Stephen King ist einfach ein geiler Kerl. Aber einen guten Filmgeschmack hat er nun wirklich nicht unbedingt. So behauptet er: there were a few disappointments along the way; the trudging Revolutionary Road was the worst of them. Sicherlich, Mister. Nene..wenigstens hat er ein paar gute Titel in seiner Liste…hier seine Top 10 des vergangenen Jahres, die ziemlich diskutabel ist. Daneben noch eine kleine Argumentation, warum er so eine Wahl getroffen hat.
10. 2012: It’s staffed by solid actors having fun, and stuffed with eye-popping special effects — you got a problem with that?
9. FANTASTIC MR. FOX: both the kids and the grown-ups in my audience screamed with delighted laughter.
8. THE TAKING OF PELHAM 1 2 3: Director Tony Scott’s most lucid and suspenseful movie. Denzel Washington is terrific […] This makes Public Enemies look pretty tame.
7. LAW ABIDING CITIZEN: this version’s script is wound tight and clever enough to draw blood. All of which would mean little if not for the standout performances by Gerard Butler and Jamie Foxx, who turns prosecutor Nick Rice into a morally ambiguous antihero.
6. DISTRICT 9: […] what really struck me about it was how the special effects served the story, rather than the other way around. If 2012 is good cheese, then District 9 is a fine wine.
5. THE READER: Kate Winslet’s Hanna Schmitz was the best performance I saw all year. [kam ’08 raus, aber er geht von Dezember bis Dezember. Komischer Typ :D)
4. DISGRACE: The scenery is gorgeous, and the story — sorrowful but never sentimental — is hypnotic
3. THE ROAD: It’s often painful to watch, but Viggo Mortensen’s performance as the dedicated father is Oscar bait.
2. THE LAST HOUSE ON THE LEFT: Hier mal die ganze Begründung, weil ich diese Wahl für sehr gewagt halte: Easily the most brilliant remake of the decade, and not just because the 1972 original was such a crapfest. This beautifully photographed — but hard to watch — movie is the standard by which all horror/suspense films should be judged: The acting is superior (Breaking Bad’s Aaron Paul is especially fine), the story makes sense, and, most importantly, Last House’s moral compass points to true north. We don’t want these creeps back for six or eight sequels; they are monsters, and we want them dead. This film is on par with The Silence of the Lambs.
1. THE HURT LOCKER: […] perfectly honed drama that speaks to the addictive attractions of risk and violence. Want to know why it’s so easy for the pols to feed the war machine? Look here for answers.