[Bubba]

Okay so I haven't posted in forever, and I actually haven't seen any movies this year because I was in Vegas for two months during the WSOP and now I've moved down to Costa Rica for a little while, so I'm definitely out of the loop. Having said all of that, I did see about 60 films in '08, including a bunch at TIFF, and I think that's enough to compile a relevant list. And hopfully it'll get me my fix of film discussion as well! Anyways, I'm going to get right to it in a few minutes with a couple of HMs.

HMs: Iron Man, Frozen River,
HMs: Vicky Cristina Barcelona, Flame and Citron
10. Happy-Go-Lucky
9. Slumdog Millionaire
8. Me and Orson Welles

[LEAVES]

I think all 'year end lists' should be belated, if only because some of the best films don't get a release as wide as they merit (like, say, 'at all'). Thus, I deem this list 'better than not-belated'.

[Miche.]

Great white north? WSOP? Costa Rica?!?! Sounds like my dad.

Anyway, have at it.

[Bubba]

For every successful comic book film like Spider-Man and X-2, there are multiple failures such as Daredevil, Elektra and both Hulk attempts. Aside from The Dark Knight, which is really more of a crime thriller, there hasn’t been a truly great comic book adaptation. Couple these facts with the unimpressive and almost silly nature of its first trailer, and I admit that I had Iron Man pegged as a dud. But I was wrong. While it isn’t perfect, and certainly not good enough to usurp Nolan’s film as best in the genre, Iron Man is solid entertainment that packs a surprisingly powerful punch.

The film opens with Tony Stark (Robert Downey Jr.), the world’s leading arms dealer, fresh off his latest missile demonstration somewhere in the Middle East and cracking jokes with U.S. soldiers in the back of a Humvee. About 10 minutes and a few Stark weapons explosions later, Tony finds himself at the mercy of a group of terrorists who threaten to kill him if he doesn’t build them a missile. Naturally, Tony instead uses the materials to build a weapon for himself - you guessed it, the Iron Man suit! The rest of the film chronicles Tony’s inner-struggle with the ethics of his company, his difficulties in designing a new suit, and his confrontation with an unexpected opponent. The plot of Iron Man is the standard expedited vigilante-origin story with a few personal demons and some sexual tension, but it also allows for both character and theme development without hindering the pace. Tony’s sudden switch from amoral gun-runner to anti-war spokesman is very believable, and it’s a good thing too, because the movie hinges upon it.

The first task, and perhaps the most important one for a comic book film especially, is casting the superhero. While Robert Downey Jr. might not initially sound like the man to play Tony Stark – millionaire, irresponsible genius, womanizer – he only needed five minutes onscreen to convince me he was the perfect choice to play Iron Man. Downey Jr. is brilliant in bringing the relatively unbelievable character of Stark to the screen in a formidably realistic fashion. Tony is equal parts technology wizard and courageous adrenaline-seeker, and Downey Jr. flawlessly captures the essence of his complex nature. Stark shifts very quickly from a carefree weapons dealer, to a defiant captive, to a frantic inventor and test pilot, and then finally to a superhero. Downey Jr. expertly uses each phase to further layer his character, which results in a fully developed, likable, and completely vulnerable Tony Stark. One calls to mind the exploits of Howard Hughes (minus the insanity) while watching Downey Jr. portray Stark, and there’s no greater compliment for an actor than relating the fictional character he’s playing to a real life figure.

The supporting cast of Iron Man is also very good, with the other standout being Gwyneth Paltrow as Pepper Potts, Stark’s all-purpose personal assistant. There have been gripes that Paltrow is miscast as Potts, but her chemistry with Downey Jr. is fantastic, and she injects the film with wit, humor, and sexual anxiety. Most importantly though, Potts functions as an avenue to Tony’s heart, soul, and conscience, and the notion that they both depend on each other more than they realize is a subtly interesting undercurrent that pulses through the film. Jeff Bridges and Terrence Howard round out the cast, with Bridges doing great work opposite Downey Jr. as Obadiah Stane, and Howard laying the groundwork of Col. Rhodey for use in the sequels. Iron Man certainly follows the trend of comic book films casting top-notch acting talent and with the strong support around him, this may just be Robert Downey Jr.’s coming(back) out party.

For those who’ve seen Swingers, Jon Favreau has always been Mikey, the love-sick “guy behind the guy behind the guy.” But for those of us who’ve now seen Iron Man as well, he may just be remembered as the man who successfully directed Tony Stark’s first foray into film. Favreau seems like an odd choice, especially considering Iron Man is Marvel Studios’ first independent production, but they must have known something we didn’t because now the apparent gamble has paid off to the tune of over $500 million at the Box Office. One of Iron Man’s main strengths is Favreau’s decision to form the character right before the audience’s eyes. As opposed to telling us who Iron Man is, how he came to be, and then thrusting him into meaningless situations, Favreau shows us. We experience Tony Stark’s transformation along with him: the lavish lifestyle, the terrors of captivity, the frustrations of being misunderstood, the exhilaration of flying for the first time, and the satisfaction of finally making a difference. In a bold and noisy film with great special effects and a copious (but competent) amount of CGI, it’s a testament to Favreau’s steady directorial hand that Iron Man’s strengths are its palpable atmosphere, tense emotion, and underlying message.

Iron Man is a film that comic book junkies will no doubt love, but it also appeals to those who generally shy away from the superhero genre because it retains a relevance to the world we live in today. War, weapons and terrorism are all hot-button issues surging through the daily news, and Iron Man definitely has a contribution to make to that discussion. With all the gadgetry, explosions, and action of a summer blockbuster, Iron Man delivers its fast-paced entertainment with a conscience, and along with The Dark Knight, it announces that comic book adaptations are here to stay.



I don’t have kids, but when I do, I plan on doing everything in my power to raise them in a comfortable and caring environment. In Courtney Hunt’s Frozen River, two struggling mothers are put to the ultimate test when forced to answer the question, “How far will you go for your children?”

The film follows Ray Eddy (Melissa Leo), mother of TJ and Ricky (15 and 5) whose father has taken the family’s hard earned money and gone to gamble it away, a week before Christmas no less. Ray’s job at Yankee Dollar doesn’t pay much, but she’s saved up enough to make a down payment on a new double-wide, which is to replace their old and tattered trailer. With little hope of ever seeing the money or her husband again, Ray holds strong in front of the kids, but when they’re not around she weeps in anguish. Lila Littlewolf (Misty Upham) suffers from a different sorrow. She’s a Mohawk living on the reservation, and even though her Mother In-Law literally stole her one year-old baby from his crib, the Tribal Police refuse to get involved.

Drawn to each other initially by Lila stealing the Dodge Spirit that Ray’s husband deserted at the bus station, the two women realize they have more in common than their white and Mohawk backgrounds suggest. Both mothers have a fierce love for their children and if it came to it, they’d do anything, even something illegal, to make their kids happy. Thus, Ray and Lila engage in a smuggling operation which Lila is familiar with, and, because of her Mohawk status, they have border-free access to both Canada and the U.S. via the frozen St. Lawrence River that runs through the reservation. Without giving second thought to social or moral laws, the two women cross the river fearlessly, quite simply because they have no other choice.

Right from the opening shot of a broken down Ray having a cigarette and fighting back tears, Frozen River is Melissa Leo’s movie. She completely inhabits her character and becomes a mother that loves her children more than anything in the world. I couldn’t help but compare Leo’s performance to Mickey Rourke’s role in The Wrestler; I cared for both characters so much that I wanted to burst through the screen and hug them. Rourke went toe-to-toe with Sean Penn and just narrowly missed out on the Oscar, and, while Leo deserved the same fate, I'm sure the nomination Nomination prize enough for her. Misty Upham is great in support of Leo, and their awkward friendship which develops into a mutual battle for survival is a heart-felt arc for the story.

While Leo will receive most of the credit, let’s not forget writer/director Courtney Hunt, who was also nominated for an Oscar (Best Original Screenplay). Hunt’s writing and direction firmly place the film within a stark reality; it’s almost as if we’re watching a voyeuristic filming of Ray and Lila’s lives, as they seem like real people with genuine problems.

Ultimately, Frozen River is an uncompromising look at what people pushed to the edge of financial survival will do to stay afloat. That it involves children and single mothers makes it all the more poignant. The conclusion of the film is simple and bleak, yet rewarding in a way because it doesn’t deviate from the rest of the movie like so many endings do. Frozen River is a film that’s going to be criminally under-seen, so do yourself a favor and give it a chance.

[JediMoonShyne]

Where the hell have you been?

EDIT - Oh, I see.

[Bubba]

Originally Posted by JediMoonShyne

Where the hell have you been?

EDIT - Oh, I see.

I got a job in Costa Rica, so prior to moving down here a took an extended vacation in Vegas. I know right? Pretty rough. Anyways, I'm settled in down here in Costa Rica and I usually have some time to kill while in the office, so here's to me posting again. The problem is, I doubt I'm going to get the chance to see many movies down here, but I can make do discussing what I've already seen.

I just took a quick glance at your '08 list - I thoroughly enjoyed Snow Angels, Doubt, The Fall, and In Bruges, but they all just missed out on my list. And my God your banners are still incredible, lol.

[Loose Seal]

Of the five nominees for best actress, Melissa Leo deserved to win. However, it was going to be given to Kate Winslet no matter what, even if the movie she gave an average performance on was crap.

[Bubba]

Originally Posted by Loose Seal

Of the five nominees for best actress, Melissa Leo deserved to win. However, it was going to be given to Kate Winslet no matter what, even if the movie she gave an average performance on was crap.

Right, I still don't understand how she got nominated and won for The Reader. She was much better in Revolutionary Road, which is superior to The Reader in every way.

[Loose Seal]

Originally Posted by Bubba

Right, I still don't understand how she got nominated and won for The Reader. She was much better in Revolutionary Road, which is superior to The Reader in every way.

because it is a holocaust movie, or at least it somewhat deals with the holocaust. Defiance was a better movie on the subject and it only got one (well deserved) nom for score

[Bubba]

At 73 years of age, and still churning out at least one film a year, it’s safe to say that Woody Allen doesn’t believe in quality over quantity. There’s no denying that Annie Hall and Manhattan are masterpieces, but his worthwhile efforts are getting fewer and further between as he ages. Luckily for 2008, Vicky Cristina Barcelona is his best work in a decade, only rivaled by 2005’s Match Point.

Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), two friends with polar opposite personalities, decide to spend a soul-searching summer in Barcelona. Vicky is engaged and knows exactly what she wants out of life. Cristina, on the other hand, is a wanderer, only aware of what she doesn’t want in her life. One evening, the girls have a chance encounter with Juan Antonio (Javier Bardem), a local painter who bluntly asks them to join him for a hedonistic weekend of wine, sight-seeing, and sex. Vicky is appalled and Cristina is excited, and when the adventure-seeking Cristina wins out, the threesome embarks on an unpredictable and life-altering journey.

Using beautiful Barcelona as his canvas, Allen crafts a funny and intelligent film about, what else, the nature of love. He’s done it all before: portraying young, pretty, and overly neurotic artists involved in love triangles/squares/pentagons. But it works, and this time, as opposed to most of his recent retreads, there’s something refreshing about it. The romantic atmosphere provided by the quaint villas, seascapes, and artistry of Barcelona seem to do wonders for Allen’s tale, as nothing feels too rehashed. As usual though, Allen’s knack for creating complex and likable characters is the driving force behind his film. Bardem is fantastic as the charismatic and intelligent Juan Antonio, a man who’s passionate about love, life, and art. Hall and Johansson are also solid as the two female leads, but when the film begins to lull in the middle section, it’s rescued by a spunky Penelope Cruz as Juan Antonio’s ex-wife Maria Elena. She’s foul, vibrant, and complete crazy in giving the film the legs to make it to the finish line. It seems unlikely that Woody intended for Bardem and Cruz steal the show from Hall and Johansson, but it nonetheless enhances the dynamic between the foursome. Overall, the ensemble cast is nearly perfect, and definitely the movie’s biggest strength.

The thing about Allen films is that everyone finds a bit of themselves in at least one of his characters, and that’s really what elevates Vicky Cristina Barcelona - it portrays real people with real problems. Whether it’s Juan Antonio’s struggle to maintain a marriage with the woman he loves or Cristina’s inability to decipher what she truly wants, the issues are straight out of every day relationships. And while the film never really offers any solutions, it’s fun to watch Maria Elena swear her head off in Spanish while Juan Antonio tries to control her and Cristina looks on in horror. Of course, there’s also a lesbian scene and a ménage a trios, so at the very least, Vicky Cristina Barcelona has the goods to keep you entertained for two hours.

Vicky Cristina Barcelona will make you laugh, feel sorry for it’s characters, and ponder about life in general. Though the film will challenge you briefly, in the end, it’s light and humorous enough to leave you contently amused, albeit a little concerned for your love life.



Even though there are countless films about World War II, the Holocaust, and the Nazi occupation of European countries, the tragic subject matter never seems to get old. It may be that the events are so terrible and horrific that our worldly conscience refuses to let us forget by resurfacing in the minds of filmmakers every few years. It could also be that there are an endless amount of stories, like that of Flame and Citron, which are bound to this particular historical period. Or perhaps because many of the people who were alive during the war are now dying off, the remaining few are realizing that time is running out for the tales they've yet to tell. Whatever the reason for Ole Christian Madsen’s Flame and Citron, the tale of two Danish resistance fighters, it's evident he felt it was a story that we needed to know, not only for the sake of the men themselves, but for Denmark as a country and the world as a community.

For Bent (Thure Lindhart) and Jorgen (Mads Mikkelsen), the war is a transformative trail of pain, sacrifice, hatred and most of all, revenge. No longer are they known as mere men, but rather as Flame (Bent) and Citron (Jorgen), the Danish resistance’s messengers of death. Leaving behind their families and friends, Flame and Citron take orders only from Asksel Winther (Peter Mygind), and he gives them only one job: assassinate Nazis and Danish collaborators. In their minds, they can only make a difference by eliminating all of them, one at a time. At first, that’s exactly what they do, ruthlessly killing any Dane associated with Nazi scum. And then as they grow more confident, they begin to target Nazi’s too, but that’s where things go sour. With the weight of their actions squarely on their shoulders, and both Bent’s mysterious girlfriend Ketty Selmer (Stine Stengade) and Winther acting strange, Flame and Citron begin to question who is really in charge, and for the first time begin to wonder, “Who have we killed, and why”?

A violent and tumultuous tale, Flame and Citron brings new and interesting questions to the discussion table. Why did the two men initially kill, and only ask questions later? Were they merely looking for an excuse for blood, or did they truly think they were doing the right thing? And with all the propaganda, misinformation, and double-crossing, why did they not attempt to look beyond their orders? The magnificence of Flame and Citron is that it not only questions the nature of the war itself, but it also probes the consciousness of these two violent men who were consumed by the manifestations of war: malice and bloodshed. Flame and Citron were on the “good” side, but could they ever really be called good men? Citron was a man who could not tend to his family, nor even love his wife, and Flame was neurotic and certainly bloodthirsty. These were men who had nothing to lose, and by the same token, nothing to gain; soldiers of the war as much as they were soldiers for the war.

In the end, Madsen’s Flame and Citron is a story that blurs the lines drawn by war, and tells us that the heroes behind the scenes - the resistance fighters - were not the type of heroes we might imagine. Lindhart and Mikkelsen do great work in bringing the frightening personas of Flame and Citron to the screen, and Madsen fuses them with likable characteristics such that we as an audience care for the monsters they become. Monsters yes, but our monsters, and they certainly fought something far worse. Flame and Citron were heroes, and they should be recognized as men who were far braver than most people at the time. Gripping, haunting, and as complex as its title characters, Flame and Citron is a genuine account of two frightening paladins of war who don’t deserve to be forgotten.

[Eminence Grise]

Good reviews and good screen caps. I'll be sure to tune in!

Also, welcome back, I suppose!

[HurricaneKid]

I don't really care about the list. I just want to know how you fared at the WSOP. I have been wanting to go for a few years. Only for a week and one or two tourneys though. How big do you play? Not full time obviously.

[Bubba]

Originally Posted by HurricaneKid

I don't really care about the list. I just want to know how you fared at the WSOP. I have been wanting to go for a few years. Only for a week and one or two tourneys though. How big do you play? Not full time obviously.

I actually only played one WSOP event - the $1K Stimulus Special - and I busted about three hours in. I played the rest of my tournies at The Venetian where buy-ins ranged from $350-$1060. Unfortunately, I had no luck the whole trip and only finished with a few minor cashes. It's a good thing I'm backed, although make-up sucks and is hard to clear by grinding online MTTs, but such is variance.

You should do it though, Vegas during the WSOP is awesome (if you don't mind the heat).

[Bubba]

Where does happiness come from? How does one attain and more importantly, maintain it? These are questions internally asked by millions of people everyday, yet ultimate happiness, to most people, remains elusive. While Mike Leigh's Happy-Go-Lucky might not have all the answers, it certainly affirms that happiness is contagious.

Poppy (Sally Hawkins) is a thirty-something Londoner infused with an impossibly endless energy which she tries to pass along to anyone and everyone she's around. Literally anyone and everyone. Not only does Poppy vigourously attempt to brighten the days of those she cares about, but she also attacks the inherent sadness that inflicts the strangers she meets. This facet of Poppy is Leigh's masterstroke, and the reason the film works. From the moment we meet Poppy skipping happily into a book store and repeatedly trying to coax a smile out of the socially awkward young man sulking behind the counter, we know that she's for real. She's not hiding her depression beneath the veneer of exaggerated exuberance simply to get through her day, she's just that optimistic.

The fact that Poppy's life isn't perfect also plays a large part in the film's realism - she's single, her job isn't easy, and it could be argued that she's merely drifting through life avoiding any real responsibility. However, that's not how Poppy sees it, and that's what elevates her character; true, she hasn't found love, but she lives with her best friend and they're very content; being a kindergarten teacher is filled with tribulations, but she ultimately loves what she does; and although some might call it drifting, that's just fine with Poppy because she loves her life despite its imperfections.

Poppy looks good on paper, but Happy-Go-Lucky only works because Sally Hawkins is magnificent in bringing to life a very rare persona. People like Poppy can be hard to tolerate because others envy their relentless joy, but Hawkins is just too good not to love. She avoids overacting, is never annoying, and layers her complex character so brilliantly it's actually difficult to imagine that Poppy is not her true personality. The most difficult task for Hawkins, however, is not curtailing her happiness, but rather properly portraying how a person as optimistic as Poppy deals with problems when they do arise. Since there's no bigger problem in Happy-Go-Lucky than Scott the Driving Instructor (Eddie Marsan), it is how Poppy deals with fierce cynicism that defines the film. The scenes between Poppy and Scott are as equally meaningful as they are hilarious, which is a true testament to Mike Leigh's script and direction.

Happy-Go-Lucky isn't fast-paced, it's rarely belly-buster funny, and it's well short on raunchy jokes, so if that's the only type of comedy you like, I suggest avoiding this film like the plague. But I'd also say you have very poor taste in film. Happy-Go-Lucky is a treat to watch and its lightheartedness is infectious, so if you're in need of a boost, this movie is for you.

[ClassClown]

Love Happy Go Lucky. Great film.

[Loose Seal]

I love Happy-Go-Lucky. Sally Hawkins' performance was my favorite of the year and is in my top 10 performances of the decade.

[Yalnif]

I didn't like VCB but did like Iron Man and Frozen River

[Hizzyfitz]

I hope In Bruges is on your list.

[Bubba]

Originally Posted by Hizzyfitz

I hope In Bruges is on your list.

It's not, but I do love it. It could be anywhere from 8-HM, but honestly I'd written reviews of these other films already so they made the list instead. It's a great movie though for sure.

[HurricaneKid]

Originally Posted by Bubba

I actually only played one WSOP event - the $1K Stimulus Special - and I busted about three hours in. I played the rest of my tournies at The Venetian where buy-ins ranged from $350-$1060. Unfortunately, I had no luck the whole trip and only finished with a few minor cashes. It's a good thing I'm backed, although make-up sucks and is hard to clear by grinding online MTTs, but such is variance.

You should do it though, Vegas during the WSOP is awesome (if you don't mind the heat).

I stayed at the Venetian and played quite a bit last time I went to Vegas. I have been to Vegas a number of times during the heat so that really isn't an issue. The issue is that I don't know how I would talk anyone into going so I could play cards 24/7 and I don't want to go alone and spring for a hotel for myself.

Do you care to say what your online name is? Where do you play? I haven't played as much since it became so much more difficult to fund accounts and then the whole scandal happened. I don't think the scandal affected me at all, I just found the tables got a little tougher when it became harder for the fish to play. My EV went down to next to nothing and I haven't played much online since.

[Bubba]

Originally Posted by HurricaneKid

I stayed at the Venetian and played quite a bit last time I went to Vegas. I have been to Vegas a number of times during the heat so that really isn't an issue. The issue is that I don't know how I would talk anyone into going so I could play cards 24/7 and I don't want to go alone and spring for a hotel for myself.

Do you care to say what your online name is? Where do you play? I haven't played as much since it became so much more difficult to fund accounts and then the whole scandal happened. I don't think the scandal affected me at all, I just found the tables got a little tougher when it became harder for the fish to play. My EV went down to next to nothing and I haven't played much online since.

Hmm, what scandal are you referring to? The UB/AP thing, or do you mean the UIGEA? In any case, I play mostly on Stars and Tilt which have been largely unaffected by any of the scandals. In general, it's pretty safe to play on the biggest sites, and there's definitely no shortage of fish. I play as BubbaKGB (yea I know, but I made the name like 5+ years ago) on both sites.

[Sting129]

Flame and Citron sounds fantastic. I'll give it a look.

[Bubba]

Just like an actor taking different roles to avoid being typecast, Danny Boyle continually reinvents himself as a filmmaker. That is of course, precisely why he is such an exciting auteur. Each of his films is a total original in its own way, yet they all have that same edgy flare which has come to define his work. The drug laced drama Trainspotting put him on the map, the zombie-slasher 28 Days Later kept him there, and the stunning sci-fi thriller Sunshine solidified his place as one of the most malleable talents in the industry. What type of rabbit will he next pull from his hat? Ever the experimentalist, Boyle has remained true to his genre-jumping nature by taking us straight into the beating heart of modern India for his latest film, Slumdog Millionaire.

Set in the ghettos of Mumbai, Slumdog follows the story of Jamal (Dev Patel), a poor but big-hearted boy who, along with his slightly erratic brother Salim, is forced to fend for himself from a very young age. Bouncing from city to city and seemingly always avoiding trouble by the slimmest of margins, the brothers and their “Third Musketeer”, Latika (Frieda Pinto), live their lives in a perpetual state of survival, fighting to exist from one minute to the next.

As the years pass and the colorful events of their lives lead the three friends along separate paths, they lose touch and settle into somewhat normal lives. Jamal finds himself on India’s version of "Who Wants to Be A Millionaire", and in a position he surely never thought possible: answer one question and win millions of dollars. But when the powers that be deem it impossible for a “slumdog” without an education to advance so deeply into the show, he faces the ultimate question: are you lucky, are you cheating, or is it truly your destiny? As Jamal’s past comes hurtling back to him in waves of bittersweet memories, he is confronted by the toughest test of his life; one that will not only affect those closest to him, but also the nation and culture which defines him.

Slumdog is a magnificent film, mainly because Boyle paints a true and genuine portrait of a India’s cultural society using the unlikeliest of stories as his canvas. It’s irrelevant whether Jamal wins any money on the show, thus it doesn’t matter if it’s even a plausible event. Yet the way in which Boyle weaves Jamal’s tale around the gripping suspense of "Who Wants to Be A Millionaire" infuses the film with a palpably intense energy and atmosphere. His young and mostly unknown cast is exceptional, as they work from a tightly written script. Screenwriter Simon Beaufoy’s writing calls for sequences of romance, friendship, action, humor, despair, betrayal and greed, and Boyle captures the essence and mood of each scene with impressive scope and clarity. Whether it’s a dizzyingly effective sequence of canted camera angles or a dazzling hand-held take, Boyle’s style is composed of countless intangibles.

With Slumdog Millionaire, Danny Boyle has done it again; he’s made a film so drastically different from anything in his filmography, but at such a high level that it's as if he’s been perfecting the genre for years. Slumdog Millionaire is surely one of the year’s best cinematic experiences, and the standing ovation it received at my Toronto International Film Festival screening was well deserved. Was it the the best film of 2008? Probably not, but since it was the little engine that could right from the moment it played at TIFF, I'm fine with it winning Oscar gold. It's hard not to root for the underdog.

[Bubba]

What can you say about Orson Welles? Everyone knows who and what he was, and how important his contributions to cinema were and still are. And really, what more do you need to know about Richard Linklater's newest film other than that it features relative newcomer Christian McKay as the gregarious Welles himself? I've said this before, but nothing in film excites me more than a truly amazing performance, and since Me and Orson Welles features great performances from McKay, Claire Danes and Zac Efron, it's no surprise I absolutely love it.

In November of 1937, Richard Samuels (Efron) is a romanticizing teenager who dreams of making it big on Broadway. When a chance encounter with Orson Welles (McKay) lands him a small part in the Mercury Theatre Troupe's production of Julius Caesar, Richard is thrust headlong into his dream, and under the wing of New York's most prominent actor, no less. Richard's charisma and confidence quickly net him various friends around the set: a date with the beautiful Sonja (Danes) (and the subsequent kudos from the other young males), the respect of the older actors, and even a compliment from Welles himself. However, Richard soon realizes that everything in showbiz is not what it seems, including the true interests of beautiful women and the rapidly changing temperament of Welles. But Richard refuses to back down from anyone, even Orson, and as opening night grows ever closer, the tension and excitement feverishly mounts and only one question remains: will Julius Caesar be a show-stopper or a flop?

Linklater has given us many great films over the years, including some with mesmerizing work behind the camera. But since Me and Orson Welles is a film about actors and acting, he is more than wise to leave it in the hands of the players, choosing a more subtle approach that guides them through the film. With a breakout performance from McKay, who seems to effortlessly bring to life the gargantuan figure of Orson Welles, and solid support from Danes and Efron, Me and Orson Welles is an acting clinic, and a joy to behold.

[Sting129]

I thought Slumdog got really boring once the movie transitioned from the child actors to the adults.

[Zachary P.]

Slumdog appears to be the latest praised oscar-winner to get hit w/ backlash, so I'm glad to see it on your list. It's a completely original winner.

[Harry Caul]

Originally Posted by Bubba

What the Hell...

Not that I've seen anything at all, certainly not this one, just seems like it came out of the blue. I haven't read much about it though, so maybe it's just that.

[Bubba]

Originally Posted by Harry Caul

What the Hell...

Not that I've seen anything at all, certainly not this one, just seems like it came out of the blue. I haven't read much about it though, so maybe it's just that.

I saw Me and Orson Welles at TIFF last fall and I haven't tracked its progress or even read anything about it since. I actually don't even know if it was picked up for distribution and/or released in theatres in the US. Either way, it's a really good movie.

[C-Misch]

Hey dude! Good stuff so far. I really want to watch Me and Orson Welles, especially after the latest trailer for it that I saw.

[Bubba]

Originally Posted by C-Misch

Hey dude! Good stuff so far. I really want to watch Me and Orson Welles, especially after the latest trailer for it that I saw.

Hey man, how are ya? What are you up to these days?

Just looking at your recent ratings...I've been anticipating both Moon and Where the Wild Things Are, so at least one of them is a great movie in your book!