Yet one must not forget that for the most part, certainly in the Spring and Summer of this year, finding a film that was worth seeing and proved value for money was like trying to draw blood from a stone. Even the great films of this year, such as many of the ones in my list below, I don't see holding as dear a place to me as films last year like "Brokeback" and "Batman" did.
What was prevalent this year was that amongst the good films, there was a very high standard overall. Solid scripts, strong direction, great performances and excellent production values combined to deliver many films which spoke to more specific members of the audience than ever before. Also surprising was that many of them were widely released, major studio features rather than limited arthouse fare.
The result is a real even spread of films that many can fairly call their favourite film of the year. Indeed the difficulty this year in crafting this list wasn't so much picking the best, but far more working out the order in which they should be placed. Even now that often changes with my mood.
If someone were to tell me that one of the films listed below (or even some of the 'Other Recommendations' I've listed) was their favourite I would understand it. Quite simply there really is that little between them in terms of quality as they're all so good that ultimately it comes down to personal taste, a predilection for the subject matter, and a preference for the filmmakers and/or actors involved. Anyway without further ado:
1. The Queen
A perfect example of smart and efficient filmmaking, "The Queen" clocks in at a brisk 93 minutes (minus credits) and yet yields rewards greater than many films twice that length. The best people in any field are the ones who can make a complex job seem easy and effortless, that's what Director Stephen Frears and his team have done here. Throughout the film's runtime they never once falter.
Literally everything from the script, to the performances, the production values, the editing, etc. all combine with ease and grace. Even better is the film's tone - at once dutifuly respectful, bitingly satirical and poignantly dramatic. It's equal parts witty comedy of manners, touching drama and fascinating examination of real life - never dropping into sentiment or losing its bite which makes it eminently rewatchable.
"The Queen" is also unafraid to look into the lives of the enigmatic Elizabeth and her family, portraying the likes of Prince Philip as a codgy old buffoon and Prince Charles as an indecisive and opportunistic wimp. Still, none of the roles are that easily defined, each of these public figures from Tony Blair to the various royal staff members and even the Queen Mother are given time to display distinct traits.
All the performances, notably pitch perfect turns by Helen Mirren as The Queen and Michael Sheen as Tony Blair, only add to the film's grandeur. The cast is uniformly excellent and are superbly mixed in with real life news footage to convey the effect of their position.
If there's one complaint to be had is that with its limited budget the film does come off as a bit of an HBO movie at times. It's an understandable complaint, but if it's a deciding factor then it's more a sign that one really needs to see a wider range of films. With this the British demonstrate yet again, as they have with many of their TV shows, that large budgets and quality filmmaking can easily be mutually exclusive things.
2. Dreamgirls
Whilst "The Queen" may have personally spoken to me more, the real revolutionary film of 2006 is Bill Condon's adaptation of the award-winning 1981 musical "Dreamgirls". Its dance numbers may lack the sheer spectacle of 2002's more lavish "Chicago" (Condon adapted that film's brilliant screenplay), but he makes up for it by bringing a healthier and darker sense of realism to the story and a far better handling of the film's dramatic scenes.
Some of the songs from the title number, to the dual versions of "One Night Only" and the show-stopping "And I Am Telling You" are delivered with such power and soul that at times it truly takes your breath away. Helping it along are a stellar cast with Beyonce Knowles doing her best work by far, newcomer Jennifer Hudson delivering an Oscar calibre turn, and Eddie Murphy giving his strongest performance in years. Condon's deft touch behind the camera shows not just a love for the original but the skill of a truly great filmmaker.
Indeed the only faults that really can be found in the film isn't with the adaptation but rather the source- considering it is two decades old, the story of the rise and fall of a Supremes-like group does seem a little cliche and dated. Similarly some of the songs aren't as catchy as they wish to be and certainly are more Broadway than Motown inspired. That doesn't take away from the sheer spectacle and quality on display here, a true landmark effort in the genre.
3. Pan's Labyrinth
"Pan's Labyrinth" is to Guillermo Del Toro what the Oscar-winning 2002 animated epic "Spirited Away" was to Hideo Miyazaki, a gifted and imaginative filmmakers pinnacle effort that is not just a master work of its genre, but one of the absolute best pieces of cinema all year. Juxtaposing an astonishingly realised fantasy story with a very personal adult drama about the brutalities of war, the resulting effort is beautifully realised as a film that's brutally honest, poignant, emotionally rich and truly visionary.
In previous films Del Toro has shown an astonishing visual eye and sense of cinema, but has been slightly hampered by Hollywood convention and lack of emotional power in the scripts he uses. The notable exception was his 2001 Spanish-language effort "The Devil's Backbone" which has many similarities to 'Pans', although this is far more accomplished fare which blends its themes, character and plot with deft skill.
Despite being marketed on its fantasy elements and young girl lead, 'Pan' is very much an adult fantasy - a poetic and bleak tale that for the most part sticks to its real world surroundings. There's magic to be sure but it's dark, twisted, and always comes with consequences. The subtitled nature of the film only adds to the exoticness and tragedy of the whole affair. Simply a beautiful movie with a haunted soul.
4. Casino Royale
This selection is where bias overrules - I've had a love affair with James Bond all my life. The 007 films mean far more to me than any of the franchises that online film geeks are famous for (Star Wars, Star Trek, comic book movies, Tarantino movies, etc.).
Indeed the Bond films have impacted my life significantly, probably explaining my penchants for international travel & casual no-strings flings, frequent use of double entendres, favouritism for eye-popping real acrobatic stunts rather than brainless gun-toting violence or cheesy wire-assisted martial arts, and a tendency to consume a large amount of white spirits rather than beer or wine. As a result it's hard for me not to like a Bond film, even some of the bad ones (and there have been some real shockers).
The good news about 'Royale' though is that it's a good one, in fact it's one of the best ones - a bold mix of big spectactle Bond formula action movie combined with the darker, more personal and gritty realistic tone of the early Connery films. The end result puts it right up there with the best post-Connery 007 flicks like "The Spy Who Loved Me", "For Your Eyes Only" and "Goldeneye".
As with "Batman Begins", the filmmakers have successfuly restarted a franchise in danger of bloat with a leaner, meaner and smarter formula, headlined by a dynamic turn by Daniel Craig. It does run a little too long, needs some editing and tightening in spots, and could better balance the action with the drama, but otherwise this is an example of how great mainstream studio action blockbusters can get when they take risks and actually care about delivering a smart and thrilling product that cares more about character and plot than the next mindless explosion.
5. Children of Men
A compelling and haunting look at a dystopian England, Cuaron's "Children of Men" doesn't entirely gel as a whole - but its various parts paint a simply exquisite and yet very bleak picture. In fact this is probably the most convincing cinematic portrayal of a totalitarian society ever committed to film.
It is this gritty real approach, modern society with a slight tweak, that grounds the picture far more into the realm of a drama than sci-fi. Emmanuel Lubezki's all handheld cinematography, combined with superb production design and costuming, strong performances all around, and minimal score make this world never less than believable throughout the film's runtime.
Its most notable achievement though, and the thing that it will always be remembered for, are the many single-take action sequences. Many of these shots not only go on for minutes at a time but involve real-life high speed chases and large explosions right next to the real actors. It's a testament to the stuntmen, cast and crew for being so committed and it makes the war zone environments become truly believable scenarios.
6. The Departed
A welcome return to the sheer entertaining gangland spectacle that Martin Scorsese has made his career on.
Packed with scenery chewing yet strong performances, a fascinating and simple premise taken from the acclaimed Hong Kong flick "Infernal Affairs", and a good mix of over the top violence, twisted comedy and solid drama, it stands as one of those great examples of the difference that a visionary director can bring to relatively conventional material - making a solid movie into something far deeper and more rewarding.
William Monahan's character-driven script starts off so strongly and is filled with so many layers both bombastic and subtle that it seems a shame when it falls apart under the weight of impossible coincidences, plot holes galore, and sheer goofy over the top violence in the last half-hour. Same deal with the film's subplot about hidden agendas never yielding the level of suspense it so obviously aims for.
It's not the modern masterpiece some over enthusiastic critics claim it to be, it doesn't have the depth or range for that. Rather it is simply one of the more sheerly entertaining times you can have at the movies this year, a smart but compelling solid mainstream thriller.
7. Borat
"Borat" isn't a comedic revolution, rather it's a frequently clever, savagely funny and biting satire of modern day Americana - probably the most accurately biting politically incorrect comedy of this form since the brilliant "South Park: Bigger, Longer & Uncut".
As usual comedian Sacha Baron Cohen completely disappears into his role and whilst some of the skits miss their target, more often than not they hit with hysterical accuracy. It's a clever film that can and should be praised in many ways for its absolute fearlessness and clever skewering of the prejudices and attitudes of the very audience it is targeting. The resulting humour makes it both uproarious and yet squirm-inducingly familiar.
At 80 minutes though the material stretches its one-note joke a tad too far. It is a lot more sketch comedy in nature than a well-thought out movie, and this mix of real life interview subjects with some very obviously staged sequences creates a mildly off-putting balance that becomes more intruding and transparent on subsequent viewings. That said quite frankly there isn't a film with bigger laugh out loud jokes than this one all year - worth it for its few moments of genuine brilliance.
8. Little Miss Sunshine
With so many studio films going so strong this year, the indie world has been desperately championing this little sleeper success story to high heaven. As a result a good film is bearing the burden of overhype and the inevitable result will be some disappointments all round.
Forgetting all the talk, the fact is 'Sunshine' is precisely what it appears to be - a well made dysfunctional family comedy/drama meets quirky road trip. Good performances from its various cast members, a consistent amount of intellectual comedy throughout, an ending that leaves you on a great high, and impressive filmmaking for an obviously limited budget all combine to deliver what is the best independent film of this year.
Taken on a whole though the hype is killing it. The film is not a revolution in any way shape or form, its elements are far too cliche and predictable for that. Performances may be strong, especially Steve Carell and Paul Dano, but the storyline is threadbare. It's a film very much worth seeing and enjoying for what it is - a smart light comedy/drama. Just don't dress it up any more than that.
9. United 93
Easily the better of the two 9/11-themed pictures this year, "United 93" avoids the sentimental in favour of a professional and objective approach to the tragedy, and a second half focus on the flight that crashed in Pennsylvania. Combining real life transcripts and improvisation, the film does a great job of feeling very natural and believable.
Time (a tad too much in fact) is taken at the start to establish the daily bustle of JFK airport and pre-flight preparations. Minimal but tasteful scoring, very well polished editing and strong cinematography add to the overall presentation. Director Paul Greengrass' signature handicam shooting style, the bane of his otherwise superb "The Bourne Supremacy", works with much more effectiveness here and adds a lot to the realism (along with delivering a surprisingly crisp and clear picture).
Yet there in lies the rub. On the one hand the film thankfully never devolves into sensationalism, moralising or schmaltz. On the other this purely clinical approach makes this more a documentary than a drama and so emotionally it can be rather sterile and stunted at times. Sequences such as the impacts of the planes, the initial hijack moments and the eventual 'take back' scene, effectively hit you with that cold shiver and can't help but remind you of the tragedy of that day.
Much of the rest of the film though fell flat for me and is in need of a trim, although those with personal ties or stronger feelings towards the tragedy will no doubt find it much more emotionally involving and ultimately moving. In many ways it is the year's best film to appreciate from a technical standpoint rather than fondly embrace it as a movie you'll cherish in years to come.
10. Inside Man
Not just a slick and solid thriller, but a great example of smart high-concept escapism. It's a film that wants only to engross and entertain an audience - and does so without speaking down to them or insulting their intelligence like so many studio thrillers have of late.
The ultimate lack of a central point or strong character motives may undermine its rewatch value, but strong performances, believable characters, an unbelievably tight and smart script, and an interesting premise unfolding at a healthy pace keeps you compelled throughout.
Performances all round are stellar from Owen's cold and calculating thief to Foster's delicious one-note power broker. It's a movie that is not only brimming over with style, but one that's got real substance as well and understates its various strengths to the point that it resembles a studio-made thriller in shine only.
11. V for Vendetta
It may be clunky and a little too Wachowski-influenced, but the anti-authoritarian little anarchist in me adores this film. 'Vendetta' is up there with some of the best comic book adaptations - a crafty, smart and unapologetically left-wing anti-establishment drama that serves as a perfect panacea in this most aggressively conservative decade of politics since the 1950's.
If this was an independent film people wouldn't bat an eye, but it is a major studio picture with obvious money behind it and a somewhat fearless moral stance on a very provocative topic. Even as the last year or two has seen the world finally wisen up and leave some of the mass hysteria behind, it is still shockingly bold to see a mainstream studio film where the emotional highpoints are our hero conducting not just acts of terrorism, but indulging in a truly poetic sequence which serves as the blueprint for the creation of a suicide bomber.
The film never entirely overcomes its pulpy comic book origins, yet paradoxically lacks the deep ambiguity that Alan Moore brought to his original graphic novel. Similarly this is still studio fare so the glossy sci-fi setting and few unneeded action sequences give the whole thing a much shallower and less realistic tone than the far grittier and more believable "Children of Men". Still it doesn't take away from the strong story, beautiful visuals and sheer hefty balls this baby is packing.
12. Little Children
A surprisingly shrewd mix of lightly twisted dark comedy and a tragic romance in suburbia, "Little Children" is not exactly fresh or original, but is a minor masterpiece in its own way even as it is all too self-aware of its cleverness.
A stellar cast all round, most notably Patrick Wilson finally getting a chance to properly act whilst Winslet delivers her usual solid work, all do well with the material which often veers between almost comical "Family Guy"-esque cutaway laugh sequences to bleak tales of some rather lost individuals just trying to find peace of mind.
The film, much like the documentary-style delivered voiceover, has moments of great insight or clever humour yet at others seems jarringly wrong or conventional. A book club scene about Madame Bovary that draws parallels to our female lead for example is nice but so bluntly obvious as to seem out of place. The great Jennifer Connelly is stuck with little to do, whilst the runtime certainly feels a little dragged out - especially in the last act.
Yet there's a lot of quality on display here. Director Todd Field beautifully shoots and edits the film, the characters may be not particularly mature but they're very human and credible. Ultimately it also teaches a lesson that's worth teaching - those that look down and moralise the acts of others should really take a closer look at themselves first.
13. An Inconvenient Truth
When focused on Al Gore's presentation, 'Truth' is a bombshell - a fascinating and objective examination of scientific statistics about the impending threat of global warming that is of far greater concern than important but over publicised issues like terrorism.
Using great visuals and sheer statistics to argue his case, Gore is able to turn what would amount to a university lecture into something that particular type of presentation often never is - compelling. The film also effectively makes use of his presentation materials including comparison photos, CG models and even a "Futurama" clip to great effect.
Where it falls down though is that a good twenty minutes of the film is a biography of Gore, and one that's far too gushing in its unabashed love for the man. One can understand what they were trying to achieve, but by incorporating this element (and the odd bad joke) it turns what's otherwise a fascinating bi-partisan study into a left-leaning propoganda film that many will dismiss.
Nor does Gore ever address the faults he made as Vice President in regards to this cause. Had the film ditched the electorial advertisement style cutaways about his personal life, or at least shown more objectivism and humility on the part of the former VP, 'Truth' could've been so much more. Despite that though, the film remains the most important message movie of the year and should, nay MUST be seen.
14. The Prestige
The year's best pure mindf**k of a film, Chris Nolan continues to astonish as a filmmaker and delivers one of the nastiest mainstream films of the year - an astonishingly dark and cynical little tale of two men caught up in their pure determination to destroy each other's happiness.
Often compared to the easier and more crowd-pleasing "The Illusionist", the fact is the films are nothing alike at all. 'Prestige' is a much harder movie to embrace because it is so cold, calculating and at times a little too enamored with itself. A strong cast also deliver good performances with David Bowie stealing the show as the real life Nikola Tesla.
Chock full of twists, its biggest revelation is telegraphed quite early and is easy to guess but there are all sorts of other little twists along the way and even if you do work out the mysteries ahead of time, the manner in which they're executed is sublimely brilliant. Not for everyone and confusing for many, it nevertheless is smart and creative filmmaking from one of the true genius rising filmmakers of our time.
15. The Last King of Scotland
Forest Whittaker is winning awards left and right for his performance as former Ugandan dictator Idi Amin and it's certainly deserved. His work is easily the best this great thesp has ever done, making a man many simply write off as a mad butcher into a character with dimension, good intentions, mood swings and rampant insecurity.
To judge the film on that performance alone though is unfair as in its own right 'Scotland' is a great film. Making excellent use of its beautiful locale and with a refreshing lack of restraint in its sexual and violent nature, this a solid tale of a young, arrogant and very green Scottish doctor who, through circumstance, becomes the physician of Amin.
James McAvoy is thoroughly committed to his strong career-making performance as the doctor and turns a rather unlikable leading character into one we can at least sympathise with - even if we don't support him (he's a little too brash for his own good). Gillian Anderson also shines in a small role in the opening half hour.
"The Queen" scribe Pete Morgan penned the script for this and it shows in the film's strong characterisation and ability to mix real life events with fictional spin. It doesn't do as good a job fitting those elements together which makes the timeframe a little clunky, and "Touching the Void" helmer Kevin MacDonald does draw the film out too long with a very dark and brutal last act, but that doesn't take away from the triumph of a truly excellent biopic of one of last century's darker figures.
16. Infamous
The easier and more crowd-pleasing of the two Truman Capote films, "Infamous" takes a broader and lighter look into the eccentric author/journalist with a penchant for gossip and his attempt to pen his quintessential novel "In Cold Blood", but remains nevertheless dark, dramatic and poignant.
Compared unfavourably to "Capote" because it admittedly lacks some of the smarts and the more clinical approach that movie took, it doesn't take away from a more balanced viewpoint which also covers Capote's relationship with the New York social butterfly crowd. It certainly more clearly spells out the love affair between Capote and convicted killer Perry Smith and turns it into something poignant - two lost souls finding each other in an emotionally cathartic way.
Helping is the casting with noted stage actor Toby Jones doing a delicious take on Capote. A dark haired, brown contact lensed Daniel Craig as Smith effectively conveys a poetic soul entrapped in a brutish body that brims with a raw masculine sexuality reminiscent of Brando in 'Streetcar'.
Sigourney Weaver, Jeff Daniels, Hope Davis all deliver solid work in supporting roles, and Sandra Bullock gives one of her most refreshingly natural dramatic portrayls in years. Even with only one scene relegated to purely singing, Gwyneth Paltrow manages to emotionally hit you in the film's opening sequence. A little long and in need of more polishing, it nevertheless is a very well done and emotionally engaging piece.
17. Volver
Almodovar is back and as wacky as ever. The mad Spaniard continues to show he's a master of his craft with "Volver", a life-affirming 'chick flick' that mixes all his trademark elements - strong-willed women, a touch of the supernatural, sexual abuse, murder, offbeat farce, a celebration of tradition and so much more.
More importantly though he balances all these plates in the air with such ease that it's jarring at first. Despite some of its dark themes the film is never less than giddily optimistic about the world which he creates and the characters who populate it - most notably Penelope Cruz who looks utterly radiant and delivers her best performance to date. Special notice also goes to both her cleveage and singing capabilities.
Deceptively simple (a welcome change after the superb but far too convoluted "The Bad Education"), the film is also Almodovar's most accessible effort in years thanks to its light-hearted tone and the way it rarely strays off into subplots like some of his past efforts have. Yet it lacks the emotional punch of say "All About My Mother", "Live Flesh" or "Talk to Her", gets a tad too soap operaish in its more serious moments, and definitely is in need of some trimming.
Despite its few missteps, when it clicks it is magic - filled with a welcome energy and life along with some delightfuly offbeat touches. One scene with Cruz singing her heart out pretty much locks up her chances of awards recognition.
18. The Descent
Brilliantly atmospheric, British filmmaker Neil Marshall delivers what is easily the year's best horror film (albeit technically last year's in this case) involving a group of female spelunkers trapped in an underground cave system and left to the mercy of their own psychological torment along with attacks by some carniverous mutant creatures.
The girls aren't exactly classic actors and the dialogue is clunky, but Marshall shines in both his visuals and intent. After a shocking tragedy to open the film, the first hour of "The Descent" is brilliant. Using only torch and chemical lights, essentially no score and increasingly tight environments, the film is arguably the most effective conveyor ever in cinema of the dark claustrophobic environment that comes with cave exploration.
As the runtime unfurls, the suspense is gradually notched up to the point of unbearable tension. Then, with half an hour to go, the monsters come in and it all changes. That's not to say "The Descent" drops the ball, far from it as much of the last act is truly frightening and is one of the few horror films of late that is actually scary.
Yet by bringing in monsters it becomes a different kind of film, something more cheesy and dismissable than if it had stuck with real life situations and the girls facing only natural hazards. In spite of this however, the film remains a great piece of work and one of the genre's best and most effective films in many years.
19. Blood Diamond
"Last Samurai" and "The Siege" helmer Ed Zwick is first and foremost a solid mainstream entertainer always trying to hit us over the head with a well-intentioned but oversimplified message. "Blood Diamond" is Zwick's latest and contains all his traits - an exotic locale that's beautifully shot, strong performances throughout, an upfrontness about the harshness of life, and superbly filmed action sequences.
The film never shies away from showing the brutality of the time and place - such as the frequent mutilations, torture and disturbing child soldier indoctrination. Also Leonardo DiCaprio delivers a performance equally as good, in some ways better, than his recent "Departed" work. One has to appreciate the fact that here is a believable, morally dubious fortune hunter who won't let good intentions get in the way of him making a quick buck - and never forgets that throughout.
Yet in spite of its high gloss the film is never able to blend its narrative and themes together well, resulting in moments where things stop dead to give a lecture. Add to that Zwick's trademark weak points - a far too long runtime with a problematic third act, uneven pacing, and an attempt to encompass way too much subject matter rather than focus on one specific aspect.
These are all editing and scripting issues though which should have been worked out beforehand as otherwise Zwick's film is smartly constructed, expertly shot and engaging. The man definitely knows how to make a great looking and sounding motion picture, get good work out of his actors, and his want of a compelling issue for his stories is a noble one.
Other Recommendations:
The Break-Up, Brick, Clerks II, Dave Chappelle's Block Party, Deja Vu, Flushed Away, The Fountain, The Good Shepherd, A Guide To Recognizing Your Saints, Happy Feet, Hard Candy, Hollywoodland, The Illusionist, Jackass: Number Two, Little Fish, Marie Antoinette, Monster House, Nanny McPhee, Notes on a Scandal, Pirates of the Caribbean: Dead Man's Chest, A Prairie Home Companion, The Proposition, A Scanner Darkly, Shortbus, Talladega Nights: The Ballad of Ricky Bobby, Thank You For Smoking, This Film Is Not Yet Rated, Tristram Shandy
Films I Didn't Get To See In Time For This List:
Apocalypto, Babel, The Death of Mr. Lazarescu, Deliver Us From Evil, Dixie Chicks: Shut Up & Sing, Half Nelson, Inland Empire, L'Enfant, Letters from Iwo Jima, The Lives of Others, The Painted Veil, Perfume: The Story of a Murderer, Quinceañera, Stranger than Fiction, Venus
Click Here For Lists Of My Favourite Films Of Every Year Since 1993
Finally, The Mediocre Movies of 2006:
16 Blocks, The Ant Bully, Art School Confidential, Ask the Dust, Bobby, Breaking and Entering, Candy, Cars, The Devil Wears Prada, Eight Below, Failure to Launch, Final Destination 3, Find Me Guilty, Flags Of Our Fathers, Flyboys, Friends with Money, The Good German, The Hills Have Eyes, The Holiday, Hoodwinked, Hostel, Ice Age: The Meltdown, Idlewild, Jet Li's Fearless, John Tucker Must Die, The Lake House, Man of the Year, Miami Vice, Mission: Impossible III, The Mostly Unfabulous Social Life of Ethan Green, My Super Ex-Girlfriend, Over the Hedge, Running Scared, She's the Man, Silent Hill, Slither, Stick It, Summer Storm, Superman Returns, Take the Lead, The World's Fastest Indian, World Trade Center, X-Men: The Last Stand
