I, Erik Samdahl, posted my top ten movies of 2007 a couple weeks ago. Here, check out the top ten movies of 2007 as determined by Nathan Vass, who has done occasion guest movie reviews on the website over the last couple of years. Nathan has an excellent but particular taste in movies; I’ll agree with him pretty much spot on 80% of the time, and 10% he’ll absolutely love movies that I simply liked (American Gangster, for one) and the other 10% I couldn’t disagree more (300). Regardless, he writes a lot more poetically than me, so please enjoy his best movies of 2007, as well as some other insightful comments…

1. There Will Be Blood

The boundaries of cinema are now slightly bigger. ‘Blood’ is like nothing you have ever seen, or heard. Every element of it, from Day-Lewis’s blistering, rightly lauded performance to (Radiohead) Jonny Greenwood’s dissonant score- if ever there was a film that defied superlatives, this is it. Anderson’s long takes highlight the performances, and his writing establishes a unique vernacular quite unlike anything I’ve heard, which he slowly escalates to something way beyond tipping point in the final scene, an ungodly stunner that flies in the face of categorization or even description, but must simply be seen to be believed. Everyone knows Day-Lewis is great, but nobody’s ever seen like this before. Steven Spielberg has stated that Anderson is his favorite director of the new generation, and I am inclined to agree. Easily one of the towering cinematic achievements of the new decade.

2. No Country For Old Men

It’s the ending that raises this film to the level of masterpiece. For the first two acts, the Coens make a measured, tense thriller rooted in physicality, with riveting but easily comprehendible situations. Then, the film takes a sharp left turn in its viewpoint, but not its subject matter, forcing us to reevaluate the thematics of what we’ve seen in a way we wouldn’t have expected- it’s about a man’s change in worldview, and how he achieves peace with himself internally, by changing the way he sees things, instead of finding closure physically. It’s a cerebral ending, and a challenging one for most audiences; at first glance it feels unresolved, but in reality it couldn’t be moreso. The film is not exactly very approachable or entertaining, but the execution of the scenes, performances, and in particular, the script, really couldn’t be any better.

3. Zodiac

If you forgot about this film, it’s time to see it again. Another reviewer wrote that if if Fight Club was Fincher’s rock’n'roll masterpiece, this is his twelve-part symphony. Like Oliver Stone’s JFK, the film mines its subject matter for all it’s worth, thereby becoming the definitive last word on its subject (the investigation of the Zodiac murders in 1970s San Francisco). Certainly serial killer movies will continue to be made, but they will be difficult to take seriously in light of this film, which, finally, exposes the true nature of investigative police work and journalism- it is tedious, exhausting, sometimes never-ending- an arduous numbing of the soul. The film is not so much about the Zodiac himself, but about the people who fell to the psychological toll of pursuiing him; one by one they drop out of the picture, until only one (Jake Gyllenhal) is unable to give up, having lost the rest of his life long ago. It’s a bleak picture, but a valuable and cautionary one. Writers will take pleasure in its detail and measured pacing, and especially for its unique inverted-pyramid structure- you’ll know what I mean when you see it.

4. American Gangster

Ridley Scott’s so good that when he turns in another masterpiece, people shrug their shoulders. His new film is as good as any of his others, and well worth the time of any serious filmgoer; the film’s incredibly dense, intricate plotting is reminiscent of JFK. Indeed, Gangster holds the record for the film with the most locations (180). Steven Zaillian’s script takes a unique approach- dozens (about 350, in the shooting script) of very short scenes, many of them without dialogue, sketch together a detailed portrait of two like-minded workaholics on very different career paths.

The two characters seem similar to others we’ve seen before, but there are subtle differences that make them very different. Lucas (Washington) is oblivious to the glamourous side of ‘the life,’ seeing it merely as a lucrative but exhausting business venture; he has conversations with associates not about fast cars or women, but about exclusivity rights and trademark infringement. Roberts is of the same breed, with a little more humanity; both of them define themselves by what they do. Contrary to popular consensus, Crowe’s character is almost more interesting than Washington’s- we wonder what makes him so doggedly honest. Could it be the same vision of the possibilities of America that he shares with Lucas, but from a different angle? A film that stimulates such questions should not be ignored.

I should also note the tremendous performance by Washington; watch him at the moment when he first sees Russell Crowe. You can read a dozen emotions on his face in the space of a few seconds. And then there is the direction- each successive film Ridley makes further cements his status as one of the premier visual stylists of our time. The communicative power of the cinematography, the use of music, the layered but followable script, the sheer size of the picture- it’s all impeccable, and very much deserving of the iconic title.

5. The Assassination of Jesse James By The Coward Robert Ford

What lingers in the mind is not the story or plotting, but the atmosphere. This is a film about that which is nearly intangible- the unspoken inner thoughts of others, the gradual shifts in the mind that lead a man to do something he originally couldn’t dream of. Scenes drift past us, at first appearing inconsequential, but in hindsight revealing exactly what we needed to know. The title of the picture tells the what and who; the film tells us the how and the why. The performances by both leads are award-worthy, although the film has somehow been passed over this awards season, despite its undeniable if unique quality.

6. I’m Not There

The film is just like Bob Dylan- frustrating but brilliant, complex but engrossing, always at the cusp of being comprehendible. Most importantly of all- it’s completely uncategorizable. The more you know about Dylan, the more comprehensible the film is, and the more one can appreciate the novel approach (six actors, including an 11-year black boy and Cate Blanchett, portray various sides of the Dylan persona). The fact that the movie actually manages to make any sense at all is a testament to the talent of the filmmakers. Todd Haynes’ direction is highly energetic and hugely ambitious; the visuals are many and varied in their approach. You don’t watch this movie so much as wander around in it- and that’s a good thing. The performances are uniformly excellent, especially Blanchett as the 1960s-era Bob Dylan.

7. The Diving Bell and The Butterfly

Large portions of the film are shot exclusively from the point of view of the protagonist’s left eye- the only part of his body that hasn’t been paralyzed. There are lots of movies about paraplegics; you’ve never seen one like this. Vibrant colors and beautiful compositions leap off the screen; American painter Julian Schnabel’s direction is in-your-face outstanding. Somehow, the film manages to be very uplifting, despite its subject matter. The film concerns the man’s coming to terms with his new state of living, somehow still finding some humor and joy in life. The picture is based on the life of a French editor of Elle magazine, who, upon being paralyzed, dictated his entire autobiography by blinking his left eye.

8. Into The Wild

A fantastically involving picture. Penn’s direction is remarkably fluid, and the questions the story posits are relevant to so many of us; we are allowed to consider the character’s ideas and actions on their own terms, and come to our own conclusions about life. One of the most thought-provoking and deeply rewarding cinematic experiences of the year.

9. Juno

How rare- a comedy made with attention to human nature, exploring its characters not just for laughs but for the same insight we gain from watching dramas. There is a humanity lurking under the too-cool exterior of Juno, and you can sense traces of it in the nuances of Ellen Page’s incredible performance; her quirkiness and ironic attitude conceal something that is never shown in the film, but clearly sensed. It’s a remarkably difficult role. Also rare in a teenage comedy- Juno actually seems like her parent’s child, and we can see where she learned to be the smartass that she is. The drama of the story is real, and earned, and by the end, we feel we’ve been somewhere. The same can’t be said for most comedies today. (Also worth noting: when was the last time you saw a *cool* stepmom in a movie??)

10. Michael Clayton / Atonement / The Bourne Ultimatum

All three films are pitch-perfect examples of their respective genres, and represent filmmakers working at the top of their craft. Gilroy’s Michael Clayton is the best legal picture since Mann’s The Insider, and is astonishingly well written and directed for a first timer; Atonement is a period piece with a very unique story focus (neither of the lead actors are the main characters) and very, very sharp editing and direction; with Bourne Ultimatum, Greengrass has all but perfected his style, shooting a studio tentpole sequel as if it was an indie docudrama; the film is made of three chase sequences, and he injects them with a realism that can’t be achieved any other way. His editing is disorienting but intricate; notice how flows of motion are started in one shot but are almost never continued in the next. The best action picture in several years.

Other comments

Sicko

Great, mostly non-partisan documentary that makes you want to move to France.

Transformers

The fulfillment of Michael Bay’s promise to cinema- beautiful, exquisitely photographed wall-to-wall kinetic movement, complete with laughable dialogue and story. It’s fantastic.

Gone Baby Gone

Ben Affleck’s (co)writing and direction is confident and mature, and best of all, understated. The script uses a crime drama as a template for exploring different, complex points of view on a certain aspect of the human condition.

La Vie En Rose

Nearly the best musical biopic that still uses the musical biopic template (that is, struggling artist makes big, takes drugs, does one last show); the overwhelming advantage here is total non-linearity, connecting scenes not by time but by emotion. Cotllard’s performance is outstanding. Also worth noting is the presence of some incredible dynamic tracking shots.

3:10 To Yuma

Another genre picture that works very well without breaking out of the bounds of its mold. The film is about as good as it could be as such. Worth mentioning is the humanity of the Christian Bale character, and the dynamic between the two leads.

Reign Over Me

A brilliant first hour, very affecting in its realistic approach of a unique dilemma studiously avoided in the movies; the remainder of the picture unfortunately dissolves into typical studio melodrama. A massively unrealistic courtroom scene near the end takes the cake.

Across The Universe

Well worth it for its ambition and creativity;

Hot Fuzz

Another excellent comedy with good characters, albeit a good deal more frivolous, and gory, than Juno; it kicks into high gear in the last half hour. A good number of unmissable scenes.

300

Glorified nihilism at its worst. The film wallows in stereotypes and prejudices, positing psychotic violence as a premier problem-solving tool and worse, a cause for glory. It isn’t that the film’s characters are morally repugnant, although they are; it’s that the film takes a stance that glorifies their outlook. Only in post 9-11 America could a picture like this be so well-received. I recognize its many strong points (the visuals are undeniably great), and want to like the picture, but am unable to get past its non-relation to reality. I should stress that despite that, it is not, however, a bad film by any means.

Beowulf

People will laugh about this film in times to come- indeed, some already are. Zemeckis has miraculously forgotten how to make the masterpieces for which he is famous, choosing instead to turn a piece of epic literature into a short, action-fluff piece that doesn’t even work on its own terms. 3D effects are particularly risible, essentially emphasizing foreground/background contrasts, throwing the swishing arrow in every now and then. The novelty wears off fast, and 3D shots thrown in for their own sake will seem extraneous and oddly paced on the 2D dvd.

The Kingdom

A surprising disappointment. The film dares to simplify America’s involvement in Iraq, and all the complexities involved, into a big-budget version of CSI. The story and imagery, at times, smacks of blatant wish-fulfillment, particularly in the climactic gun battle. The opening credits set us up for a story that builds upon the complicated, violent history of Saudi Arabia, but only offers us a peek in the film’s final 30 seconds. The rest is a (very) well-executed version of a mediocre and irrelevant story- not something promised in the film’s opening.

Grindhouse

Ebert writes, “This evocation of a grindhouse may have existed somewhere, sometime, but my movie-going reaches back to before either director was born, and I have never witnessed a double bill and supporting program much like the one they have created…. “Grindhouse” is an attempt to re-create a double feature that never existed for an audience that no longer exists.” He is right, but the films stand on their own, even if their origins don’t. Rodriguez understands the appeal of the “good bad film,” and offers an excellent one with Planet Terror, which involves zombies, Bin Laden assassins, barbeques and small motorcycles; Tarantino’s segment is actually intended to be a good movie- which it is- and focuses on too-hip dialogue, female feet, a kinetic car chase, and some fairly disturbing violence that is ambiguous in its intent on the viewer. An excellent, unique package, overflowing with its filmmakers’ creativity and love for their medium.

The Savages

Hoffman nails it, again. Linney proves herself once more. Tamara Jenkins’ script moves well, exploring an unexplored but universal topic (what do we do with our aging parents?) with detail and good humor.

Eastern Promises

Cronenberg’s non-direction appears as a missed opportunity at first sight, but upon further reflection is quite effective. His use of slightly wider-angle lenses and compositions that center shoulders instead of heads doesn’t even register on first viewing. He infuses a subtle sense of dread through mostly indiscernible means; he pointedly asks us to wonder what the different characters are thinking, a task many filmgoers may not be accustomed to. Note the way he reveals that one of the characters is homosexual. The use of readings from a diary, peripherally related to all the characters, is timed to suggest the inner motivations of the characters then onscreen. A unique, film-going experience. Worth mentioning is the climactic (and unending) bathhouse fight, which shows us the visceral vulnerability of close combat in ways we’ve definitely haven’t seen before.

Comedies can win Oscars, or at least Golden Globes. Foreign films get their own category. So, aside from family films, the one genre that never gets much recognition other than through box office dollars is the action movie genre. Action films have become blurred with thrillers recently, as Hollywood has leaned more toward serious, realistic action-thrillers over kick-ass explosion-filled extravaganzas. This list includes some of those, but 2007 saw the reemergence of some bad ass action films.

And no, Spider-Man 3 is not on the list. Here are the top ten action movies of 2007:

1. Transformers (2007)
   The top five action movies of 2007 are pretty close to one another, and the top three are almost interchangeable. But there’s no denying that the film with the biggest impact over the summer was an explosive action film that had fan boys salivating and even regular audience members blown away by spectacular visual effects and a finale that all but destroys Los Angeles. The movie was plagued with some annoying dialogue and other screenplay issues, but Michael Bay’s action sequences overcame those flaws to make Transformers the best action movie of 2007.
2. 300 (2007)
   Coming in a very close second place is 300, a movie from Dawn of the Dead director Zach Snyder. 300 could have been a complete disaster, but Snyder made the movie a visual feast. Some people complained that the movie had a lot more talking than fighting, but I found it to have the perfect balance of politics, drama, visuals and action. 300 is by far and away the most visually original picture of 2007, and it’ll be interesting to see how the Visual Effects Oscar gets handed out – on the one hand, Transfomers offered seamless visuals; on the other, 300 was one long special effect that defied expectations and made the film the biggest hit of the first four months of the year.
3. The Bourne Ultimatum (2007)
   The smartest action film in the top three, the third Bourne film places third simply because I thought The Bourne Supremacy was slightly better. The Bourne Ultimatum felt a bit like it was re-treading on the second film’s originality only with a less interesting plot, but I only say that because Supremacy is one of my all-time favorite action films. Ultimatum is still a great action movie, and continues to prove that Matt Damon can be an action hero, and a damn intimidating one to boot.
4. Live Free or Die Hard (2007)
   Despite going way too over the top at times (the fighter jet blowing up a billion dollars worth of highway, for instance), the fourth Die Hard movie was everything fans were expecting and waiting for. People had all but given up on the chance that they would indeed make a fourth movie, but Bruce Willis brought his rugged John McClain back to theaters one more time. The movie is one long action sequence, and while it is hit a bit by the fact that it is rated PG-13, it is still a pretty brutal thrill ride. At the very least, it was refreshing to return to the action films of old, where tough guys did tough things.
5. No Country for Old Men (2007)
   Who knew that a major Best Picture contender would end up on a Top Ten list for Best Action Movie? Regardless, No Country for Old Men, from the Coen Brothers, is one of the most exciting movies I’ve seen in a long time. Not your typical action film, the Coen Brothers fill their film with an impending sense of dread, and give us one of the scariest and most ruthless villains ever witnessed on the silver screen. Unfortunately, the movie doesn’t end the way most of us would have liked – otherwise, this film could have been a lot higher on this list.
6. Shooter (2007)
   Items six through ten aren’t nearly as good as items one through five, but are still good entries for those looking for mindless entertainment. Shooter is a pretty mindless film that tries to cover some idiocies with a political assassination and conspiracy storyline, which, for the most part, works well enough. Mark Wahlberg does a good job in the lead, and Shooter offers plenty of action and intrigue. It’s not a great movie, but it’s still better than most action movies we get these days.
7. 28 Weeks Later (2007)
   Okay, so 28 Weeks Later is technically a horror movie, or at the very least a zombie movie, but as far as excitement goes, it’s a great little film. The movie didn’t receive very good reviews nor box office revenues, but this zombie sequel is exciting and suspenseful from the first minute to the last. The opening sequence is great, and the film is full of exciting moments.
8. Vacancy (2007)
   It’s been a while since I last saw this thriller, but I had to put it on the list anyway. It’s not an action movie per se, but it is action-packed, so I think it deserves a place. Starring the unlikely combination of Luke Wilson and Kate Beckinsale as a nearly divorced couple, Vacancy is about two people who find themselves trapped at the hotel from Hell. The movie is exciting from beginning to the end, minus the last two minutes, which are just dreadful. Still, I hadn’t sat on the edge of my seat like this in a long time.
9. 3:10 to Yuma (2007)
   I wasn’t crazy about the ending of this one either, but there’s no denying that 3:10 to Yuma is still a thoroughly entertaining film. Starring the great combination of Russell Crowe and Christian Bale, the western remake offers a complicated and disturbing villain (Crowe), some good action scenes and several other exciting moments. If anyone still thinks that westerns are out of date, 3:10 to Yuma is just one of many recent westerns that proves them wrong.
10. The Kingdom (2007)
    This one wasn’t as good as I was hoping it would be, but The Kingdom has some great action, especially toward the end. Somehow this movie, which featured some pretty spectacular trailers and a quality cast, flopped in theaters despite having everything that action audiences require. The shortcoming of the film is that the screenplay isn’t nearly as good as it should have been, given the material.

Other movies that almost made the list: Planet Terror, Death Proof and Smokin’ Aces. The two Grindhouse films were both thoroughly entertaining and offered some good action, while Smokin’ Aces was entertaining but not quite as action packed as I was hoping for.

Why wasn’t Spider-Man 3 on the list? Because it just wasn’t that good of a movie. Harry Potter? Not nearly as good as the other movies (and not really an action movie). Pirates of the Caribbean? That movie just sucked. Fantastic Four 2? Enough said.

The Top Ten Movies of 2007 List, as selected by me, Erik Samdahl, is here! As I said all year, 2007 was a terrific 365 days for film, as there were more quality movies than the last two or three years combined. I usually scrape to put a Top Ten List together, but this year I had nearly twenty candidates that I would feel happy about mentioning here. Beyond those twenty candidates, there were several others that were still well done, including some great action movies, quality thrillers and some of the funniest comedies in a long while. Still, in such a competitive year, these films below really stood out. These are the creme of the crop, the best of the best, the must-see films of 2007…

11. Ratatouille (UPDATED: I moved this to #11)

I normally don’t place animated films in my Top Ten, but Pixar came along, delivered a comeback after the horrible movie Cars and provided audiences with the best animated picture in years. Ratatouille is the perfect example of why Pixar is better than any other animated comedy; unlike the other companies, they actually try (and normally succeed) to do something unique. They don’t rely on modern day satires, spoofs and references, and instead go about creating memorable, high quality stories. Ratatouille is a well-written, witty and entertaining animated picture, and a sure lock for this year’s Oscar in the category. On top of that, the visual effects are simply stunning; the Pixar team really outdid themselves this time.

10. I’m Not There

I had trouble deciding where to place I’m Not There on this Top Ten List. I found I’m Not There pretty confusing at times and didn’t find it as entertaining as some of the other pictures on the list. That being said, the movie is easily the most ambitious film of the year. Writer/director Todd Haynes really deserves props for managing to pull this feat off, as his movie stars not one but six actors (including Richard Gere, Christian Bale, Heath Ledger, Cate Blanchett and even some little black kid) as Bob Dylan. To make things even more confusing, each actor represents a metaphorical stage in Dylan’s life and career, and if you’re like me and don’t know a thing about Dylan, you’ll be lost. Still, for Haynes to actually develop a coherent film out of this chaos is absolutely amazing, and he makes it look easy.

9. Lars and the Real Girl

I normally don’t place feel-good movies on my top ten lists as I generally tend to lean toward serious dramas, but I have two on here this year. Lars and the Real Girl stars Ryan Gosling as a socially awkward young man who finally gets a girlfriend – unfortunately, his girlfriend is a life-size sex doll. To help Lars get over his psychological issues, the townspeople decide to pretend that his girlfriend is real. The movie features some great comedic performances, and, in general, the movie is quite funny; it’s also sweet, touching and sad all at once.

8. Charlie Wilson’s War

Funny and politically charged, this movie based on the screenplay from “West Wing” creator Aaron Sorkin stars Tom Hanks as a womanizing, cocaine-snorting U.S. Representative who decides to covertly fight the Russians by funding Afghanistan militants. It doesn’t sound like a comedy at first glance, but the movie is at times quite hilarious. Hanks is the best we’ve seen him in years, but Philip Seymour Hoffman is the scene-stealer. Charlie Wilson’s War isn’t for everyone, but for those who like a little dose of politics with their comedy, this one is a must-see.

7. Once (UPDATED: I added this movie to the list on 1/23/2008)

I forgot to add Once to this Top Ten List because based it on a list of movie reviews I had done for 2007. However, I hadn’t yet written a review for Once, a film I had already intended to put on the list. Hence, I forgot. Once is an incredibly simply but mesmerizing film. The song, which is nominated for an Oscar (it better win!), is simply astounding, and pretty much makes the film. Regardless, the chemistry between the two leads is terrific.

6. No Country for Old Men

And now come the heavy hitters. No Country for Old Men is still a front runner for Best Picture, as it has already picked up several awards over the last month and a half. The movie, easily the best Cohen Brothers film in years, is a dark and depressing action-drama about a man (James Brolin) who discovers a bunch of drug money and finds that by taking it he has unleashed the wrath of one of the nastiest, most psychotic assassins in the history of cinema. Javier Bardem is absolutely stunning as the madman killer. Still, as good as the movie is, I feel it was slightly over-hyped; the ending left a lot of audiences wanting more, and in all honesty, it isn’t a very satisfying conclusion to such an exciting, suspense-filled film. Nevertheless, No Country for Old Men leaves you on the edge of your seat the entire time, and that’s worth something.

5. Juno

The other feel-good movie of the year, Juno is tearing it up at the box office and has critics singing praise with its excellent screenplay and terrific acting from young star Ellen Page. The screenplay, from writer Diablo Cody, is one of the top candidates to win Best Screenplay, and Page has an outside chance at winning Best Actress. The dialogue is what makes this movie – about a pregnant 16-year old girl who decides to give away her baby – so good, as its sharp wit flies so fast that’s it hard to keep up with all of it. Juno also has its sweet side to it, which will delight the female members of the audience.

4. Zodiac

David Fincher’s Zodiac may long be forgotten as the film was released way back in March, but those of you who saw this picture hopefully realized that Fincher has developed quite a masterpiece. While the movie, based on the real Zodiac serial killer investigation, isn’t your typical crime thriller, Fincher somehow managed to make a suspenseful drama out of a three-hour, dialogue-driven screenplay. Not everyone loved Zodiac, but it is one of the best serial killer films in a long time.

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

Few people have seen this Brad Pitt/Casey Affleck drama, and even fewer would probably place this film in their top ten list, but The Assassination of Jesse James by the Coward Robert Ford is an amazingly engrossing and deep drama. The film is nearly three hours long and features almost no action, which may surprise people expecting an action-western, but for those of you who know better, the picture is an impressive character study of two drastically different men. Brad Pitt is stunning as the outlaw James, even if you don’t realize how good he is for most of the movie. Casey Affleck, however, is absolutely captivating, and delivers the best performance of his career, knocking off his previous best – from Gone Baby Gone, which just missed out on making this top ten list. Needless to say, 2007 was a good year for the younger Affleck brother, and Jesse James is an excellent movie, highlighted by a shockingly good final half hour.

2. There Will Be Blood

The top two films of 2007 really set themselves apart from the rest. There Will Be Blood, Paul Thomas Anderson’s masterpiece, is a bold and powerful examination of one man’s rise and fall. The movie is excellent, but Daniel Day-Lewis delivers his best performance ever – and that’s saying a lot. Day-Lewis transforms himself into a mesmerizing character who hates everyone and is greedy beyond belief. Like I say in my movie review, if he doesn’t win an Oscar, I will turn my back on the awards show forever.

1. Atonement

While There Will Be Blood was amazing, it will not appeal to everyone. Atonement, on the other hand, is a bit more mainstream, but thanks to incredible direction from Joe Wright (Pride & Prejudice), Atonement is the best movie of 2007. Its widespread appeal is not the reason Atonement is the best movie of 2007; the movie is simply captivating from beginning to end. A near-thriller to begin with, the film turns into a war romance in the second half, but the film carries more than a few punches that catch you off guard. Wright does a marvelous job of crafting a story that makes you optimistic and then crushes your emotions, and then starts all over and does it again. Atonement is a sad movie, but that doesn’t mean it isn’t great.

Why did I choose Atonement over There Will Be Blood? It was a close decision, but I felt There Will Be Blood dragged in a few small sections while Atonement did not; there were a few parts where Blood seemed to lose focus, whereas Atonement is just a bit more consistent. There Will Be Blood has better acting, but Atonement pulls at your emotions slightly more. Still, it was a tough decision, but I stand by it.

Stay tuned for other top ten lists over the coming weeks!

Due to the launch of FilmJabber, updates to the database have been relatively sparse, but that doesn’t mean I haven’t been seeing movies. December is always the best time for movies, as this is when a good chunk of the award powerhouses come out. 2007 was a great year for movies, and December was more competitive than ever.

Here are the new movie reviews that are currently online:

• There Will Be Blood
• Sweeney Todd
  
• Eagle Vs. Shark
• Golden Door
• Shoot ‘Em Up
• War

And here is a list of movie reviews coming over the next week or so:

• Charlie Wilson’s War
• Juno
• Once
• Good Luck Chuck
• Zodiac: Director’s Cut
• The Brothers Solomon
• National Treasure: Book of Secrets
• Home of the Brave
• Amazing Grace
• The Namesake
• In the Land of Women

As you can see, I’m going to be very busy catching up! Hope you enjoy, and remember you can write your own reviews. In time, I plan to have members’ reviews and comments aggregated into their own landing pages, so you can write your reviews, post them online and send everyone to a central location where your friends can see what you think of recent films.

Jackass 2.5: Unrated is coming to DVD on December 26th, and would be a perfect late stocking stuffer for your parents. Unfortunately, there’s a reason why the movie is going straight to DVD, and that’s that it just isn’t that funny.

Clearly a release made to cash in and nothing else, Jackass 2.5 has all the same cast members from the previous films, but the footage consists entirely of deleted scenes from Jackass 2 and some interviews with the cast. So, basically, the DVD consists of a bunch of gags and painful moments that weren’t funny enough to make the cut, and weren’t even funny enough to make the deleted scenes of the original DVD.

Jackass 2.5 is barely an hour long, which is more than enough time to show all of the remaining footage and then some. To fill the movie out, there are quite a few interviews with the cast members, who remark on their favorite moments and so on and so forth. While not all that funny, these interviews are at least somewhat insightful and allow us to see the cast acknowledging that what they do is pretty stupid. My favorite part is where they show some of the crew members discussing how they can never let their guard down on the set, because the cast is always up to something gross. As one might imagine, the crew members grow quite annoyed at times.

Nevertheless, there really isn’t a memorable sequence in the entire movie, unless you count a slightly funny one that has Preston Lacy dressed up as King Kong on top of a port-o-potty while the rest of the cast fly remote control airplanes at him.

I loved the last two Jackass movies, but Jackass 2.5 just isn’t very good. It’s not terrible (unless you think Jackass is complete trash that should never be made), but Jackass fans would be better off watching the first two movies.