MAIN » ARTICLESTop 10 Cinematic Releases of 2004
The fourth year of the millenium was a fantastic year for cinema. Not only did we see the typically high number of big-budget blockbusters, in fact these were often the most disappointing on offer, but it was also a year that showcased both the best of foreign-language films being shipped to the UK cinemas and independent/niche movies as well. The deliberation over which of the films I saw this year should make it into my top 10 was much harder than last years, not only because I got around to seeing more, but also because there were so many I simply enjoyed and will be purchasing on DVD soon - if I haven't already.
Of course I need to make a swift mention of the films which didn't make it onto the list - an honorable roll-call if you will. Firstly there was a couple of huge films I excluded; Spider-Man 2 being the most high-profile of the bunch. It was superbly made, a great all-round production which easily equalled the original, and I left it out simply because it was a worthy sequal, rather than a stand alone. The Day After Tomorrow was not to be missed simply due to its stunning trailers and marketing - it looked good, it had Jake Gyllenhaal in it, but it was never quite outstanding for me. Good films that I just couldn't find a space for also included: Big Fish - fantastic cast and a magical tale just slightly over-sentimental, Shrek 2 - just as funny and entertaining as the first, The Terminal - all about Tom Hanks, who was as good as ever, The Passion of the Christ - a great cinematic event that never quite lived up to the hype, The Village, Collateral - see my review in Bullet Magazine on this & Secret Window - a Johnny Depp exhibition film, which like all Stephen King movies, was never going to be break the mould.
As always there were certain films that were slightly disappointing. The Coen Brothers' Ladykillers was sadly lacking from the expectations acquired watching their previous works, most noteably not as clever as Fargo, nor as entertaining as O' Brother Where Art Thou? The Stepford Wives remake was surprisingly hollow and its humour uninspiring, whilst Garfield was simply a travesty, destroying the fantastic foundations of the cartoon-strip and books, in order to make a few million dollars. If they ever do the same to Tom & Jerry then I want to be physically restrained from ever seeing it, and by reading this it is your duty to ensure that this be the case.
Anyway, ignoring all the films I neglect even to mention (Phantom of the Opera, I Robot, Troy..), it's on to the top 10:
1. Ying xiong/Shi mian mai fu
(Hero/House of Flying Daggers)
Directed by: Yimou Zhang
Starring: Ziyi Zhang, Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Donnie Yen, Daoming Chen, Takeshi Kaneshiro, Andy Lau
I had to include these two films together. Unrelated stories, a slightly associated cast, the same director... it's not the strongest link, but as a pair these films are impossible to ignore. Impressive not only with their success in breaking into UK cinema, but for everything within them as well. "You must see this" was the often quoted line from The Guardian. Used in the marketing for House of Flying Daggers, it wasn't far off. For possibly the first time with a foreign-language film, I saw a cinema screen completely full before the feature even began, which was a sign of something slightly special at work here.
Both films were soaked with sumptuous beauty across landscapes and interior, movement and composition. Epic choreography in the breathtaking action sequences takes awe to a completely new level - Crouching Tiger even put to shame. Scenes dripping with vibrant colours are one after the other and to the very last cut, eye candy has never tasted this good. Where Hero found critics in the Orient for its portrayal of totalitarianism, House of Flying Daggers left politics at the door and focuses much more on the characters, of which both films had a good hand. Zhang, Li and Leung are three of the highest profile Chinese performers whilst Lau and Kaneshiro leave pop-culture behind and excel in parts that may seem unconventional to audiences at home. Even if something is lost in translation (reference not intended here), so much is said within the inspiring beauty entirely capable of capturing the imagination across generations that in the end it might not even matter. Whether these films stand the test of time, or what they lead to, is for discussion much later on. For now, they're just marvellous.
If this year we saw convincing evidence that Hollywood's domination of the epic-action genre is over, then I wouldn't expect too many people to be complaining.
2. Eternal Sunshine of the Spotless Mind
Directed by: Michel Gondry
Starring: Jim Carrey, Kate Winslet, Mark Ruffalo, Tom Wilkinson, Kirsten Dunst, Elijah Wood
I think it was Empire who said this film had all the factors to go completely wrong. However, when you hear even the most avid anti-Carrey enthusiasts saying "Well, he was actually quite good" you know something special has just happened. In a much understated role in comparison to his usual fare, Jim Carrey is an excellent lead here. He shows he can do more than be born out of a rhino's backside, going through the full acting range from slightly shocked to slightly shocked yet happy, and occasionally even distressed. I'm a big fan though, so I wasn't surprised. The film doesn't lack comedy either, Kate Winslet, Mark Ruffalo and Elijah Wood all contribute to what is an amusing and thoughtful film, an imaginatively told story that looks absolutely fantastic. I mean jesus, it even managed a pretty good ending.
2nd is impressive for what is essentially a romantic comedy.
3. Lost in Translation
Directed by: Sophia Coppola
Starring: Bill Murray, Scarlett Johansson, Giovanni Ribisi
What makes a good film? It certainly isn't mass-appeal and the trouble with that is you can never really defend your opinion either way. I know a lot of people who loved this film, and I know just as many who didn't care for it at all. For me, this was highly anticipated and rightly so. It was Sophia Coppola's follow-up to The Virgin Suicides, which was a dreamy, captivating and poignent film that suggested so much potential. Secondly, Bill Murray was virtually hand-picked for this role, and Bill Murray alone is enough to carry almost any material (see: Groundhog Day). In the end, it wasn't even about pre-concieved expectations. The film stands alone in everything it is. It is striking, warm, set to a perfect soundtrack, with Tokyo captured in a brilliantly understated way. It doesn't push themes or ideas at you, or tell you how to feel, and maybe that is where people find fault. The technique is perfectly shown when we're excluded from hearing what he whispers at the movie's conclusion. There isn't a need to hear it, we're simply viewing a moment in time, the connection of two people through alienation, isolation, distance, however you want to describe it.
I wouldn't want to say this movie is all about interpretation, but you know, maybe it is. Scarlett Johansson did well though didn't she? Bless her.
4. Diarios de motocicleta
(The Motorcycle Diaries)
Directed by: Walter Salles
Starring: Gael Garcia Bernal, Rodrigo De le Serna
I read around this film to probably a greater extent than anything else this year, and I like to start by saying that this is a list of the best films from the year, rather than a debate on the content's accuracy. Of course every film is, to an extent, a reflection of society at a certain point in time, however this was one time when it just didn't matter in terms of entertainment. Firstly, whatever your thoughts on how this film portrayed Che, it would be hard to argue against the visually stunning way in which it was done. The Motorcycle Diaries not only looks good, it flows well for quite a long trek in which we see only the beginning of the man, a mere glimpse at the future as it would turn out. It's lucky therefore that this film, which by no means develops the relationship between Che and Alberto Granado very far, can draw the locations it does from the reality on which it is based. Argentina and Peru have never looked this good, from snowy mountains to rolling green hills, the small villages they pass to the long empty countryside roads. It would not be unfair to call this film a visual journey more than anything else.
Of course there is the background story too. There is Ernesto "Che" Guevara, portrayed here in such a way as to distract from what he would become, played by the engaging, as ever, Gael Garcia Bernal. Fans of Bernal from his other work (Y Tu Mama Tambien, Amores Perros..) will find it hard to be disappointed with a film that gives its star so much screen time. This film is telling only a tiny anecdote from a much larger story, but throughout the duration it never seems to matter and what we have here is a compelling and often amusing journey, well acted (especially by De le Serna), well photographed and well produced. It's possible to find objection with what this story undoubtably leaves out, but out of context it's a fabulous film, within it; as Roger Ebert said "It's a convenient formula, because it saves you the trouble of dealing with who they became".
5. Kill Bill: Vol. 2
Directed by: Quentin Tarantino
Starring: David Carradine, Uma Thurman, Chia Hui Liu, Michael Madsen, Daryl Hannah
Volume 2 wasn't hyped up as much as the first one, and even met with similar luke-warm appraisal. And once again, the only reason this isn't higher up the list is because the story is split in half. The second half however, is genre-mixing at its finest. Is it a western? An eastern? Northern? Southern? Maybe it's a globe spinning on a pivot, but whatever it is, it's rapid and impossible to ignore. Tarantino has created his best looking film by a long way, and the quietly undeveloped characters are pushed as far as they need to be by fantastic dialogue when the pace slows down. The soundtrack, as you would expect, is also awesome, and the whole production is overwhelmed with a glossy finish and high-production values.
There are a few things you can pick at though; Uma Thurman perhaps struggles to hold such attention as the leading role as the film drags on in the finale. Whilst she was simultaneously chic and powerful in Pulp Fiction, creating a lasting classic portrayal, here she is around much longer making it more difficult to create the same impact. Also, she didn't really have to 'Kill Bill', did she? On the whole, yeah, it's pretty sweet.
6. 21 Grams
Directed by: Alejandro González Iñárritu
Starring: Sean Penn, Benecio Del Toro, Naomi Watts
I don't have a lot to say about 21 Grams except that it is great. Benecio Del Toro and Sean Penn are magnificent in this film, which is basically an English (or American) version of Alejandro González Iñárritu's previous film Amores Perros (Mexico). It doesn't improve on Amores Perros, but it gives a bloody good account of itself weaving together three people's lives and stories into one climatic narrative. It has great editing and overall style and is clearly the work of an up and coming director who has an amazing gift.
7. Dogville
Directed by: Lars von Trier
Starring: Nicole Kidman, Lauren Bacall, Paul Bettany
Impossible to leave out, simply because it took Nicole Kidman (versatile yes, but even this is extreme) and put here on a stage with chalk drawn on it, added a camera or two and called it a film. Turned out to be a damn good film too, original, with an interesting story and great acting across the board. There are clearly overtones of political comment here with particular criticism heading the way of the US, but what Von Trier has done so well is to construct a well thought out and implemented microcosm on screen. What could have turned into a horribly dull 2 hours+ experience is saved by excellent editing, making use of the limited scenes which do away with sets and props. By doing this, focus is directly upon the actors but more importantly the writing which creates believable characters in a bizarre environment which couldn't be much further from the likes of Spider-Man 2. The work of a man with a masterful and skilled vision.
Nicole Kidman gets raped a couple of times too, if you like that kind of thing.
8. Garden State
Directed by: Zach Braff
Starring: Zach Braff, Natalie Portman, Ian Holm
This film got a huge build up (for an indie film), and all those who pay attention to the film industry probably saw the name a hundred times before ever taking any interest. I immediately saw the potential here. Braff is superb in Scrubs, which broke the hospital-comedy mould, let's be honest. Also, Natalie Portman is pretty much a babe, even when she's dressed up like a chump in Star Wars. It was a diamond combination from the word go, although the real surprise here is Braff as a director and writer. His script is nigh on perfect, his characters are real and have feeling, and the world he creates and the situations he sculpts are a perfect match for eachother. What you have here is the whole package.
It's one of those love stories that doesn't throw romance or staged scenarios at you. It's also a comedy that doesn't force you to laugh then make you feel uncomfortable when a joke falls flat. It's the classic rites of passage deal with a fresh feel to it and it is hard not to be impressed by this first time director, who at only 29 has made one of the truly outstanding films of the year, that will touch you no matter how hard you try to dismiss it - should you be that foolish. Why do the 'final goodbye' sequences always take place in airports though?
9. Zatoichi
Directed by: Takeshi Kitano
Starring: Takeshi Kitano
The legend of the blind swordsman - or Zatoichi as he's known - is old fare in Japan. The story has been told thousands of times, but never has it been done with a good old song and dance routine at its finale. This is a great legend, a great story but it's incredibly stylish too. It certainly tests the patience with some versions knocking at the 3 hour door, but it's fascinating to watch this man on the screen. Takeshi Kitano knows exactly what he is doing here - an old master revelling in creative freedom. In case you didn't know, he's the Kitano from Battle Royale, and a top guy.
The best Japanese film I saw this year, by quite a long way. With Japan falling slightly behind Korea, China and Hong Kong, this was a shining light guiding Japanese ships home safely on rocky coastlines across the nation. Don't ask me how he directed a film if he was blind though.
10. Finding Neverland
Directed by: Marc Forster
Starring: Johnny Depp, Kate Winslet, Julie Christie, Dustin Hoffman, Freddie Highmore
They say Johnny is oscar-worthy here. I disagree but it was obviously going to take something Academy-credible like this to just get him nominated, so I wouldn't be surprised if them people ain't wrong. It's a very good film, although I can't think of any convincing reasons why, so I'll just leave it at that. Don't expect a Michael Jackson cameo though, you'll just be as let down as I was.
However good his Scottish is, however touching the storyline and well-acted the whole film undoubtably is... it's just not rock n' roll Depp. I miss that guy, and I won't be happy until The Rum Diary comes out.
There are a few important things to include in any conclusion of the best films of 2004. Firstly Kate Winslet has featured twice this year and has been looking as fine as ever, also Scarlett Johansson (although only mentioned once) had a very big year that also included Girl with a Pearl Earring and In Good Company (released in the UK in 2005). Quentin Tarantino features in the top 10 for the second year in a row, whilst the list also included films from South America, North America, Europe and Asia - a particularly satisfying diversity that reflects the current standard of world cinema.
We also got to see Freddie Highmore playing Peter in Finding Neverland and acting alongside Johnny Depp; a relationship we will see again in 2005 as Highmore plays Charlie in the much anticipated Tim Burton adaptation of Charlie and the Chocolate Factory.
And finally, to quote myself in last year's top 10 article:
"We'll keep on praying for Red Dwarf; the movie to be completed". Still.
Written by J. King
Of course I need to make a swift mention of the films which didn't make it onto the list - an honorable roll-call if you will. Firstly there was a couple of huge films I excluded; Spider-Man 2 being the most high-profile of the bunch. It was superbly made, a great all-round production which easily equalled the original, and I left it out simply because it was a worthy sequal, rather than a stand alone. The Day After Tomorrow was not to be missed simply due to its stunning trailers and marketing - it looked good, it had Jake Gyllenhaal in it, but it was never quite outstanding for me. Good films that I just couldn't find a space for also included: Big Fish - fantastic cast and a magical tale just slightly over-sentimental, Shrek 2 - just as funny and entertaining as the first, The Terminal - all about Tom Hanks, who was as good as ever, The Passion of the Christ - a great cinematic event that never quite lived up to the hype, The Village, Collateral - see my review in Bullet Magazine on this & Secret Window - a Johnny Depp exhibition film, which like all Stephen King movies, was never going to be break the mould.
As always there were certain films that were slightly disappointing. The Coen Brothers' Ladykillers was sadly lacking from the expectations acquired watching their previous works, most noteably not as clever as Fargo, nor as entertaining as O' Brother Where Art Thou? The Stepford Wives remake was surprisingly hollow and its humour uninspiring, whilst Garfield was simply a travesty, destroying the fantastic foundations of the cartoon-strip and books, in order to make a few million dollars. If they ever do the same to Tom & Jerry then I want to be physically restrained from ever seeing it, and by reading this it is your duty to ensure that this be the case.
Anyway, ignoring all the films I neglect even to mention (Phantom of the Opera, I Robot, Troy..), it's on to the top 10:
1. Ying xiong/Shi mian mai fu
(Hero/House of Flying Daggers)
Directed by: Yimou Zhang
Starring: Ziyi Zhang, Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Donnie Yen, Daoming Chen, Takeshi Kaneshiro, Andy Lau
I had to include these two films together. Unrelated stories, a slightly associated cast, the same director... it's not the strongest link, but as a pair these films are impossible to ignore. Impressive not only with their success in breaking into UK cinema, but for everything within them as well. "You must see this" was the often quoted line from The Guardian. Used in the marketing for House of Flying Daggers, it wasn't far off. For possibly the first time with a foreign-language film, I saw a cinema screen completely full before the feature even began, which was a sign of something slightly special at work here.
Both films were soaked with sumptuous beauty across landscapes and interior, movement and composition. Epic choreography in the breathtaking action sequences takes awe to a completely new level - Crouching Tiger even put to shame. Scenes dripping with vibrant colours are one after the other and to the very last cut, eye candy has never tasted this good. Where Hero found critics in the Orient for its portrayal of totalitarianism, House of Flying Daggers left politics at the door and focuses much more on the characters, of which both films had a good hand. Zhang, Li and Leung are three of the highest profile Chinese performers whilst Lau and Kaneshiro leave pop-culture behind and excel in parts that may seem unconventional to audiences at home. Even if something is lost in translation (reference not intended here), so much is said within the inspiring beauty entirely capable of capturing the imagination across generations that in the end it might not even matter. Whether these films stand the test of time, or what they lead to, is for discussion much later on. For now, they're just marvellous.
If this year we saw convincing evidence that Hollywood's domination of the epic-action genre is over, then I wouldn't expect too many people to be complaining.
2. Eternal Sunshine of the Spotless Mind
Directed by: Michel Gondry
Starring: Jim Carrey, Kate Winslet, Mark Ruffalo, Tom Wilkinson, Kirsten Dunst, Elijah Wood
I think it was Empire who said this film had all the factors to go completely wrong. However, when you hear even the most avid anti-Carrey enthusiasts saying "Well, he was actually quite good" you know something special has just happened. In a much understated role in comparison to his usual fare, Jim Carrey is an excellent lead here. He shows he can do more than be born out of a rhino's backside, going through the full acting range from slightly shocked to slightly shocked yet happy, and occasionally even distressed. I'm a big fan though, so I wasn't surprised. The film doesn't lack comedy either, Kate Winslet, Mark Ruffalo and Elijah Wood all contribute to what is an amusing and thoughtful film, an imaginatively told story that looks absolutely fantastic. I mean jesus, it even managed a pretty good ending.
2nd is impressive for what is essentially a romantic comedy.
3. Lost in Translation
Directed by: Sophia Coppola
Starring: Bill Murray, Scarlett Johansson, Giovanni Ribisi
What makes a good film? It certainly isn't mass-appeal and the trouble with that is you can never really defend your opinion either way. I know a lot of people who loved this film, and I know just as many who didn't care for it at all. For me, this was highly anticipated and rightly so. It was Sophia Coppola's follow-up to The Virgin Suicides, which was a dreamy, captivating and poignent film that suggested so much potential. Secondly, Bill Murray was virtually hand-picked for this role, and Bill Murray alone is enough to carry almost any material (see: Groundhog Day). In the end, it wasn't even about pre-concieved expectations. The film stands alone in everything it is. It is striking, warm, set to a perfect soundtrack, with Tokyo captured in a brilliantly understated way. It doesn't push themes or ideas at you, or tell you how to feel, and maybe that is where people find fault. The technique is perfectly shown when we're excluded from hearing what he whispers at the movie's conclusion. There isn't a need to hear it, we're simply viewing a moment in time, the connection of two people through alienation, isolation, distance, however you want to describe it.
I wouldn't want to say this movie is all about interpretation, but you know, maybe it is. Scarlett Johansson did well though didn't she? Bless her.
4. Diarios de motocicleta
(The Motorcycle Diaries)
Directed by: Walter Salles
Starring: Gael Garcia Bernal, Rodrigo De le Serna
I read around this film to probably a greater extent than anything else this year, and I like to start by saying that this is a list of the best films from the year, rather than a debate on the content's accuracy. Of course every film is, to an extent, a reflection of society at a certain point in time, however this was one time when it just didn't matter in terms of entertainment. Firstly, whatever your thoughts on how this film portrayed Che, it would be hard to argue against the visually stunning way in which it was done. The Motorcycle Diaries not only looks good, it flows well for quite a long trek in which we see only the beginning of the man, a mere glimpse at the future as it would turn out. It's lucky therefore that this film, which by no means develops the relationship between Che and Alberto Granado very far, can draw the locations it does from the reality on which it is based. Argentina and Peru have never looked this good, from snowy mountains to rolling green hills, the small villages they pass to the long empty countryside roads. It would not be unfair to call this film a visual journey more than anything else.
Of course there is the background story too. There is Ernesto "Che" Guevara, portrayed here in such a way as to distract from what he would become, played by the engaging, as ever, Gael Garcia Bernal. Fans of Bernal from his other work (Y Tu Mama Tambien, Amores Perros..) will find it hard to be disappointed with a film that gives its star so much screen time. This film is telling only a tiny anecdote from a much larger story, but throughout the duration it never seems to matter and what we have here is a compelling and often amusing journey, well acted (especially by De le Serna), well photographed and well produced. It's possible to find objection with what this story undoubtably leaves out, but out of context it's a fabulous film, within it; as Roger Ebert said "It's a convenient formula, because it saves you the trouble of dealing with who they became".
5. Kill Bill: Vol. 2
Directed by: Quentin Tarantino
Starring: David Carradine, Uma Thurman, Chia Hui Liu, Michael Madsen, Daryl Hannah
Volume 2 wasn't hyped up as much as the first one, and even met with similar luke-warm appraisal. And once again, the only reason this isn't higher up the list is because the story is split in half. The second half however, is genre-mixing at its finest. Is it a western? An eastern? Northern? Southern? Maybe it's a globe spinning on a pivot, but whatever it is, it's rapid and impossible to ignore. Tarantino has created his best looking film by a long way, and the quietly undeveloped characters are pushed as far as they need to be by fantastic dialogue when the pace slows down. The soundtrack, as you would expect, is also awesome, and the whole production is overwhelmed with a glossy finish and high-production values.
There are a few things you can pick at though; Uma Thurman perhaps struggles to hold such attention as the leading role as the film drags on in the finale. Whilst she was simultaneously chic and powerful in Pulp Fiction, creating a lasting classic portrayal, here she is around much longer making it more difficult to create the same impact. Also, she didn't really have to 'Kill Bill', did she? On the whole, yeah, it's pretty sweet.
6. 21 Grams
Directed by: Alejandro González Iñárritu
Starring: Sean Penn, Benecio Del Toro, Naomi Watts
I don't have a lot to say about 21 Grams except that it is great. Benecio Del Toro and Sean Penn are magnificent in this film, which is basically an English (or American) version of Alejandro González Iñárritu's previous film Amores Perros (Mexico). It doesn't improve on Amores Perros, but it gives a bloody good account of itself weaving together three people's lives and stories into one climatic narrative. It has great editing and overall style and is clearly the work of an up and coming director who has an amazing gift.
7. Dogville
Directed by: Lars von Trier
Starring: Nicole Kidman, Lauren Bacall, Paul Bettany
Impossible to leave out, simply because it took Nicole Kidman (versatile yes, but even this is extreme) and put here on a stage with chalk drawn on it, added a camera or two and called it a film. Turned out to be a damn good film too, original, with an interesting story and great acting across the board. There are clearly overtones of political comment here with particular criticism heading the way of the US, but what Von Trier has done so well is to construct a well thought out and implemented microcosm on screen. What could have turned into a horribly dull 2 hours+ experience is saved by excellent editing, making use of the limited scenes which do away with sets and props. By doing this, focus is directly upon the actors but more importantly the writing which creates believable characters in a bizarre environment which couldn't be much further from the likes of Spider-Man 2. The work of a man with a masterful and skilled vision.
Nicole Kidman gets raped a couple of times too, if you like that kind of thing.
8. Garden State
Directed by: Zach Braff
Starring: Zach Braff, Natalie Portman, Ian Holm
This film got a huge build up (for an indie film), and all those who pay attention to the film industry probably saw the name a hundred times before ever taking any interest. I immediately saw the potential here. Braff is superb in Scrubs, which broke the hospital-comedy mould, let's be honest. Also, Natalie Portman is pretty much a babe, even when she's dressed up like a chump in Star Wars. It was a diamond combination from the word go, although the real surprise here is Braff as a director and writer. His script is nigh on perfect, his characters are real and have feeling, and the world he creates and the situations he sculpts are a perfect match for eachother. What you have here is the whole package.
It's one of those love stories that doesn't throw romance or staged scenarios at you. It's also a comedy that doesn't force you to laugh then make you feel uncomfortable when a joke falls flat. It's the classic rites of passage deal with a fresh feel to it and it is hard not to be impressed by this first time director, who at only 29 has made one of the truly outstanding films of the year, that will touch you no matter how hard you try to dismiss it - should you be that foolish. Why do the 'final goodbye' sequences always take place in airports though?
9. Zatoichi
Directed by: Takeshi Kitano
Starring: Takeshi Kitano
The legend of the blind swordsman - or Zatoichi as he's known - is old fare in Japan. The story has been told thousands of times, but never has it been done with a good old song and dance routine at its finale. This is a great legend, a great story but it's incredibly stylish too. It certainly tests the patience with some versions knocking at the 3 hour door, but it's fascinating to watch this man on the screen. Takeshi Kitano knows exactly what he is doing here - an old master revelling in creative freedom. In case you didn't know, he's the Kitano from Battle Royale, and a top guy.
The best Japanese film I saw this year, by quite a long way. With Japan falling slightly behind Korea, China and Hong Kong, this was a shining light guiding Japanese ships home safely on rocky coastlines across the nation. Don't ask me how he directed a film if he was blind though.
10. Finding Neverland
Directed by: Marc Forster
Starring: Johnny Depp, Kate Winslet, Julie Christie, Dustin Hoffman, Freddie Highmore
They say Johnny is oscar-worthy here. I disagree but it was obviously going to take something Academy-credible like this to just get him nominated, so I wouldn't be surprised if them people ain't wrong. It's a very good film, although I can't think of any convincing reasons why, so I'll just leave it at that. Don't expect a Michael Jackson cameo though, you'll just be as let down as I was.
However good his Scottish is, however touching the storyline and well-acted the whole film undoubtably is... it's just not rock n' roll Depp. I miss that guy, and I won't be happy until The Rum Diary comes out.
There are a few important things to include in any conclusion of the best films of 2004. Firstly Kate Winslet has featured twice this year and has been looking as fine as ever, also Scarlett Johansson (although only mentioned once) had a very big year that also included Girl with a Pearl Earring and In Good Company (released in the UK in 2005). Quentin Tarantino features in the top 10 for the second year in a row, whilst the list also included films from South America, North America, Europe and Asia - a particularly satisfying diversity that reflects the current standard of world cinema.
We also got to see Freddie Highmore playing Peter in Finding Neverland and acting alongside Johnny Depp; a relationship we will see again in 2005 as Highmore plays Charlie in the much anticipated Tim Burton adaptation of Charlie and the Chocolate Factory.
And finally, to quote myself in last year's top 10 article:
"We'll keep on praying for Red Dwarf; the movie to be completed". Still.
Written by J. King