MY FAVORITE FILM EXPERIENCES OF 2006! By Adam Mast

It's that time of year again. That time when no name critics such as myself throw together our illustrious best of lists. The truth is, I love this stuff. It's my hope that perhaps you the reader will get turned on to something that you might not have known about otherwise. On a final note, I saw around 200 movies last year and there are plenty of noteworthy titles I missed out on for whatever reason. Titles like Letters From Iwo Jima, Shut Up and Sing, The Last King of Scotland, Venus, Volver, Dreamgirls (The Boneman calls this one the best film of the year–JUST KIDDING!), etc. Many of these pictures are limited and have yet to come to my neck of the woods. This list is simply a representation of what I saw and what I loved. Enjoy.

1. PAN'S LABYRINTH (R)
This extraordinary tale from the gifted Guillermo del Toro (Devil's Backbone, Cronos, Hellboy) left me absolutely breathless. Fusing the awe inspiring grandeur of familiar works of fantasy (i.e. Alice in Wonderland, The Never-Ending Story, and Legend), with the brutal reality of Schindler's List and Life is Beautiful, combined with the dark and gothic nature found in the works of Clive Barker and H.P. Lovecraft, del Toro has masterfully created a stunning piece of art that walks the fine line between fantasy and reality effortlessly. Every frame of this movie is overflowing with passion and heart, and when it was over, I was profoundly moved by the experience. The best work of del Toro's career and the best film of the year.

2. UNITED 93 (R)
Was it too soon for a movie like this? I suppose that depends on who you ask. Given the current status of the world, I'd say no. It wasn't too soon. Director Paul Greengrass has created a harrowing snapshot of heroism in the darkest of hours. Shot in near real time, United 93 is never overly sentimental, nor does it exploit in any way. This is a stunning achievement from a film maker who clearly set out to honor those who lost their lives on 9/11.

3. THANK YOU FOR SMOKING (R)
This shrewd satire of the tobacco industry features a terrific performance by Aaron Eckhart (in his best turn since making an unforgettable debut in In the Company of Men) as a tobacco lobbyist out to make the world easier for smokers. Strangely though, director Jason Reitman (son of Ivan) isn't so much interested in taking an anti or pro smoking stance as he is in suggesting that freedom of choice reigns supreme. The performances are outstanding, and even though this movie thrives on a rather wicked sense of humor, it also has a surprising amount of heart anchored by a wonderful father/son dynamic between Eckhart and an effective Cameron Bright (Birth).

4. BORAT: LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN (R)
Say what you will about the year's most controversial (and irreverent) movie. Simply put, no film made me laugh harder all year. The fearless Sasha Baron Cohen goes beyond the extra mile to crack us up, but this isn't meaningless, mean spirited comedy nor is it a simple minded attack on foreigners. There is a scathing social commentary brewing just beneath the surface of this mild mannered bit of hilarity. Cohen forces us to look in the mirror. Oh, and did I happen to mention the film features nude wrestling in what is perhaps the most nauseatingly hilarious scene I've seen in a movie in years? Mr. Cohen has emerged as a comic force to be reckoned with.

5. STRANGER THAN FICTION (PG-13)
Will Ferrell proved that he can do subtle with this wonderful gem about a lonely tax man who realizes that he might just be a character in a neurotic author's novel. Featuring winning performances by Ferrell, Emma Thompson, Dustin Hoffman, and Maggie Gyllenhaal, Stranger Than Fiction is a funny, sweet, and charming slice of whimsy that won me over from start to finish. While at a glance, one might feel compelled to compare this to Charlie Kaufman's trippy (and immensely entertaining) Adaptation, don't. As much as I enjoyed Adaptation, I think Stranger Than Fiction is far less cynical and much more accessible.

6. MONSTER HOUSE (PG)
This stunning animated feature (incorporating the same technique used by The Polar Express) took me back to the 80's with it's wonderful tone. A tone akin to films like The Goonies, Monster Squad, The Last Starfighter, and Explorers. Newcomer Gil Kenan's tale of a monstrous house that feeds on unsuspecting humans (and, in one case, a neighborhood dog) is alive with unlimited energy. What's more, Monster House has real character and the entire experience is perfectly complimented by this unique animated process. For my money, this celebration of youth is far more entertaining than The Polar Express.

7. THE FOUNTAIN (PG-13)
This is, perhaps, the definitive "love it or hate it" film of the year. As is apparent by the high charting, I loved it. I'm willing to concede The Fountain is flawed, but like Pan's Labyrinth, every frame is over flowing with heart and passion. Darren Aronofsky has fashioned a love story that deals with themes of mortality in a way that would make Stanley Kubrick (2001) and Andrei Tarkovsky (Solyaris) proud. Hugh Jackman gives his strongest performance to date as a man willing to do anything for the woman he loves and Rachel Weisz is absolutely luminous as his ill soul mate. An ambitious, challenging, mesmerizing film complimented by a haunting score by Clint Mansell and Kronos Quartet.

8. THE QUEEN (PG-13)
Stephen Frears' thought-provoking look at how the royal family dealt with the untimely death of Lady Diana is witty, touching, cold, heartbreaking and incredibly well balanced in it's political views, but the real reason to see the movie is to marvel at Helen Mirren's complete transformation into the Queen. She not only captures the mannerisms of this well known public figure, but she's also a dead ringer for Elizabeth II. Kudos to the underappreciated Michael Sheen who does an amazing job in portraying Prime Minister Tony Blair. They might as well mail the glorious Helen Mirren her Oscar now.

9. THE DEPARTED (R)
Martin Scorsese's return to the gangster genre (with this remake of Infernal Affairs) is the highest grossing film of his illustrious career, and it will most likely earn him his first directing Oscar. While I wouldn't rank this picture with the likes of Goodfellas (Scorsese's masterpiece as far as I'm concerned), it is a high energy masterwork fueled by Leonardo DiCaprio's finest performance since his captivating turn in What's Eating Gilbert Grape. There's been much talk about Jack Nicholson's memorable gangster Frank Costello, but DiCaprio carries the movie with a toughness and edge we haven't seen from him before. A blistering and powerful outing from one of our greatest living directors.

10. CHILDREN OF MEN (R)
Alfonso Cuaron's haunting vision of the near future is dark and bleak in it's depiction of a world in which women have become infertile. Clive Owen is outstanding as a most unlikely hero who is faced with the daunting task of transporting a young women with a most amazing secret, to sacred ground. The journey is a deadly one and as I watched this picture with it's eerie, run down city landscapes and bloodied war zones, I was reminded somewhat of Stanley Kubrick's Full Metal Jacket. The final act of this movie is a visceral assault and I was never entirely sure if Clive Owen's character would make it through the flick alive. Cuaron's hand held camera technique lends a startling intimacy to the proceedings - a visually striking, nightmarish vision of a world gone to hell. Watch for a hilarious, heartfelt, but all too brief supporting turn from Michael Caine.

11. THE DESCENT (R)
2006 was a banner year for the horror genre, and Neil Marshall's monster movie leads the pack as the best of the lot. With it's horrific, nail biting tension, this story of female spelunkers braving the element, and then being forced to fight off carnivorous creatures deep within an uncharted cave, provides the sort of perilous, non stop thrills delivered by James Cameron's Aliens from over twenty years ago. Marshall is clearly a fan of the genre (this film offers up images plucked from legendary works of horror including Carrie, Alien, and Dead Calm just to name a few), and like the best of film makers, he's found a way to make the familiar feel new again. This film is truly terrifying.

12. HALF NELSON (R)
Half Nelson is a tour de force of virtuoso acting and proves once and for all that Ryan Gosling is the real deal. He's simply extraordinary. Watch as he brings this complex, drug addicted history teacher to life. Shareeka Epps is also stellar as the young student who, in her own way, teaches this teacher a thing or two about how life really is. The performances in this beautifully structured, intimately nuanced film are so stunning, that I forgot I was watching actors on the screen. Nothing in this picture feels false or arbitrary. And in fact, it's one of the best film's about addiction I've ever seen. It offers no easy answers or fake sentimentality. It simply presents this complicated man and his escalating situation. Director Ryan Fleck is a talent to watch.

13. V FOR VENDETTA (R)
V For Vendetta is one of the more interesting graphic novel adaptations to hit the screen, because it takes tough subject matter (in this case, terrorism), and forces us to look at it with a new perspective. Further more, it's simply stunning visually. Natalie Portman (sporting a bald head) is gorgeous and vulnerable as the heroine while Hugo Weaving strikes the perfect tone as the hero (or anti-hero–depending on you opinion) of the piece - a sort of Zorro for a futuristic society repressed by a Nazi like regime. Making Weaving's performance all the more astonishing is the fact that he simply does it through vocals. We never see the guy's face. This is an extremely smart and efficient comic book film.

14. THE PURSUIT OF HAPPYNESS (PG-13)
I have to be honest. I didn't expect a lot from this film. The trailer made it look like nothing more than Will Smith Oscar bait. Boy was I wrong. This movie really spoke to me with it's inspirational true story of Chris Gardner, a down on his luck salesman trying to provide for his son during the 80's. Will Smith gives one of the best performances of the year and he's perfectly complimented by his real life son Jaden. Being a parent, I could completely identify with this guy, and while I've never experienced the sheer hell he and his son endure in this movie, the message was still loud and clear. The ending of The Pursuit of Happyness nearly moved me to tears. Props to Smith for getting behind this project. His performance is every bit as inspirational as the film itself.

15. CASINO ROYALE (PG-13)
I've heard all the arguments. Daniel Craig is all wrong for Bond. The movie's not sexy enough. Where are all the gadgets? Where's the sense of fun? Blah, blah, blah! Firstly, Daniel Craig is not conventionally handsome at a glance, but you will find him incredibly good looking (and charismatic) after seeing him as Bond. Just ask my wife. Secondly, the film is plenty sexy. And in fact, the relationship between Bond and Vesper Lynd (the stunning Eva Green) is, perhaps, the most fully realized union in any Bond film. It doesn't get any sexier (or romantic) than that. Thirdly, Casino Royale is based on the first Bond book, so the gadgets we've come to know and love haven't really entered the equation yet. Finally, where's the fun? What, are you kidding me? This is grand entertainment. Sure, it's grittier and darker than past Bond films, but I'll take the exhilarating opening construction site chase over that silly Bond surfing scene in Die Another Day any day of the week. This is the best Bond film in years, and I can't wait to see how Craig evolves as the famed character in the next installment.

16. CARS (G)
Pixar does it yet again. This time, they've made an animated feature about talking – you guessed it - cars. Taking more than a page or two from the Michael J. Fox vehicle Doc Hollywood, Cars coasts along on pure charm and masterful animation. True, the movie is a little too long, but I loved it anyway. And extra added props to Larry the Cable Guy who hits all the right notes as the lovable tow truck Mater. John Lassiter has fashioned yet another undeniable winner.

17. THE PRESTIGE (PG-13)/THE ILLUSIONIST (PG-13)
I suppose a tie isn't entirely fair, but I put The Prestige and The Illusionist together for obvious reasons. Actually, I initially rated The Prestige a little bit higher, but after seeing The Illusionist again, I discovered I liked both films equally for different reasons. The Illusionist is a jigsaw puzzle movie in the same vein as The Usual Suspects. By the end of the film, everything comes together and no stone is left unturned for the audience. There is a "why" and there is a "how" in terms of the plot structure. The Prestige by comparison, is a little more ambiguous. There are twists and turns that make sense, but Christopher Nolan likes to leave a little bit of the unexplainable in the viewer's head. In terms of the magic, both films do a good job of not giving away all the big trade secrets, and in the end, both pictures play like elaborate illusions themselves.

18. INVINCIBLE (PG)
Disney has pretty much single handedly re-ignited the underdog sports movie, and while I loved Miracle, I enjoyed Invincible more. I don't know why or how, it just...worked for me. The film takes place in Philadelphia during the 70's and features a nobody becoming a somebody. Sounds suspiciously like another famous sports film. In fact, the Itallian Stallion just hit the silver screen for his swan song, and even though I enjoyed Rocky's send off, I prefer Invincible. I credit Mark Wahlberg for his understated performance and director Ericson Core for expertly creating the sites and sounds of gridiron glory without losing site of the characters in the piece. This is based on a true story, but I'm sure many of the facts were altered for overall cinematic effect, and I'll be damned if it didn't work like a charm.

19. CHARLOTTE'S WEB (G)
Based on the beloved children's book by E.B. White, this faithful adaptation is a wonderful film for the entire family. The visual effects are simply stunning. They're seamlessly integrated into the film, and at times, I didn't know if I was watching a CG creation or the real thing. The vocal work is perfect. The stand-outs are Julia Robert's compassionate spider Charlotte, Steve Buscemi's selfish rat Templeton, and Thomas Hayden Church's clueless crow Brooks. What I loved most about this picture is that the effects crew don't make the characters overly cute. Charlotte looks like a real spider, while Templeton looks like a real rat. It adds to the overall effectiveness of the film. On a final note, Danny Elfman's score is simply magical.

20. HOSTEL (R)
It's been called everything from pornography to all out trash, but quite frankly, I think it's one of the best horror films to hit the screen in a long time. No easy feat considering I really wasn't a very big fan of Eli Roth's debut Cabin Fever. That movie was more funny than scary. True, Hostel is more disturbing than scary, but it's glimpse into the dark side of human nature really made my skin crawl. The final half hour of Hostel is incredibly intense meshing American horror with an Asian horror sensibility. After watching this flick, I could see why Quentin Tarantino was quick to slap his name on it. In terms of shocks and scares, The Descent is the best horror film of the year, but Hostel comes in second place (with Slither not far behind).

21. THE LAST KISS (R)
I know I'll be taken to task for this. How could I possibly give a negative review to The Holiday, then turn around and shower praise upon a film that delves into the lives of troubled lovers and that deadly sin that is infidelity? I just happen to think The Last Kiss is a much stronger film. It's brutally honest in it's depiction of smart people doing stupid things. Zach Braff has never been better and Tom Wilinkson and Blythe Danner are exceptional as an aging couple trying to keep their marriage together. This is yet another remake, and while I have yet to see the original, I love Paul Haggis' honest screenplay and Tony Goldwyn's observant direction.

22. LITTLE MISS SUNSHINE (R)
If there was a true independent success story this year, it's certainly Little Miss Sunshine. After pulling in one of the biggest pay days in the history of the Sundance Film Festival, this witty road movie went on to enjoy a healthy box office run. This gem of a movie benefits from a strong cast headed by the delightful Abigail Breslin who plays cute without being overly cute. Her big moment at the end of the movie is classic. Steve Carell, Alan Arkin, Toni Collette, and Greg Kinear are all in top form as well. And how about a special shout out to Paul Dano who gives a wonderful performance through very little dialogue. Truth be told, if it weren't for a completely out of place scene in which Kinear is pulled over by a cop on the freeway, I might have charted this one higher. As it stands, Little Miss Sunshine is a terrific movie.

23. SLITHER (R)
Unlike The Descent and Hostel, Slither harkens back to a time of more playful horror. With a tone that's more in tune with the likes of Evil Dead II and Creepshow, this flick delivers the goods. And God bless director James Gunn (who got his start with Troma films) for going equal parts CG, equal parts old school make up effects. The cast, lead by Natahn Fillion, Elizabeth Banks, and Michael Rooker are clearly having a good time here, and that fun energy seeps right off the screen. Gregg Henry, in particular, is howlingly funny as a foul mouthed Mayor (his Dr. Pibb speech is a highlight in the film). Slither is ickey-gooey fun and it bums me out that the film wasn't a bigger hit.

24. AN INCONVENIENT TRUTH (PG)
I resisted seeing this documentary for quite a long time because...well...quite frankly, this global warming stuff scares the shit out of me! I wasn't keen on listening to Al Gore tell me, for two hours, how I've screwed up the Earth. Obviously, I did eventually see the movie and I'm glad I did. Gore, who has a reputation for being as stiff as a board, is surprisingly animated here, and he's also quite funny as he pleads his case with what he deems a moral issue and not a political issue. To my great pleasure, An Inconvenient Truth isn't all gloom and doom. It's informative and hopeful and I'm really glad I watched it.

25. BABEL (R)
Spain hit U.S. cinemas with a vengeance this year. Guillermo del Toro delivered the best film of the year with Pan's Labyrinth while Alfonso Cuaron wasn't far behind with his haunting Children of Men. I have yet to see Pedro Almodovar's Volver, but I have seen Alejandro Gonzalez Inarritu's Babel. Babel has a plethora of hefty issues on it's mind - perhaps too many. The end result is a movie that's never quite as profound as it aspires to be. It's one of those movies that delivers many powerful moments, but as a whole, it doesn't quite hit the mark. Having said that, I really liked the movie. The cast (most notably Brad Pitt, Rinko Kikuchi, and Adriana Barraza) are just tremendous. With Amores Perros, 21 Grams, and now Babel, Inarritu has established himself as a major talent. I look forward to seeing what he does next.

26. PIRATES OF THE CARRIBEAN: DEAD MAN'S CHEST (PG-13)
I wasn't a huge fan of the first Pirates movie. I attribute that movie's success to one Johnny Depp. As the actor has illustrated time and time again, he makes mediocre projects watchable (see Secret Window or Once Upon a Time in Mexico). So imagine my surprise when I walked out of Dead Man's Chest completely entertained. In my opinion, this film is infinitely more entertaining than the first, and it goes beyond Depp's involvement. Director Gore Verbinski and his crew simply took the best elements of the first movie and amplified them. Depp is, once again, in top form and I also loved Bill Nighy as half man/octupi Davy Jones. Amazing visual effects - amazing spectacle. I'm actually excited for the next installment (it's due in May).

27. HARD CANDY (R)
Hard Candy is a deceptive little thriller starring the amazing newcomer Ellen Page as a potential internet stalker victim. Patrick Wilson is the possible stalker. Most of the film takes place in a single location with these two actors engaged in an intense game of cat and mouse (think Misery if it were written by David Mamet). There's one sequence in particular that made me squirm in my seat. Page is a revelation. A great thriller that opts to use the power of suggestion to its utmost advantage.

28. APOCALYPTO (R)
Mad Mel Gibson's Mayan adventure is the best straight up action entertainment of the year. This graphic, hypnotic thrill ride is the creation of a truly gifted artist whose off-screen antics often taint his amazing cinematic efforts. It's a shame too, because what this man did in his personal life doesn't make him any less of an artist. Birth of Nation is considered by many to be one of the greatest films ever made even though in many circles, it's director D.W. Griffith was considered racist. Give Gibson some credit. He's a talented director and the relentless, breathtaking journey that is Apocalypto is further proof of this.

29. THE PUFFY CHAIR (R)
The Puffy Chair is the little indie that got away. There's isn't anything particularly groundbreaking about this cheaply made road movie. What really makes it so entertaining is its likable and charming cast (lead by Mark Duplass) and it's observant and insightful look into what makes a relationship tick. Quite frankly, the relationship scenario in this picture is far more thoughtful and realistic than the one in the box office hit The Break Up.

30. FOR YOUR CONSIDERATION (PG-13)
Christopher Guest's mostly improvised comic opus pokes fun at the Oscars. Like the rest of Guest's movies, this one really sneaks up on you. It isn't go for broke improvisational comedy (as featured in movies like Anchorman and this year's Borat) but rather a blend of subtle humor mixed with a surprising amount of heart. Catherine O' Hara is the standout in an all star cast of comical heavyweights and wouldn't it be ironic (and completely deserving) if she garnered an Oscar nomination for her outstanding work here?

HONORABLE MENTION;

FEAST (R), LITTLE CHILDREN (R), 16 BLOCKS (PG-13), EIGHT BELOW (PG), BLOOD DIAMOND (R), HOLLYWOODLAND (R), JACKASS NUMBER 2 (R), LUCKY NUMBER SLEVIN (R), PRAIRIE HOME COMPANION (PG-13), CRANK (R), SUPERMAN RETURNS (PG-13), and WORLD TRADE CENTER (PG-13).

THE WORST OF 2006!

I'm not going to waste my, or more importantly, your time with a lengthy examination into the year's worst movies. I mean really, what's the point? I didn't like sitting through these movies to begin with, so why would I want to waste precious writing time giving these flicks more undeserved exposure? Here's a brief list of five.

WHEN A STRANGER CALLS
MATERIAL GIRLS
YOU, ME, AND DUPREE,
FAILURE TO LAUNCH
FREEDOMLAND