Tasteless, Ignorant Dismissals of the National Board of Review’s Top Ten Movies of 2009, None of Which I Have Seen
500 Days of Summer: This is the one with that anime-eyed chick who has the indie-pop duo, right? And the whole movie is pretty much just her being super mean to some guy for a year and a half? And the title comes from the character being named “Summer”, which should have been a dead giveaway to her boyfriend that she was a narcissist raised by obnoxious people?
An Education: I’m guessing the working title was A Pedo-cation. The “-cation” is short for “hour-and-a-half vacation in a movie theatre that’s probably not gonna be crowded at all”.
The Hurt Locker: Whoa, wait, I actually saw this one! Protip: it’s the same old buddy-cop movie, only in Iraq. [NOTE: REVIEW IS NOT IRONIC]
Inglourious Basterds: I was going to make the standard cheap joke about how Quentin found a way to make Hogan’s Heroes look relatively tasteful, but then I remembered that nobody under 80 really has any business questioning the tastefulness of Hogan’s Heroes (several of those cast members ran from the Nazis or risked death fighting them or both; the guy who played LeBeau was in Buchenwald). I find myself wondering if maybe QT did us a favour by bringing WW2 back within range of a purely artistic treatment. I’m actually going to watch this later today, so pretty soon I’ll be entitled to an opinion!
Invictus: Am I the only one who literally couldn’t believe this is the first time Morgan Freeman has played Mandela in a movie?
The Messenger: Outstanding year for Woody Harrelson, with Zombieland, Defendor, and now this. It’s not even a comeback—he’s always popping up in cool stuff, even though he’s got that Skoal-stuffed Kallikak face and gives every indication away from the set that he started life with an IQ of 80 and gave away about a sawbuck of that smoking the chronic. This is a guy who spoke the following words about making this very movie: “It made me care about the soldiers. Prior to that it wasn’t that I didn’t care about them, I just thought of them and the war as all the same thing.” And yet here we are, legitimately wondering: great American actor, or greatEST American actor?
A Serious Man: Do you figure the Coen Brothers realize we’ve all figured out which ones to skip and which ones to go see? Given the pattern of their career, you can actually catch yourself thinking “God, it’s almost like they’re two different people.” Just fire the Hudsucker Proxy one and keep the Fargo one already!
Star Trek: My hypothesis about the Disney-Marvel deal was that comic books don’t need to be profitable because they’ve become storytelling R&D labs for the movies. This is confirmed here by the use of the time-honoured “retcon” strategy as a means of breathing life into an effed-out bunch of characters we could otherwise hardly stand the sight of.
Up: Let you in on a secret: I’ve never really liked, as in really really really liked, a Pixar movie. I find even the good ones a little bit sterile and contrived. Which, obviously, they are, but that doesn’t stop other people from flipping out about how deep the philosophy of The Incredibles was or how Ratatouille was pretty well the equal of anything Kubrick ever did. The emperor has no clothes, guys! Most celebrities are terrible at voice acting, most of these movies have Kricfalusi’s Cal Arts disease in the worst way, and we should be way past having “Ooh, cool” reactions to nerdy little touches in CGI animation! Plus, shame on anybody who fell for the 3-D thing. You’re, what, the fifth or sixth generation of audiences to fall for this crap?
Where the Wild Things Are: I didn’t think it was possible for any literary work to attain a higher exegesis-to-original-text ratio than either the New Testament or Shakespeare, but Sendak proved us all wrong.