pianist” will be seen as irrelevant if it relates to Polanski’s personal life.

“The Pianist” is a personal film--the "No Shit, Sherlock" phrase of the sentence--from Polanski, who survived Nazi oppression in Poland during World War II (his mother didn’t). I avoided this film for years because I didn’t want to watch another movie about the Holocaust. “Schindler’s List” was enough for me, I thought, and I’ve never cared for Adrien Brody that much. But I gave the movie a fair shot a couple of years ago.

What strikes me about “The Pianist” more than any other movie in the list is that it is great for one unequivocal reason: the direction. Brody received a lot of praise and awards, but I credit more of his performance to Polanski. The phenomenon is quite subtle, but it’s as if I’m watching someone else when I watch Brody. Polanski maintains his detached style in the camerawork (in contrast to Spielberg’s more upfront camera in “Schindler’s List”), but he channels his mixed emotions about survival through Brody, whose character is not glorified by the guilt-stricken director. The effect is directorial control at its most remarkable.

No. 34 – “About Schmidt” (2002)

That Jack Nicholson appears in two movies on my list illustrates how much respect I have for him as an actor. Contrary to what some people say, Nicholson doesn’t just or primarily play himself, and many specific criticisms of his work fall flat. For example, his performance in “A Few Good Men” is not that over the top, and I say that after recently rewatching it to spot the ham and cheese. Some people also thought he was too “Jack” in “The Departed,” but I found his improvised dildo scene in the theater savagely inspired. That is, when I do see Nicholson playing himself, I might ask, “How is that a bad thing?” At least he’s not playing parodies of himself for the most part (exceptions include “Anger Management” and “The Witches of Eastwick”), unlike Al Pacino, Robert De Niro, and Christopher Walken. And how many people have seen the majority of his work? (I barely have.) “The Passenger,” “Broadcast News,” and “Missouri Breaks” feature only three examples of overlooked Nicholson performances—he is more prolific, selecting, and versatile than what you might have read.

But enough about Nicholson, who plays the most delicate role of his career as Schmidt. Director/writer Alexander Payne is a master at combining comedy and drama. “About Schmidt” is a comedy for the most part, with a couple of wacky scenes involving failed seduction, but Payne dares to end the film dramatically. I usually hate it when comedies soften up, but Payne doesn’t quench the laughter out of fear or laziness. He wants us to see the frailty we may face through an actor who still has the fire after all these years.

No. 33 – “Let the Right One In” (2008)

I toyed with the idea of including Park Chan-wook’s vampire movie, “Thirst,” but that crazy stuff is not easily understood in one viewing. However, I’m confident that “Let the Right One In” will reward me on even more viewings, and that’s the kind of movie you always want, whether it’s great or a piece of shit. “Let the Right One In” does not fall into the latter category, but Swedish director Tomas Alfredson stumbles a couple of times. The CGI cats are quite embarrassing, for instance. Such a loud mistake is countered and eventually forgotten with Alfredson’s quiet style. The movie’s story is serious in that it involves children and bloodsucking, and there is one disturbing glance of what vampirism wrought on a young girl. But the movie softens the blow with subtle humor and an appreciation of love. (I also find it amusing that so many people cherish “Twilight” as a love story when the younger characters of “Let the Right One In” display more maturity.)

No. 32 – “Memento” (2000)

The most passionate Nolan fans would string me up by the balls (only verbally, of course) if I didn’t choose one of his films. So I’m going with the only 2000s Nolan film that deserves it. I like “Insomnia” and “The Prestige,” but they are lightweights compared to “Memento,” and “Batman Begins” and “The Dark Knight” have gotten tiresome after multiple viewings (if you ask me which one is better, I would flatly say “Begins”). Nolan is a good director, but “Memento” is the only Nolan film I can call excellent without any hesitation (I haven’t watched his 1998 debut, “Following”).

The screenplay is the best out of Nolan’s 2000s films. It avoids the pitfalls of exposition and idiotic dialogue (“Batman Begins” and “The Dark Night”) and doesn’t peter out (“Insomnia”) or champion an obvious revelation (“The Prestige”). Guy Pierce, Carrie-Anne Moss, and Joe Pantoliano nail their flawed, sometimes unlikable characters. Most importantly, Nolan communicates clearly despite an unusual and meticulous timeframe. “Memento” is still the benchmark for the productive director.

No. 31 – “A History of Violence” (2005)

This film is a tricky little bastard from David Cronenberg. If you’re not careful, you could dismiss it as a clichéd story about a guy with a shady past, but Cronenberg is going for straightforward subtext. He also can’t help himself from making yet another connection between sex and violence, but the perspective is nonetheless interesting. Ed Harris and William Hurt are not as likable as Viggo Mortensen’s protagonist, but by the end of the film, a moral question about Mortensen arises, and one might believe he’s more than a little full of shit. I didn’t understand this movie after one viewing—but even then, I could appreciate the powerful opening and closing scenes.

Another Top 50 Films of the 2000s List: 40-36.

Quickly, before we start this up again: I was reading through my progress, and I really haven't put much thought into the bottom 25. I know I already said as much in the introduction, but it's incredibly obvious when one reads through the list. No. 38 should be lower. Hell, so should No. 37. I should have already included an entry on "Fulltime Killer." Alright, onward.

No. 40 - “The Lord of the Rings: The Fellowship of the Ring” (2001)

Peter Jackson's adaptation of Tolkien's book is superior to his next two films, “The Two Towers” and “The Return of the King.” The main reason is that "The Fellowship of the Ring" carefully balances large-scale battles with character-based moments, whereas the other two movies are too hung up on CGI carnage to tell a great story. Moreover, “Fellowship” is not as fucking long and has more meaningful character deaths. And is Viggo Mortensen ever more interesting in the series? Hell, no. Honestly, you could probably strike this movie off the list, but I feel it deserves a place somewhere. (I'm not a Tolkien enthusiast, by the way. Some of his ideas were really dumb, like Sauron being nothing more than a big eye on fire, and I generally don't care for his slow writing.)

No. 39 - “The Pledge” (2001)

I have a strange opinion about Sean Penn. I think he should stick behind the camera. Jack Nicholson gives one of his most nuanced performances as a detective who puts solving a case for a mourning mother above everything else. Penn builds suspense and even throws in one of the scariest moments of the decade. The script is the movie's greatest weapon, though, offering a sobering ending and a theme involving chance (a precursor to what “Match Point” and “No Country For Old Men” would go on to do).

No. 38 - “JCVD” (2008)

Hell, I never thought I would be able to say a Jean-Claude Van Damme movie is great. You might have to watch “Bloodsport,” “Lionheart,” and “Kickboxer” to appreciate everything this film is about, but Van Damme's ability to make you feel for him is impressive, the script is funny and original, and director/writer Mabrouk El Mechri (let me know if you know the pronunciation) keeps the pacing tight. The surreality kicks into overdrive with a pleading monologue from Van Damme, a risk that seems pretty lame in theory, but the martial artist and Mechri pull it off.

No. 37 - “The Aristocrats” (2005)

There are two things I appreciate about this documentary. First, it's hilarious. George Carlin, Stephen Wright, the Smothers Brothers, Sarah Silverman, Jon Stewart, and dozens of other comedians share their thoughts and takes on a dirty inside joke about show biz. The joke in question is described as a jazz riff in the film, where a comedian takes the structure of the joke but makes the middle his or her own creation, whether improvised or planned. Second, it doesn't overstay its raunchy welcome, so if you have the sensibility for this type of humor, you're laughing for about 70 straight minutes. Admittedly, a few of the selected comedians are kinda shitty, but you can see how the joke evolves and devolves by teller, which serves the purpose of the film. I've watched “The Aristocrats” several times and still find its honesty refreshing.

No. 36 - “WALL-E” (2008)

This entry is bitchier than others, but the truth is I'm a bit disappointed I can't put this film higher on the list. The last 25 minutes or so of “WALL-E” aren't a complete disgrace, but they're nothing to be proud of, either. Pixar needed a hero, and a dumb fucking character inexplicably saves the day during a trite action sequence, complete with shit sliding down an unstable ship floor. Everyone soon cheers on Earth because humankind rules!

I wouldn't be as harsh on the final third of this film if the first hour hadn't snatched me by the balls. I remember seeing the previews at home and telling people the picture looked like a lame R2-D2 fantasy, but when the opening of “WALL-E” hit me with imagery and dissolves that evoke John Ford, I couldn't believe it. Wow. And the greatness didn't stop. The movie dares to go the route of little to no dialogue for quite a stretch. Not only did Pixar pull this off, but the studio was jeopardizing the commercial viability of the film … no talking isn't what you usually try to sell in a modern movie for the family, but Pixar keeps the kids entertained with the best sound effects since, fuck, a long time ago, and adults could chew on the eternal human theme of loneliness and brutally honest commentary on the environment of the planet. And I'm just now mentioning that the titular character is a visual masterpiece by itself that anyone of any age can appreciate.

The first hour or so was a jaw-dropping mixture of science fiction, romantic comedy, and satire, and I was in total shock. Was I watching one of the greatest movies of all time? Yes!

So while I'm still disappointed with Pixar eventually taking the familiar route, I am thankful for “WALL-E.” Besides being a masterpiece for about two-thirds of its running time, the movie showed me—more than any other—that my intuition can be embarrassingly off the mark.

Another Top 50 Films of the 2000s List: 45-41.

No. 45 - "Kiss Kiss Bang Bang" (2005)

Robert Downey Jr.

I could leave the entry at that, given Downey Jr.'s mostly must-watch record. He is the protagonist and narrator, kinda dimwitted but strangely capable. He's trying to be a detective with the help of … a gay Val Kilmer. This idea could have been a disaster, but it is Kilmer's best role since he played Doc Holiday perfectly in “Tombstone.” And that's because Kilmer is allowed to be funny, seemingly instructed to stop taking himself seriously. As a result, his character is the intelligence among all the idiocy.

But what the hell is this movie trying to accomplish? A satirical commentary on film noir that is both caustic and sentimental about the classic genre. The film succeeds brilliantly, thanks to daring swipes at “Chinatown,” “L.A. Confidential,” and anything with a narrator. The plot is convoluted to the point of absurdity, and women are used and abused so much you can't help but shake your head (though actress Michelle Monaghan plays a good heroine). “Kiss Kiss Bang Bang” has a funny point. Surprisingly, it's written and directed by Shane Black, the guy who wrote “Lethal Weapon.”

No. 44 - “Brick” (2006)

“Kiss Kiss Bang Bang” is a great modern satire on film noir. “Brick” is just creative modern film noir. Director/writer Rian Johnson's detective story involves high schoolers. The coolest one is the gumshoe, of course, played by Joseph Gordon-Levitt, who has quietly turned into a damn good actor. While many viewers and critics are dreaming of Shia LeBeouf and Ryan Gosling, Gordon-Levitt is acting very well, and he has screen presence to spare. Hell, I even liked the campy shit he did in “G.I. Joe: The Rise of Cobra.” If you find me especially nonsober, you might even hear me say I thought he was alright in “10 Things I Hate About You,” right before I commit suicide because of snobby principles. Dear God I've ruined this entry. I'll just end it quickly by saying this movie has its own language, like those Humphrey Bogart pictures, and a cool footchase.

No. 43 - “Team America: World Police” (2004)

Some would consider this a belligerent choice on my part. “Team America” is indeed belligerent itself, but it's also funny and intelligent as hell. Any movie with puppets doing graphic sex scenes and puking their guts out during a dramatic moment deserves a lot of credit. And there's the political commentary one can appreciate in a drunken analogy involving dicks, pussies, and assholes. Alright, I'm a deranged person, and that's why this movie made the list. Before I leave this disgraceful choice behind, the soundtrack is undeniably hilarious with its sledgehammer approach.

No. 42 - “Adaptation” (2002)

Let's get a few things straight. This movie contains the two best performances by Nicholas Cage. That alone is one helluva accomplishment. But look at the other solid performances: Meryl Streep, Brian Cox, Tilda Swinton, and Cara Seymour. Oh yeah, I almost forgot Chris Cooper, who upstages everyone, even Streep. The screenplay by the Kaufman brothers is one that literally juxtaposes the two screenwriters and their styles. Finally, director Spike Jonze makes this weird shit understandable, and the movie doesn't drag ass like Charlie Kaufman's somewhat enjoyable wankfest, “Synedoche, New York.”

I know a question might remain. What's the point? Allow me to share a rule about movie lists I forgot to include in my flawed introduction: Every movie list requires a self-referential, humorous but touching movie about filmmaking (think “8 1/2” by Federico Fellini). So we should just accept that and move on with Our Lives.

No. 41 - “Crouching Tiger, Hidden Dragon” (2000)

Chow Yun-Fatt looks awesome sword fighting with one hand behind his back. As much as I would like to leave the entry at that … actually, I think I will.

Nah, I would never betray you, Dear Reader! Ang Lee, known for drama, directs a slew of incredible fight scenes, including a savage duel between Michelle Yeoh and Zhang Ziyi. Story-wise, “Crouching Tiger, Hidden Dragon” is a soap opera about a sword, only this soap opera has good actors. I find myself not only waiting for the next battle but for, uh, love stuff. This choice is undoubtedly obvious considering how much praise the film receives, but not everyone talks about the less obvious parts of this movie, like Chang Chen's bandit, that add up to make a satisfying martial arts romance, unless your idea of “satisfying” must include nipples.

I suppose I should address the wire work a lot of people criticize. Lee, like Akira Kurosawa, is interested in melding the theatrical with the cinematic. He's not going for realism. If you don't dig that, there's nothing I can do to convince you that the movie is worthwhile.

Another Top 50 Films of the 2000s List.

What makes a good movie list? Well, it must include obvious choices, or you will be berated for oversight. It must also include odd choices, or you will be criticized for sticking to the obvious. I realize this balance is almost impossible to maintain, but in all seriousness, I just want to share what I love about 2000s filmmaking. In no way can this list be considered definitive, unless you limit the analysis to films I've been exposed to. At the same time, I try to give equal footing to those obvious and odd choices.

(Speaking of being criticized for sticking to the obvious, you should check out the Five Favorite Films features at Rotten Tomatoes. If a director, actor, or whoever cites “The Godfather” as a favorite film, the commenters go after that person like rabid badgers. This is Really Questionable to me. The implication is that someone is a hack for liking “The Godfather” a lot, so I suppose Stanley Kubrick was a fucking hack.)

After reading this list, you will have a good idea of what I have been exploring and what I prefer. You might detest a choice. You might think a choice is placed too high in general or peculiarly sandwiched between two superior movies. You might discern that I enjoy the Coen brothers stuff too much.

Fine. I want discussion. That's really it.

I want to be as upfront as possible about my limitations. While I am quite aware of South Korea's recent output, I don't know much about contemporary Iranian filmmaking, other than the greater attention it has received over the last few years. In other cases, my knowledge is limited as opposed to rich or nonexistent. Brazilian filmmaking? Big fucking surprise, “City of God” makes my list. But that's the only Brazilian movie I've seen. Thankfully, I know more about French and German films of the 2000s, but I probably look ignorant in these areas compared to other people. You can tell I live in the United States.

I also haven't seen every movie of every great filmmaker. Johnny To is the John Woo of the 2000s, but I've only seen two of his movies, “Exiled” and “Fulltime Killer.” The former was disappointing, but the latter makes my list. Does that mean “Fulltime Killer” is To's best film? Does that mean I wouldn't have put another one of his movies over “Fulltime Killer” if I had seen his complete body of work? No. But To is an important action director, and action movies often get the shaft in these lists, and “Fulltime Killer” is a great action movie.

I want my reasoning to be clear to you. With each entry, I am trying to put you in my head for a minute. These brief visits to my cranium might not be Pleasant every time, but I want them to be understandable and interesting. So let's start with the bottom five.

(Note: Choices 50-26 are negotiable. I didn’t spend much time ordering them, and I consider these choices to be of similar overall quality. Choices 25-1, however, are movies I won't budge on and will be more rigorously placed.)

No. 50 - “Casino Royale” (2006)

All I can say is “Well, fuck” if I blow my credibility here. It is true that the artistic merit of “Casino Royale” is dubious, but … wait, did I just use “artistic merit” and reference a James Bond film in the same sentence? Well, fuck.

It's a great action movie. The brutal, black-and-white opening scene is evidence of Martin Campbell's—who also directed the more traditional Bond film, “Goldeneye”--impressive sense for action directing. And then you have the boggling footchase, the hilarious airport explosion, the brief but memorable stair brawl, the PG-13 torture scene that makes me cringe more than usual. An action movie is supposed to keep you on your toes in a baffling fashion, and I think this one does. Some say the movie is too long, but its final action scene, which I wouldn't spoil for anyone, is more than enough payoff (OK, technically, I'm talking about the penultimate action scene that is much bigger than the very last action scene, which was a nice touch).

Last but not least, Daniel Craig is fantastic. He's badass, but he also makes Bond a more interesting character. The one-liners have less charm but more punch, the suave bullshit is gone, and he's a frighteningly effective killer on-screen. It's just refreshing that Craig and Campbell aim higher than everyone before them in terms of characterization and story without sacrificing the action. Too bad Campbell's steady hand couldn't have directed the sequel, “Quantum of Solace,” where Marc Forster shakes the camera so much you can't enjoy Craig doing what he does best. The greatest action movies—“Dirty Harry,” “The Killer, “Die Hard,” etc.—don't spare you the details of violence, and “Casino Royale” follows this formula with its own twists.

No. 49 – “Burn After Reading” (2008)

I thought this was a lesser effort from the Coens initially, but having watched it three times since, I deem my original conclusion lacking (you can read more about that here and here). The Coens are well-known for writing stupid characters to make us laugh, but there is something different about “Burn After Reading.” The film's characters are moronic as usual, but this time they are heavily associated with current American fads (excessive fitness, appearance-altering surgery, online dating, etc.).

Ray R., a friend at Comic Book Resources and no stranger to Washington, has an enlightening perspective: “it struck me by how quintessentially Washingtonian it is, where the terminally stupid mingle with those who think they're actually powerful, when in reality, who cares. Plus, true pragmatists like J.K. Simmons, who know where the bodies are buried, but don't care as long as the file gets closed.”

“Burn After Reading” also has the most outrageous MacGuffin in film history, hysterical disdain for movie trends (for example, overly dramatic music), deft physical humor, and a perfect deadpan ending thanks to the delivery of character actor J.K. Simmons. As a creator, God has a sense of humor (if he exists), and the same can be said about the Coens (they do exist). Only now they're meaner. Quite the sight, really.

No. 48 - “Save the Green Planet!” (2003)

My masturbation to South Korean cinema begins here. A good friend and I see this comedic film as one that pulls the rug out from under you. (In fact, I believe my friend first wrote that, bugging me incessantly to watch the movie, and I finally bought the fucking thing years ago, so I have to mention my friend or this is all Plagiarism.) However, whereas many movies only pull the rug once or twice, “Save the Green Planet!” is an entire movie of vicious and, if I could be allowed to write libelously, criminally insane rug pulling. Like other recent South Korean films, it is not shy about borrowing ideas from multiple genres—in this case, martial arts, science fiction, horror, crime, and comedies of all stripes. The film is the giddy work of a Whackjob, from the Far East rock rendition of “Somewhere Over the Rainbow” to the downright ridiculous bee scene that gets me every time. The brief social commentary and tragedy really have no place, but it's hard not to appreciate a unique misstep. More rug pulling, in other words.

No. 47 - “The Descent” (2005)

I was tempted to include “Dog Soldiers” in this list, as it is very enjoyable. Director/writer Neil Marshall's other horror movie, “The Descent,” makes the list without question. But this is important: Fuck the American theatrical version, which butchers the character-based and psychological ending of the uncut British version that you should get on DVD if you care to watch this movie. The American version has a stupid peek-a-boo ending that is intended to be shocking. It comes across as something I could have written when I was 10 years old, only I would have written something better as a child.

Now that I've got that Nasty Bile out of the way, I like how every main character is female. Interestingly, the movie doesn't exploit their sexuality but rather utilizes them as personalities that bash into each other for disturbing consequences. The film is every bit a tragedy as it is a weird-creatures-that-kill-shit-in-the-cave flick. Marshall puts the camera in the most claustrophobic places I can remember. “The Descent” isn't just voyeuristic, it’s suffocating.

No. 46 - “Forty Shades of Blue” (2005)

Clearly inspired by 1970s filmmaking. Clearly pretentious (maybe a little too pretentious during certain scenes). Clearly the craft of a gifted director, Ira Sachs, who knows how to use space between characters to create moodiness. What makes the film, however, is the acting. Rip Torn is savage without going over the top. But actress Dina Korzun claims the screen in a fantastic ending that makes this otherwise depressing movie worth the trouble and, because of its strong but justified feminist tone, one of the more memorable dramas of the decade.

As an aside, I wouldn't have watched "Forty Shades of Blue" if I hadn't been working in a video store when it came out on DVD.