One film stands out in its unrelenting horror, and visceral terror, and although it was released in the UK in 2005, it finally made its American theater debut this year. In The Descent, director Neil Marshall tricks you at first. You don't think it's a horror film. Hell, the damn thing starts off like an Ingmar Bergman movie. It opens on a happy note, quickly takes that away from you, and stays deadly serious until the end. The score is also more elaborate than your typical horror film, and wisely stays out of the way in the most important parts. And those parts are gut-wrenching to watch.A group of women trapped in an unknown cave fight themselves, their fears, and humanoid creatures that want to eat them alive. You will be gasping for air as the terror starts, and the light fades, and the dinner bell rings. The film is fast-paced, well-acted, and will keep you on the edge of your seat. It is a must see for any horrorhead that likes an engrossing story with his gore.
Erin McMasterPerfume: The Story of a Murderer
It is always a daunting task to choose the best film of the year. So I chose a film that took on a daunting task itself — to rely on the body's senses of sight and sound to show the importance of smell. Perfume: The Story of a Murderer is the tragically beautiful story of Jean-Baptiste Grenouille's quest to capture the scent of perfect beauty. His desire takes him on a journey to discover the art of making perfume, quickly escalating until it is a deadly obsession with a glimpse at paradise. Patrick Suskind's novel is an unlikely one to translate for the big screen, but director Tom Tykwer (Run, Lola, Run) pulls it off. The cinematography is captivating and provides a depth of emotion necessary to follow Grenouille's obsession from start to finish. The beautiful images also give the audience something pleasing to watch for what amounts to a very long movie. The score fits the movie note for note, matching every flurry of emotion and movement Grenouille makes. The powerful combination of sight and sound allows scent to drive the film through compelling your memory to call upon the smells. Perfume: The Story of a Murderer also employs great acting to further make up for the lack of film to physically emit odor. Ben Whishaw has a cold stare that speaks volumes for Grenouille as the serial killer turned unlikely hero. His coldness takes his awkwardness and lack of outward appeal to make a serial killer the unlikely hero of this twisted fairy tale. It is the great storytelling, however, that makes us hope Grenouille completes his quest and captures the only scent that will bring us ecstasy. Neil MillerLittle Miss Sunshine
Every year Hollywood does its best to seem original, please the masses, and ultimately make some serious coin. And about this time every year, the Armani suit-wearing execs at studios like Warner Brothers, Paramount, and Fox unleash a swarm of limited release films, all playing in a few screens in New York or Los Angeles. These films are the desperate attempts of their distributors to make one last dash at Oscar glory. But this year, these attempts, while noble, will be foiled – overshadowed by a movie that was a little more charming, a little more honest, and quite a bit more original – Little Miss Sunshine. Playing itself off as a quaint little indie film with a solid cast, Little Miss Sunshine began the year by bringing audiences at Sundance to their knees with laughter. It showcased one of the best ensemble casts of the past decade or so, including Greg Kinnear, Paul Dano, Alan Arkin, Toni Collette, and Abigail Breslin. Each performance was unique, each character getting their laughs and shedding some tears, but it was ultimately the closeness of this family unit that made them so endearing, even through their most dysfunctional moment. Other films may have bigger budgets or some bigger names, but none of them will have what makes Little Miss Sunshine such a joy to behold – heart.TV and Film GuyCasino Royale 
What makes a movie the "best" movie of the year? There are tons of criteria that can be used. Acting, directing, cinematography. The list is enormous. What about plot? What about the movie's importance in history? Titanic won tons of Oscars, including one for Best Picture. Looking back on it now, if the awards for that year were redistributed, would Titanic take home that many again? Probably not. So, can the "best" film of the year be determined without having the benefit of future history and distance? Shouldn't the best film of the year occupy an undeniable place in history for years to come? Shouldn't the best film of the year not only be a critical success, but a success among the movie going public as well? Shouldn't it be all around wonderful and create a new way of looking at something? One film this year actually does all these things. One film of the year is undeniably the best that has been put forth. Looking at all these criteria, examining every aspect, the best of the year has to be Casino Royale. It represents a complete reimagining of a film icon and one of the most successful franchises in film history.El BichoDrama: A Scanner DarklyDocumentary: Why We Fight
A Scanner Darkly is quite simply Linklater’s masterpiece, a brilliant puzzle of truth and identity amongst characters that are slowly losing both due to their drug addictions. It’s an insightful character study, a compelling mystery, and covers themes familiar in Philip K. Dick’s work from social problems to the reality of consciousness.The look of the film is marvelous to behold and is made all the more captivating because the style has substance. The interpolated rotoscoping, animation created over Hi-Def video, creates an alternate reality, setting it apart from our own while at the same time creating the sensation of characters’ altered states.Not just best film of the year so far, but possibly of the decade.Why We Fight is a balanced, thought-provoking documentary that encourages serious debate and is not easily dismissed by its critics.
Concerned that President Eisenhower's warnings in his farewell address about the military-industrial complex have gone unheeded, director Eugene Jarecki investigates how the United States of America has become such a force in the world militarily since WWII, regardless of President or political party in charge. Some see it as the duty of America to spread democracy and freedom while others see the actions as economic colonialism where instead of taking over a country we open up new, free markets for our businesses. Both views have validity to them. There is righteousness in freeing people from oppression, yet the figurative gold rush in reconstruction efforts and other activities leaves a taint with some and keeps the work from being completely selfless.The film also presents stories of the people directly affected by these decisions, mainly in regards to Iraq. The interviews from the people on the front lines reveals that there are many facets to the story as opposed to the usual binary banality that too often passes as political discourse.
Article comments
1 - Ken Larson
WHY WE FIGHT -
There are good points in your article. I would like to supplement them with some information:
I am a 2 tour Vietnam Veteran who recently retired after 36 years of working in the Defense Industrial Complex on many of the weapons systems being used by our forces as we speak.
If you are interested in a view of the inside of the Pentagon procurement process from Vietnam to Iraq please check the posting at my blog entitled, "Odyssey of Armaments"
The Pentagon is a giant, incredibly complex establishment, budgeted in excess of $500B per year. The Rumsfelds, the Administrations and the Congressmen come and go but the real machinery of policy and procurement keeps grinding away, presenting the politicos who arrive with detail and alternatives slanted to perpetuate itself.
How can any newcomer, be he a President, a Congressman or even the new Sec. Def.Mr. Gates, understand such complexity, particularly if heretofore he has not had the clearance to get the full details?
Answer- he can't. Therefore he accepts the alternatives provided by the career establishment that never goes away and he hopes he makes the right choices. Or he is influenced by a lobbyist or two representing companies in his district or special interest groups.
From a practical standpoint, policy and war decisions are made far below the levels of the talking heads who take the heat or the credit for the results.
This situation is unfortunate but it is absolute fact. Take it from one who has been to war and worked in the establishment.
This giant policy making and war machine will eventually come apart and have to be put back together to operate smaller, leaner and on less fuel. But that won't happen until it hits a brick wall at high speed.
We will then have to run a Volkswagen instead of a Caddy and get along somehow. We better start practicing now and get off our high horse. Our golden aura in the world is beginning to dull from arrogance.
2 - -E
I'm glad someone wrote about Little Miss Sunshine. I loved that movie. I was torn between Perfume and another long movie, Herzog's newest Rescue Dawn, but I figured I'd leave the war movie for another time. Great picks everyone.
3 - Lisa McKay
I liked Little Miss Sunshine too. We watched A Scanner Darkly on DVD the other night, and I was surprised at how compelling I found it, since I didn't think, going in, that it would be my cup of tea. It was excellent, and visually arresting.
I've been deliberately avoiding 9/11 movies, but I've read so many good reviews of United 93 from people whose opinions I respect that I may have to re-think this.
4 - Triniman
Did anyone like The Departed?
5 - Duke De Mondo
Triniman, Scorsese is my 2nd favourite director of all ever, and yet through some or other malicious tricks and traps, i've been unable to see The Departed as yet. i'm very much looking forward to it. That it is fairly far removed from the source material, Infernal Affairs, which i loved no end, is very pleasing to me. the last thing i wanted was a lazy remake. This seems to be more of a Cape Fear esque re-imagining, yes? (or it would be, if Planet Of The Apes hadn't made that term seem so terribly dirty a couple years back).
6 - handyguy
Pan's Labyrinth is an extraordinary movie that opened very late (Dec. 29) in limited release. I would put it second only to United 93 among the year's films. And I agree that The Departed deserves a strong honorable mention.
Two nonfiction movies are also amazing, not to be missed (and available on DVD):
When the Levees Broke, Spike Lee's look at Katrina and its aftermath;
and
Ric Burns's Andy Warhol
Both were first shown on television, but both are great films, so their origins won't keep them off my list.
7 - Neil Miller
Triniman,
The Departed was excellent. I had it in my Top Ten of the Year, but I felt that Little Miss Sunshine was more entertaining.
8 - El Bicho
I enjoyed The Departed. In my top ten, a great b-movie noir.
9 - Triniman
Duke;
I think The Departed stands a good chance to win Scorcese the Oscar for Best Director. At the very least, he'll get a nomination.
I haven't seen Letters From Iwo Jima, Clint's other recent war film, which is also apparently Oscar-worthy for the Director award.
There's still plenty of time for new films to debut before the nominations close, but at this moment, I'm pulling for The Departed and Martin Scorcese.
10 - Deano
It's a pretty good list but I was surprised that "An Inconvenient Truth" didn't make the list....
11 - handyguy
My own lists:
10 best features:
United 93
Pan's Labyrinth
The Departed
Children of Men
Cas*no Royale
The Science of Sleep
Lady Vengeance
The Road to Guantanamo
Friends with Money
The Queen
5 best documentaries:
When the Levees Broke
Andy Warhol
49 Up
The Devil and Daniel Johnston
Jonestown: The Life and Death of the Peoples Temple
12 - Rusty
I thought The Departed was OK, but nowhere near as good as it is made out to be. For me, there seemed to be a major, gaping plot hole that I haven't seen addressed: Why did no one know that Damon's character was all but raised by Nicholson's, when the whole story revolved around an interlocking group of characters from the same area? Nicholson was the crime syndicate boss for years, the police had been after him for years, and no one knew that he had taken Damon under his wing for the last 10 years or so? Nicholson even showed up at Damon's police academy graduation in his limo and Damon went over and got in. And no one could figure out who Nicholson's contact in the police department was? Nicholson and Sheen knew each other. Nicholson knew both Damon and DiCaprio, and their families. How could no one know that Damon had been mentored by Nicholson since he was 10 or so, and still know everything about the neighborhood and everybody else who lived there? It just wasn't believeable.
13 - RW
Rusty, I'll go one better: They had Leo Dicaprio play the role of tough guy. Now THAT is the epitome of "gaping plot hole" on the scale of Paris Hilton playing the role of the flying nun.
14 - Scott Butki
Great job, E.B.
. Thanks for reminding me I need to see Why We Fight.
I already have a few others - like Miss Sunshine - on my list.
15 - Joe
Deano - It's a pretty good list but I was surprised that "An Inconvenient Truth" didn't make the list....
Science fiction has its own list.
16 - Kathy Scovill
The United 93 DVD had a touching and appropriate feature that included interviews with family members, with some of them meeting the actor that played their family member in the film. As the surviving sister of a Flight 11 passenger, I still gasped as Flight 175 hit the second tower in the film. I am in awe and so appreciative at how respectfully this film was handled. It took me awhile to watch, hence the reason I waited for the DVD, but it was worth the wait.
17 - handyguy
The Departed is based very closely on the Hong Kong film Infernal Affairs. Some of the "plot holes" are inherited from that source film. Also, I believe Scorsese is much more interested in heightened, operatic emotion than in realism. Madama Butterfly may not be believable or historically accurate either, but it's very convincing emotionally.
And people faulting DiCaprio's casting either haven't seen the film or are just completely prejudiced against him to begin with. He's quite brilliant.
18 - Kaonashi
Leonardo DiCaprio has spent the last 10 years trying to remind people that he's actually a serious and good actor, not just some prettyboy heartthrob from "Titanic". Looks like some people still haven't forgiven him for that role, and never will. It's a shame.