Films and performances that packed 2005

By Dan Vinson

This past year was a "bad news, good news" one for movies. First: the bad. Hollywood will seemingly never learn its lesson. This year's bad movies were truly hideous and increasingly expensive to make, which drives up ticket prices, contributing to keeping people home, fingers attached to their remotes. The good news, then? The strongest crop of great, meaningful films in years (the award races look extremely crowded) overshadowed the awful, and people are finally moving their collective bums.

It was also a year that could prove another turning point in Hollywood history. Much as the twin Ts - talkies and television - ravaged moviegoing, so is the Big D: digital. Whether it's illegally downloading films online (curbed somewhat after a courtroom victory), hastily producing bootleg "DVDs" minutes after the first showing, or skipping the theater altogether and waiting three months to rent or buy, the digital age has drawn its sword and Hollywood is still fumbling with its shield. If the box office is indeed broken, the factions that create and exhibit films are going to have to step back and combine forces or moviegoing may never recover. An increase in quality films alone may not save the industry as before, but it's a start.

For more on this outstanding film year, read on. Look for a Top 10 very soon, once the straggling Oscar contenders - like "Brokeback Mountain," sauntering through starting Friday - finally arrive in Des Moines. Meanwhile, come on, get to those theaters. Do you honestly think "King Kong" will be better in your living room than at Merle Hay? Happy New Year, everyone. And ... scene.

Where Are You?
"Match Point"
"The New World"
"Cachè"
"Transamerica"
"Breakfast on Pluto"
"Mrs. Henderson Presents"
"The White Countess"

Should Have Been Better
"Derailed"
"Elizabethtown"
"The Family Stone"
"Flightplan"
"The Interpreter"
"Kingdom of Heaven"
"Lord of War"
"Memoirs of a Geisha"
"Pride & Prejudice"
"Robots"

No Sense of Decency
"Deuce Bigalow: European Gigolo"
"The Dukes of Hazzard"
"The Fantastic Four"
"Guess Who"
"The Honeymooners"
"A Lot Like Love"
"The Longest Yard"
"Man of the House"
"Miss Congeniality 2"
"Monster-in-Law"
"The Pacifier"
"Stealth"

2005's Stardust Memories

The cast of "Sin City"

This bloody and entertaining film is virtually transplanted from Frank Miller's thrilling graphic novels. Bruce Willis, Mickey Rourke, Clive Owen and Jessica Alba lend plenty of pulp to this fiction.

Radha Mitchell
in "Melinda & Melinda"
A role in a Woody Allen movie can be nerve-wracking, but how about two? Last seen in "Finding Neverland," Mitchell dazzles as the two polar-opposite Melindas in two trajectories of a kindred setup. A true return to form for Allen.

The cast of "Crash"
Led by Terence Howard, Thandie Newton, and Matt Dillon (who scored a Golden Globe nod), everyone in this intricate and unsettling Los Angeles-set drama about connection (or lack of it) deserves notice.

Paul Giamatti
in "Cinderella Man"
Hands down the best thing about this unfortunately staid tale of a boxer with a heart of gold, Giamatti energized every scene, especially at the boxing matches. Even if it's guilt leftover from "Sideways," his Golden Globe nomination should rile up Oscar, too. Pop, pop, bang!

Daniel Craig in "Layer Cake"
The newly crowned Bond, James Bond (also starring currently in "Munich") blew away critics, audiences and anyone who crossed him in this sharp British gangster film in the "Lock, Stock" and "Snatch" mold.

Nicole Kidman in "Bewitched"
Say what you will, it was exhilarating watching Kidman actually having fun in this bright, if predictable, comedy with an odd premise.

The cast of "Batman Begins"
Under Christopher Nolan's fine direction, a Welshman became a Batman for the ages. Serious, wry and totally game, Christian Bale, along with Michael Caine modestly inhabiting Alfred's shoes, Morgan Freeman, Gary Oldman, Cillian Murphy and the actress formerly known as Katie Holmes all deliver top-tier performances.

Terence Howard
in "Hustle & Flow"
Arguably the breakout star of the year, Howard's intense "Crash" scenes scarcely prepare you for his slick, small-time pimp/hustler/rapper in "Hustle." Will Oscar cruise by and make him an offer?

Johnny Depp in "Charlie
& the Chocolate Factory"
What a long, strange trip he was. Devoutly bizarre, Depp's Willy Wonka is a glorious confection himself. And once again a Burton-Depp pairing netted Depp a Golden Globe nomination.

Miranda July in "Me and You
and Everyone We Know"
She wrote, directed and acted in this quintessential indie film, one of the year's most original and unsettling. Packed with grimace-inducing moments, but ultimately wonder, it's July's quirky vulnerability that centers the piece. Oscar may sniff around her screenplay.

Bill Murray in "Broken Flowers"

Nearly "dead" pan here, Murray found another new level of restraint in Jim Jarmusch's road trip-redemption-mystery story. Some couldn't connect with his mostly reactive, sad-sack performance, but it's certainly not one you'll forget. Will Oscar?

Penguins (and Morgan Freeman) in "March of the Penguins"
Still a huge hit on DVD, it took cute, flightless birds to finally stir the box office waters this summer.

Timothy Treadwell in "Grizzly Man"
The bears were amazing, as was Treadwell's boundless, if sometimes misplaced, energy. He was many things in bear country: trailblazer, teacher, big kid and probably bipolar. Somehow, the documentary didn't make the cut for Oscar consideration. (A Globe maybe?) Now that's misplaced.

Amy Adams in "Junebug"
Her Ashley was the heart, soul and most of the humor (and volume) of this otherwise meditative film about the contemporary South. Adams could make just enough noise for Oscar.

Dakota Fanning in "War of the Worlds"
A girl one moment, virtually an adult the next, the amazingly refined Fanning kept erstwhile Tom Cruise running in Steven Spielberg's wild sci-fi work.

The "Wedding Crashers" and "The 40 Year-Old Virgin" casts
Both films, and casts, are hilarious, silly and very adult. Vince Vaughan, Owen Wilson and Rachel McAdams are the life of the party in the former, while Steve Carell and Catherine Keener discover unexpected depth in the latter.

The big three in "Thumbsucker"
Lou Pucci is the titular orally fixated teenager, with Tilda Swinton and Vincent D'Onofrio as his barely managing parents. Rising above the now-standard Sundance superquirky family movie, its characters, performances and Polyphonic Spree score make it essential.

Joseph Gordon Leavitt in "Mysterious Skin"
In one of this year's most blistering performances, Leavitt, rangy and dangerous as a teenager haunted by a looming secret, experiences enough for a dozen films. Oscar is still cowering.

Rachel Weisz and Ralph Fiennes in "The Constant Gardener"

As an ineffectual British diplomat investigating his activist wife's murder in Africa, Fiennes does some of his best work, while Weisz captivates, mostly in flashback. The Golden Globes noticed the duo plus director Fernando Mereilles.

Joan Allen in "The Upside of Anger," "Off the Map," and "Yes"
Pick a card, any card. Three different roles, three different Joan Allens. As a bitchy, drunk mother of four girls, a bohemian mother of one, and a straying wife (delivering dialogue in iambic pentameter) respectively, Allen needs a whole different Oscar category this year.

Kevin Costner in "The Upside
of Anger" and "Rumor Has It"
Yes, Kevin Costner. He hasn't been good, or been in anything good, for eons, and yet, two aging lothario-type roles prove his tank is not on "E" yet.

The big four in "A History of Violence"
Viggo Mortensen is haunting and fearless, as are Maria Bello and Ed Harris, while William Hurt's scene is simply unforgettable. The Golden Globes weren't scared to nominate David Cronenberg's masterpiece, but Oscar could be.

The big four in "The Baxter"
Here for a week, nobody saw it. (The DVD is out.) Sketch comedy's awfully goofy Michael Showalter wrote and directed this funny, charming throwback to many romantic comedies. The other corners of this wondrous love rhombus are Michelle Williams, Elizabeth Banks and Justin Theroux.
Tom Wilkinson and Emily Watson in "Separate Lies"
As various lies pile up and get him down, Wilkinson's nuanced, indignant performance of a muddled Englishman in a satisfying, if bland, marriage updates the problems of a proper gentleman for the 21st century. Watson smolders and comes unglued superbly.

Cameron Diaz and Toni Collette in "In Her Shoes"
How sisters are, part I. If novel devotees could've ignored how "skinny" the "overweight" Collette was, they might have noticed both actresses were fantastic. The two play sisters spiraling and recovering in their own ways, and are vibrant, vindictive and true. No Globe nods, so Oscar looks bleak, too.

Shirley MacLaine in "In Her Shoes" and "Rumor Has It"
If Hollywood has a grand dame, it's MacLaine. In both movies she is full of sass, if not liquor, and has to own up to past transgressions. This is how to increase late-career Oscar/Globe odds.

Gromit in "Wallace & Gromit: Curse of the Were-rabbit"
In pursuit of those ubiquitous rabbits, this wondrous dog who doesn't bark, but does rule his master, unleashes a squadron of priceless expressions. Well done, lad.

Gwyneth Paltrow and Hope Davis in "Proof"
How sisters are, part II. Paltrow may be going crazy (or may be a genius like her father) while older, patronizing sister Davis, all lists and demands, already is. Despite her Golden Globe notice, Paltrow probably won't duplicate Oscar success with her "Shakespeare in Love" director.

David Strathairn in "Good Night, and Good Luck"
One of two pure inhabitants this year, Strathairn stepped back in time for George Clooney's gutsy, elegant film about a journalism hero. As Edward R. Murrow, this John Sayles veteran smoked a lot, thought a lot and conveyed the weight of the world. A Globe nominee already, and surefire Oscar nod No. 1.

"Good Night and Good Luck's" cinematography
Shot by Robert Elswit, it could have been in color, but why?

Philip Seymour Hoffman in "Capote"
This past year's other inhabitant, this time of journalistic dandy Truman Capote. Just when it seemed like the movie might be "On the Road with In Cold Blood," Hoffman's subtle gravity sinks in, and you realize those few good years were indeed Capote's life. Also a Globe nominee, and surefire Oscar nod No. 2.

Claire Danes in "Shopgirl"
Exquisite - Danes' Mirabelle Butterfield, the cinematography, and the movie. As the Saks girl who Steve Martin pays a lot of attention to, she's nutty, brainy and awkward, plus very funny with love-triangle member Jason Schwartzman.

Jake Gyllenhaal and Peter Sarsgaard in "Jarhead"
In a war movie where nothing really happens - scant rounds fired, blood only from hazing and basic training - it takes incendiary performances to make it bearable.
Joaquin Phoenix and Reese Witherspoon in "Walk the Line"
They played, they sang, they conquered. While not spitting images, exactly, of Johnny or June Carter Cash, these two did everything possible to harness their spirit. And it worked. As time passes, they avoid/indulge in their feelings for each other, enriching each musical performance. Globe nominees both, and surefire Oscar nods No. 3 and No. 4.

Naomi Watts and Andy Serkis in "King Kong"

For Peter Jackson's extraordinary, moving version of "King Kong," the connection between Kong and Ann had to be tangible and real. Watts is perfect, and she couldn't have done it without acting partner Serkis, who was perfectly real. Oscar momentum seems unlikely for either. Sigh.

George Clooney in "Syriana"
Clooney's character overlaps more than any other in this labyrinthine examination of oil. He threatens and blows people up, not a George Clooney you're used to - and one you're not likely to forget. His Globe nod could ignite Oscar.

The big four in "The Squid and the Whale"
Jeff Daniels and Laura Linney (Globe nods, both) - playing writers of varying success - are the parents of two smart, lost boys (Jesse Eisenberg and Owen Kline). Divorce messes up some already messy family dynamics. Definitely among the year's best performances. Will Oscar forget the kids, too?

Eric Bana in "Munich"
In Steven Spielberg's second spectacle of the year, Bana is the centerpiece. As Avner, a covert operative for Israel assigned the task of assassinating the Palestinians terrorists who murdered the 1972 Munich Olympic hostages, his drive and internal conflicts are riveting. CV

Comment on this story | Return to top