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The Year in Film – 2005

Bleeeeeeeeargh! Awful. Simply awful. I challenged the staff this year when we started our annual celebration of the year’s best films that it would be tough to come up with 10 whole movies worth remembering down the line. And I was right. The movies of 2005 were, on the whole, so atrocious that one critic asked if he could submit a ‘Top Eight’ instead of a Top Ten. Several critics bowed out altogether, as the picks were too embarrassing to call the ‘top’ of anything. Put simply: This is the unquestionably worst year for movies in the 12 years that I’ve been reviewing them professionally. (That massive box office slump has an easy explanation: Quality is down. Way down.)

Still, there are always diamonds in the rough (out of 277 reviews and counting), and we all managed to find a film or two worth celebrating. This year’s tops are far more divisive than ever before, with King Kong, Syriana, The Constant Gardener, and a host of other films earning equal amounts of praise and derision. But that’s why we give every critic a voice to make his case. Was Match Point, The New World, or The Constant Gardener the best film of the year? We’ll never settle the debate here, so we leave it to you to decide.

Christopher Null
Editor in Chief

Christopher Null

1. Match Point – This one wasn’t even close for me. Match Point stood out so far above the crowd that nothing else I’ve seen has even come close. My lengthy review outlines most of my reasons for embracing this film, but I’ll digest them here: Woody Allen is absurdly underrated as a dramatic director, and the touches of suspense and black comedy he carefully folds into Match Point are perfect. The only off note in the entire film is when our antihero sees the ghosts of those he has killed, and I worried for a moment that Allen was going to slip back into some of the schlocky storytelling he’s passed off in recent years, but he doesn’t. The ghosts go away, leaving us with only the closing credits and a rich film that continues to haunt me today.

2. Me and You and Everyone We Know

3. Crash – Probably a film that’s going to show up on lots of lists, and rightly so. It’s a movie from the heart, an Altman-esque story of intertwining lives and the home of this year’s most heartbreaking moment of cinema. (If you’ve seen it, it’s the one where the guy shoots the gun. You know what I’m talking about.) It coincidentally also has the most uplifting moment of cinema, too. (If you’ve seen it, it’s the very next scene in the film.) And hell, you have to admire any movie that makes good use of Sandra Bullock. I mean, when was the last time you saw her play a bad guy in a movie — and when was the last time you wanted to see more of her? (For evidence, see my Worst of 2005, immediately following this list.)

4. Mr. & Mrs. Smith – I’ve taken a lot of heat for my glowing review of the Brangelina action caper, but I stand by it. Screw King Kong, this was the best popcorn movie of the year, full of stylish gun (and kitchen knife) battles, scads of comic relief, and a witty script. It never hurts to get Jolie in a near-bondage outfit, while you’re at it.

5. The Beat That My Heart Skipped – I told you to go see it, but you ignored me. No matter, this French remake of Fingers is available on DVD now, and you’ll dig its deep character study of a sorta-gangster/pianist/hustler and what he has to go through to get ahead. Explaining the plot would make it sound boring, so I’ll leave it at that. Star Romain Duris is one you’ll want to keep an eye on.

6. Grizzly Man Grizzly Man has already been unfairly snubbed, the idiots at the Academy didn’t even give it a preliminary berth as one of the top 15 documentaries of the year, which means it’s not even eligible for an Oscar. Well, while the Academy debates whether, oh, March of the Penguins or Murderball should win the award, you can check out Grizzly Man, which is a better nature film than March and a better study of the human psyche than Murderball. Both are good films, mind you, but Grizzly‘s deep study of Timothy Treadwell, who lived among Alaskan bears and recorded his life on video — until they ate him — is simply unforgettable.

7. Harry Potter and the Goblet of Fire – To answer your question, yes I’m embarrassed to put a Harry Potter movie on this list. But hey, it was great entertainment, exciting, funny, and much better than mere kid’s stuff. We’ll see if the series stays solid in #5 come 2007.

8. Enron: The Smartest Guys in the Room

9. The Upside of Anger

10. Pretty Persuasion – I don’t know if Pretty Persuasion is a great movie, but it sure is a bad one. As in nasty. Unflinchingly so. Nihilistic even. The story at first mimics Heathers, but that analogy only goes halfway. Pretty Persuasion turns out to be a far more damning look at the teenage condition, courtesy of a stellar performance from Evan Rachel Wood, who makes her work in Thirteen look like an episode of Dora the Explorer.

Worst of the Year: Miss Congeniality 2, Son of the Mask, Dark Water

Best Performance by Katie Holmes’ Nipples: Batman Begins

Most Enjoyable Nonsense: Syriana

Underrated (slightly): House of Wax, A Lot Like Love

Most Annoying Home Video Trend #1: The anti-piracy short film that blares out at you when you first pop in about half the DVDs on the market. There’s nothing like settling in with a quiet Merchant-Ivory drama, only to be faced with a heavy metal/police siren soundtrack urging me not to pirate the movie I’m watching.

Most Annoying Home Video Trend #2: 4 months after theatrical release, a bare-bones DVD is put out. 2 months after that, a huge special edition DVD comes out, making you kick yourself for buying the disc with no extras. It’s a cheap attempt to get us to pay for the same stuff twice.

Sean O’Connell

1. Good Night, and Good Luck George Clooney reenacts a 50-year-old battle waged between newsman Edward R. Murrow (a seamless David Strathairn) and Communist-hunting Senator Joseph McCarthy (portrayed using actual file footage) and uncovers arguments pertaining to the rights of an individual and government actions taken in the name of national
security that should strike chords with modern audiences. In only his second effort behind the camera, Clooney catapults over any potential sophomore slump to ensure Night appears credible and doesn’t play as a conspiracy-theorist’s sermon shouted by activists leaning left or right. Without losing its tight focus on Murrow, Night also nails the adrenaline rush of breaking news and emphasizes the power of a medium – television – being used to its potential. You will not see a more important film this year.

2. Batman Begins Because year-end accolades don’t always have to go to serious dramas with important messages. Christopher Nolan reboots a dormant Batman franchise with an origin story that ignores the hero’s pervious cinematic incarnations. The contemporary approach to the Dark Knight redefines the character for a new generation.

3. The Upside of Anger Writer/director Mike Binder’s uncomfortably honest tapestry of suburban devastation stars Joan Allen (bonus) and showcases Kevin Costner in one of those seemingly off-the-cuff supporting performances that remind you of his limitless personality and smoldering charisma. Binder also possesses an astute ear for dysfunctional family dialect that enriches his complex story about believable characters maneuvering around life’s hard corners.

4. Munich

5. Walk the Line – The life story of Johnny Cash stands apart from Hollywood’s parade of musical biographies because its core is warmed by a decades-spanning romance shared between Cash and his muse June Carter, perfectly personified in the film by Joaquin Phoenix and Reese Witherspoon. The two young stars – who sing like country veterans – form a blazing union on screen that brightens every scene they share and elevates Line to memorable status.

6. Enron: The Smartest Guys in the Room – Move over, marching penguins. The year’s most informative documentary was Alex Gibney’s Enron, a blow-by-blow account of the energy giant’s downfall as told by the people who helped topple the corrupt powerhouse. Enron shocks because its drastic stories of thievery and deceit are factual. This one should be required viewing in economics classes nationwide.

7. Charlie and the Chocolate Factory Proof that not all remakes are doomed to fail. Tim Burton’s re-imagined Charlie and the Chocolate Factory modernized Roald Dahl’s cherished book as it filtered the fantasy through the filmmaker’s admittedly freaky scope. This new Charlie profits from improved special effects and the unhinged brilliance of Burton’s repeat collaborator, Johnny Depp.

8. A History of Violence – Like Munich, David Cronenberg’s haunting A History of Violence examines the cyclical nature of violence – the year’s biggest theme – but scatters its cards across a much smaller table. Cronenberg mixes mystery with social commentary to argue that no matter where we hide, violence inevitably finds us.

9. The Weather Man Not the year’s cheeriest picture, but Gore Verbinski’s man-at-a-crossroads drama does march in step to distinct emotional beats that continue to resonate with me. It’s nice to see Nicolas Cage acting again. His mammoth effort to overcome his weather forecaster’s cloudy disposition is matched by brilliant co-stars Michael Caine and Hope Davis. The standout, though, is screenwriter Steve Conrad, who has penned a heartbreaking story that’s as unpredictable as your daily weather forecast.

10. Wallace & Gromit: The Curse of the Were-Rabbit Funnier than Wedding Crashers and The 40-Year-Old Virgin combined, Nick Park’s claymation epic paid respect to vintage horror classics as it sent cheese-loving Wallace and his trusty pooch Gromit on a feature-length mission to apprehend a vegetable-devouring creature of the night. Smart, fast, and incredibly entertaining for both children and the young at heart.

Ten more must-see movies (listed alphabetically): The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Constant Gardener, Downfall, Hustle & Flow Layer Cake, The Matador, Match Point, MirrorMask, Murderball, Syriana

Worst of 2005: The first 75 minutes of Rumor Has It… (because after 75 minutes, I walked out), The Wedding Date, The Dukes of Hazzard

Best Scene in a Movie (non-musical): Commissioner Gordon (Gary Oldman) flips over the calling card of Batman’s next challenge, who shares the hero’s ‘flair for theatrics.’

Best Scene in a Movie (musical): Walk the Line‘s Johnny Cash (Joaquin Phoenix) rips into ‘Cocaine Blues’ at Folsom, dedicating his barn-burner to the prison’s uptight warden.

Biggest Disappointment: Elizabethtown

Longest Disappointment: King Kong

Overhyped: Crash

Underhyped: Kiss Kiss, Bang Bang

Most Clichés Per Minute: Cinderella Man

Best Performance in a Bad Movie: Claire Danes, Shopgirl

Worst Performance in a Good Movie: Colin Farrell, The New World

Great Performance in a Decent Movie: (tie) Felicity Huffman, Transamerica and Jeff Daniels, The Squid and the Whale

Chris Barsanti

1. The Constant Gardener – Blasted or ignored by many critics for its desire to gobsmack the audience with some good old-fashioned liberal guilt (which apparently we’re too enlightened for these days), Fernando Merielles’ gorgeous, caustic adaptation of John Le Carre’s thriller about pharmaceuticals doing evil in sub-Saharan Africa is a righteousl
y furious roof-raiser wrapped in the guise of a murder mystery. What sadly makes the film stand out, however, is its ability (hardly ever seen in Hollywood) to treat the continent, in all its chaotic beauty, as simply a place where people have to live, work, and die much as they do anywhere else in the world; Africa as neither simply a safari postcard or blighted horror story.

2/3. Munich and War of the Worlds – Spielberg comes of age, finally, with a magnificent pair of films that wrestle with morality and politics while still delivering walloping entertainment. The results don’t always completely cohere – Worlds relies a bit too much on Tom Cruise’s charm to get through, while Munich stumbles with its attempts at mature political dialogue – but they’re relentlessly relevant; a climactic achievement for a much maligned artist. Peter Pan has finally realized that eternal childhood is a trap.

4. Breakfast on Pluto – The living treasure that is Neil Jordan brings us another rollicking, midnight-dark odyssey of pain, savagery, and redemption that outdoes even his magnificent Butcher Boy. A fey transvestite (Cillian Murphy), bastard child of the village priest (Liam Neeson) and possessed of a helium-voiced Marilyn Monroe charm, is cast loose in rainy and provincial Ireland; her thrilling journeys are like a soap-opera production of Candide cast by the IRA and drenched in cracked Catholicism. It’s the kind of swirling, delightfully agog cinematic carnival where birds talk and a girl can always depend on the kindness of terrorists.

5. The Power of Nightmares – Although some would say July’s London Underground bombings prove this film’s thesis – that the specter of a mightily organized international al-Qaeda is only fostered by Western governments to terrify their people into meek submission – to be fake, that can’t detract from the power of this barnstorming, rabble-rousing documentary. First broadcast in three parts on the BBC and then edited together for a brief U.S. theatrical release, Power tracks the sometimes parallel intellectual development of modern extremist Islam and American neoconservatives, and finds some startling parallels. Indulging in neither the ADD-jokery of Michael Moore or the comforting limousine liberal regurgitations of Eugene Jarecki’s upcoming Why We Fight, this is a big film with big ideas rigorously pursued.

6. The Squid and the Whale

7. Mysterious Skin – Greg Araki (The Doom Generation) shares one thing with his otherwise polar opposite Spielberg: He also chose this year to grow up. His film tracks two small-town Kansas boys as they enter adolescence and try to make sense of the shattering sexual abuse they suffered in childhood – one hides in arrested development asexuality while the other (Joseph Gordon-Levitt in a career-starting role) revels in self-destructiveness as a predatory hustler. When the secrets of their abuse are finally unveiled, it’s unbelievably graphic and yet not at all exploitative. A quiet, assured and cathartic work. With aliens.

8. Crash

9. 2046 – At some point, Wong Kar-Wai will stop making movies like this and that will probably be a good thing. But that doesn’t mean I have to be happy about it. This is film as pure blinding desire.

10. Wallace and Gromit: The Curse of the Were-Rabbit

Honorable Mentions: Grizzly Man, Enron: The Smartest Guys in the Room, Dark Water, President’s Last Bang, Howl’s Moving Castle, Match Point, Pretty Persuasion, Good Night, and Good Luck, Kung Fu Hustle, Brokeback Mountain

Worst of the Year: The White Countess

Most Refreshingly Entertaining Sci-fi: Hitchhiker’s Guide to the Galaxy and Serenity

Most Political Relevant Premises + Worst Execution: Lord of War, Jarhead, and Syriana

Most Overrated: Chronicles of Narnia, King Kong, Rize, Caché, Capote, Last Days

Portents of the Death of the Hollywood Studio System: Stealth and A Sound of Thunder

Norm Schrager

1. Me and You and Everyone We Know – Writer/director Miranda July’s art-house hit plays just like her character in the film: daring, dreamy, and endlessly enjoyable. She assembles an odd collection of people, from preschool age to senior citizen, all looking for connections, spouting brilliant dialogue that can be warm and wistful or creepy and crude. While that sounds familiar — comparisons to Todd Solondz and P.T. Anderson are inevitable — July’s presentation is fresh and exciting, as are her actors’ performances. You’ll never look at a chat room the same way again. ))<==>((

2. Batman Begins

3. The Squid and the Whale – Filmmaker Noah Baumbach has gone from annoying ‘smart guy’ talk (Kicking and Screaming) to Team Wes Anderson (co-writing The Life Aquatic) to this knockout homage to 1980s family dysfunction. Jeff Daniels, Laura Linney, Jesse Eisenberg, and Owen Kline are the sharpest ensemble cast of the year, exhibiting lives both harsh and hysterical.

4. Millions – Could Danny Boyle, the guy behind Trainspotting and 28 Days Later, successfully create a kinder, PG-rated feature? Definitely. Days before the pound is displaced by the Euro, an imaginative, misunderstood boy is hit by a giant bag of flying money. And bad people are looking for it. A little like To Kill a Mockingbird with saints instead of Boo Radley.

5. Thumbsucker – An introverted teenager becomes a confident overachiever… once he begins pounding ADD pills. With a tone reminiscent of Todd Haynes’s Safe, writer/director Mike Mills examines the cult of self-improvement, with its drugs, touchy-feely insight, and 30-day rehab. Features a breakthrough performance by star Lou Pucci.

6. Prime – One of the most underrated films of 2005 is this tale of star-crossed love written and directed by Ben Younger (Boiler Room). A newly divorced, late-30s hottie (Uma Thurman) falls for an earnest 20-something — not knowing that her shrink is also the young man’s protective Jewish mother. Smart and unexpectedly touching, with a fantastic turn by Meryl Streep as the mom.

7. Munich

8. Fever Pitch – As’s Boston representative, I tried not to let my Red Sox bias get in the way; but great romantic comedies should make you feel like this one. Like you’d give up everything — even your most passionate pastime — to have Drew Barrymore’s character look at you with warm, admiring eyes.

9. Murderball – Lessons learned: Some people with disabilities are different, and they acknowledge it. Some of them are more badass than you. And the USA/Russia hockey rivalry ain’t crap compared to the countries’ quadriplegic rugby showdowns.

10. Crash

Next Best: The Upside of Anger, Palindromes, Jarhead, Proof, Mad Hot Ballroom

Best Performances: Lou Pucci (Thumbsucker), Philip Seymour Hoffman (Capote), Laura Linney (The Squid and the Whale), Michael Lonsdale (Munich)

Most Performances: Deep Roy, as every Oompa-Loompa in Charlie and the Chocolate Factory

Jeremiah Kipp

1. The New World Terrence Malick’s masterpiece is about evolution, showing the development of history and civilization as an ever-shifting thing. It’s a film that warrants comparison with the poetry of Walt Whitman, with the omnipotence of nature and land overlooking the story of Europeans and Native Americans forging a new civilization. The emotional link is the child-like romance between John Smith (Colin Farrell) and Pocahantas (Q’Orianka Kilcher), though we quickly see the movie isn’t about him – but about her. Their convergence changes her, so she is no longer of her tribe but also not European. It’s something new entirely, and perhaps as inevitable as nature itself. The dawn of America is seen through the creation of an individual, and Malick’s approach to filmmaking is refreshingly indirect. Like poetry, we’re given images, a vibrant score and small bursts of offscreen narration rather than prose exposition. Once seen, The New World defies easy articulation – instead, it’s as if you’re riding the arc of a beautiful contemplative wave.

2. Pulse Made in 2001 but shelved by Miramax (they’re doing a remake), Kiyoshi Kurosawa’s Internet ghost movie stands apart from its more conventional (and now cliché) Japanese horror ilk like The Ring and The Grudge. It subscribes to the belief that the Internet does not doom us to isolation, but instead smashes all of our collective neuroses together, resulting in a quiet apocalypse that decimates Tokyo – and maybe the world. But it all starts with students investigating suicides around an Internet webcam that taps into the spirit world. But the ghosts don’t chase after their victims. Instead, they allow their victims to be consumed by their own feelings of boredom-the feeling that if eternity is as dull as daily life, what’s the point? Nihilistic? Perhaps, if it weren’t for the sympathetic characters’ desperate search for meaning where there is none. That Quixotic notion cuts straight through the horror of Pulse-a horror film which reminds me of that great quote from David Cronenberg’s masterpiece Videodrome: ‘It’s dangerous because it has a philosophy.’

3. Forty Shades of Blue I had a delayed reaction to this one. Writer-director Ira Sachs blew me away with his previous film, The Delta, and my expectations were high for Forty Shades of Blue. But I absolutely could not connect with the central character, Laura (Dina Korzun), a Russian trophy wife of legendary Memphis music producer Alan (Rip Torn). She seemed like a character who placed an emotional wall between herself and the world, and when Alan’s son comes to town, her cold, illicit affair with him leads her to self-knowledge, not about her affair (which is essentially meaningless to her) but about her very life and the lack of living within it. I found her actions inscrutable. Weeks later, I was walking down the street and thunderstruck by the fact that, like Alan, I was choosing not to listen to her, to look into her depth, and to attempt to understand her. Torn gives a raging good performance as the music producer, but what Korzun does is absolutely indelible – she creates a performance where you have to plug into her instead of allowing her to wash over you. Men don’t listen to women enough, I guess, and when a movie comes along asking us to keep up, it is perhaps alienating at first – but ultimately rewarding and rich. The final shot of Laura walking away from a glaring pair of headlights is either an awakening or an imprisonment, depending on whether you see that glass of water as half-full or half-empty. Look deeper and you’ll see this movie has soul to spare.

4. Oldboy The gore film is elevated to Greek tragedy in this horrifying tale of revenge. After 15 years worth of unjust imprisonment, a victim finds himself released and chomping at the bit for revenge against his unseen captor, now silent benefactor. His path of violence is given dramatic weight through a doomed romance with a young girl, and familial blood ties that bind. Not merely a violence spectacle from the Tarantino factory, Oldboy‘s extreme cruelties boil down to the extremities of human emotion and desire. But fanboys can certainly derive pleasure from the awe-inspiring prolonged shot of the hero battling an entire gang of enemies using a hammer – the shot goes on and on as he gets knocked over, mows down the enemy, picks himself back up, and carries on. It’s heroic bloodshed carried long past the point of absurdity, and brings to mind that heroic bloodshed is, in itself, absurd.

5. Munich

6. Happy Here and Now Like Pulse, this Internet ghost story was made several years ago but the theatrical release was delayed. In the aftermath of Hurricane Katrina, its New Orleans setting achieves a haunting resonance. Michael Almereyda’s tale follows a young girl tracking down her sister, whose disappearance may be linked to webchat videos with a mysterious philosopher-cowboy named Eddie Mars (Karl Geary). This tale of the online community, where people hide
behind blog-masks in order to express their true feelings, has the paradox of being about loneliness and disconnect in a city that’s all about life’s bounty. Almereyda shows the exotic, lovely and unusual parts of the city, and the weird denizens who live there: a rambling collection of R&B stars, storytellers, alternative musicians, cryptic DJs, and loveable drunks. Ultimately, it’s a parable about how imagination is part of the mechanism we call survival – and the internet allows us to be closer together and further apart than ever before.

7. The Intruder How to describe the elusive work of director Claire Denis? ‘Trance-Poem’ sounds right, since this mostly non-narrative experiment focuses on a series of scenes where the characters are faced with intrusions in all senses of the word (sexual, political, geographical, etc.) Held together by a chilling score by the Tindersticks, the effect is far from gratuitous or boring. It’s intoxicating. The central figure is chilly international businessman Louis (Michel Subor), who is about to have a heart transplant. The first half of The Intruder is ripe with random violence, circling like a storm around Louis, whose weathered demeanor suggests either temperance or madness. Time stops when Louis lands on a tropical island to build a new life for himself, a la Robinson Crusoe, but Denis seems more influenced by the oppressive sea stories of Hermann Melville, where forces larger than one’s self lead to one’s doom. The Intruder doesn’t make logical sense so much as it feels like an utterly engrossing, illuminating fever.

8. Down to the Bone The cycle of drug addiction is told through the story of a woman juggling her family, her children, and her on-again, off-again lover. First-time director Debra Granik keeps the style grounded in hand-held naturalism and reality, with fully realized characters (based on actual people after years of research) and avoiding the sap of Hollywood sentimentality (a la When a Man Loves a Woman) or independent horror-show chic (the reprehensible and wrong-headed Requiem for a Dream). Down to the Bone tells it like it is, with sympathy, compassion, and unflinching directness. Drug problems are part of the fabric of these people’s lives, knocking them down over and over again as they try to deal with the complexities of daily life.

9. War of the Worlds

10. They Came Back When the living dead return from their graves, this French existentialist parable doesn’t do Night of the Living Dead. But it’s just as scary in its own way. The dead march around like zombies, but otherwise seem fairly ‘normal’ as they try to get back to work and settle in with their loved ones. Unfortunately, this takes a psychic toll on the human beings around them, who have to re-confront feelings of loss and mourning that they thought was all in the past. As George A. Romero’s Land of the Dead got crushed by its old fashioned granola politics, They Came Back is bracing and current because it looks at the selfishness of our times, and how we don’t want to deal with problems. Their feelings consume the human characters, and the result is a nightmare conclusion that’s as unfair as the hero getting shot between the eyes in Night of the Living Dead. I guess the old maxim is true: the center cannot hold.

Honorable Mention: Unleashed, March of the Penguins, William Eggleston in the Real World, Zombie Honeymoon, Downfall, The Devil’s Rejects

Worst of the Year: The Fog

Badass of the Year: William Forsythe in The Devil’s Rejects

Overrated: A History of Violence, King Kong, Good Night and Good Luck, Crash

BONUS: 16 Top Tens — “clip ‘n’ save”

Christopher Null
1. Match Point
2. Me and You and Everyone We Know
3. Crash
4. Mr. & Mrs. Smith
5. The Beat That My Heart Skipped
6. Grizzly Man
7. Harry Potter and the Goblet of Fire
8. Enron: The Smartest Guys in the Room
9. The Upside of Anger
10. Pretty Persuasion
Sean O’Connell
1. Good Night, and Good Luck
2. Batman Begins
3. The Upside of Anger
4. Munich
5. Walk the Line
6. Enron: The Smartest Guys in the Room
7. Charlie and the Chocolate Factory
8. A History of Violence
9. The Weather Man
10. Wallace & Gromit: The Curse of the Were-Rabbit
Chris Barsanti
1. The Constant Gardener
2. Munich
3. War of the Worlds
4. Breakfast on Pluto
5. The Power of Nightmares
6. The Squid and the Whale
7. Mysterious Skin
8. Crash
9. 2046
10. Wallace and Gromit: The Curse of the Were-Rabbit
Norm Schrager
1. Me and You and Everyone We Know
2. Batman Begins
3. The Squid and the Whale
4. Millions
5. Thumbsucker
6. Prime
7. Munich
8. Fever Pitch
9. Murderball
10. Crash
Jeremiah Kipp
1. The New World
2. Pulse
3. Forty Shades of Blue
4. Oldboy
5. Munich
6. Happy Here and Now
7. The Intruder
8. Down to the Bone
9. War of the Worlds
10. They Came Back
Pete Croatto
1. Murderball
2. You and Me and Everyone We Know
3. The Squid and the Whale
4. The 40-Year-Old Virgin
5. Enron: The Smartest Guys in the Room
6. Sin City
7. Pretty Persuasion
8. A History of Violence
9. Little Manhattan
10. March of the Penguins
Nicholas Schager
1. The New World
2. The White Diamond
3. Last Days
4. Wolf Creek
5. The Squid and the Whale
6. Pulse
7. The Beat That My Heart Skipped
8. Good Night, and Good Luck
9. Mysterious Skin
10. The Devil’s Rejects
Don Willmott
1. Nobody Knows
2. Brokeback Mountain
3. 2046
4. Beautiful Boxer
5. Me and You and Everyone We Know
6. 3-Iron
7. The Jacket
8. Crash
9. Good Night, and Good Luck
10. Mad Hot Ballroom
Robert Strohmeyer
1. Good Night, and Good Luck
2. Crash
3. Syriana
4. North Country
5. Cinderella Man
6. The Constant Gardener
7. King Kong
8. Capote
9. Batman Begins
10. Proof
Chris Cabin
1. A History of Violence
2. Brokeback Mountain
3. Munich
4. Good Night, and Good Luck
5. Broken Flowers
6. Syriana
7. Kings & Queen
8. The Constant Gardener
9. Cinderella Man
10. The Squid and the Whale
Jay Antani
1. Brokeback Mountain
2. Murderball
3. Grizzly Man
4. The Squid and the Whale
5. The Beat That My Heart Skipped
6. Kontroll
7. Me and You and Everyone We Know
8. Capote
9. Oldboy
10. Steamboy
Joel Meares
1. Crash
2. Sin City
3. Batman Begins
4. The Constant
5. King Kong
6. The Upside of Anger
7. Good Night, and Good Luck
8. Harry Potter and the Goblet of Fire
9. Melinda and Melinda
10. Serenity
Jesse Hassenger
1. Star Wars: Episode III – Revenge of the Sith
2. The Squid and the Whale
3. Batman Begins
4. Millions
5. Me and You and Everyone We Know
6. Brokeback Mountain
7. Munich
8. Sin City
9. A History of Violence
10. The Weather Man
David Levine
1. Munich
2. March of the Penguins
3. Murderball
4. Crash
5. Brokeback Mountain
6. A History of Violence
7. North Country
8. Sin City
9. The 40-Year-Old Virgin
10. Proof
Blake French
1. The Constant Gardener
2. The Jacket
3. Crash
4. Sin City
5. Loggerheads
6. Where the Truth Lies
7. The Exorcism of Emily Rose
8. Sarah Silverman: Jesus is Magic
9. The Upside of Anger
10. Broken Flowers
David Bezanson
1. Capote
2. Kiss Kiss, Bang Bang
3. Brokeback Mountain
4. Broken Flowers
5. King Kong
6. Walk the Line
7. Harry Potter and the Goblet of Fire
8. Edison: The Invention of the Movies
9. Sin City
10. Star Wars: Episode III – Revenge of the Sith
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