The Best Movies of the Year

We've picked our favorites -- let the debates begin

6) Napoleon Dynamite. We all know how nerd movies are supposed to go. Our lead guy is some basically good-looking kid like Anthony Edwards hidden under horn-rimmed glasses, just like you and me except that he gets beaten up more often. Infatuated with the most beautiful girl in the school, he concocts harebrained schemes to win her over, ultimately managing to woo her away from her jock/bully boyfriend and saving the day in a big and noticeable way. Real nerds, however, are often ugly, socially inept, delusional, passive-aggressive and totally lost in their own world. The key is to find sympathy for them anyway, and director Jared Hess pulls off that neat trick with flying colors. Napoleon gets his brief moment in the sun at the film's climax, but his real triumph is in finding love and friendship among the equally out-of-place. The supporting cast plays like a Mike Judge cartoon come to life. (LYT)

7) Osama. A ruthlessly uncompromising look at the status of Afghan women under Taliban rule, Osama marks the stunning feature debut of writer/director Siddiq Barmak. Marina Golbahari, a girl whom Barmak found begging on the streets of Kabul (all the actors are amateurs), plays the twelve-year-old protagonist, whose widowed mother disguises her as a boy because unchaperoned women are forbidden from appearing in public or holding jobs. When militants round up the boys of the village for religious indoctrination, the girl's true identity is discovered, and she faces a future that is truly worse than death. A painful, harrowing, essential film. (Jean Oppenheimer)

8) Fahrenheit 9/11. Michael Moore got messy with his facts and occasionally with his film, which engages but occasionally outrages even its most passionate supporters, who wish he had tried harder to connect the dots he so casually tosses into the air like a kid playing with empty shell casings. Like George W. Bush (and, oh, Mel Gibson), Moore's a divider and not a uniter; he couldn't convert a libertarian, much less a neo-con. But he's first and foremost an entertainer -- a song-and-dance man putting on a show at which you can hurl dollar bills or rotten tomatoes, yer pick. This is no more a documentary than a puppet show is a Jerry Bruckheimer movie, and only people who've never watched reality TV could confuse it for "truth," which doesn't diminish its entertainment value. Of course, it's a relic already, too, a quaint vestige of the liberal rage and optimism that dissipated at 9:12 p.m. November 2, when the map behind Tom Brokaw went red and Michael Moore got a little bluer. (RW)

In Some Kind of Monster, James Hetfield gets a 
grip. Finally.
In Some Kind of Monster, James Hetfield gets a grip. Finally.
Fahrenheit director Michael Moore: The red 
states make him blue.
Fahrenheit director Michael Moore: The red states make him blue.

9) Metallica: Some Kind of Monster. Here's a cross-sell: World's most popular metal band investigates its own dysfunction through group therapy. Think it'll attract the mulletheads and the NPR crowd? Indeed it should. Perhaps the finest rockumentary ever made, Some Kind of Monster is a brilliant, probing examination of relationships between and among men -- creative men, addicted men, wounded men, angry men and hilarious men, intentionally and otherwise. Directors Bruce Sinofsky and Joe Berlinger had the genius (or good fortune) to capture the band in crisis, when internal strife -- largely the antics of mercurial, infantile leader James Hetfield -- threatens to break up the group forever. Can drummer Lars Ulrich requisition the strength and support to keep it all together, even while Hetfield takes his sweet time drying out? For those who hate metal, the music all but disappears from this movie. Instead, rising like a phoenix from the ashes is the band's honest, noble and humbling attempt to get real. (ML)

10) Closer. Sophisticated and savage, this lacerating chamber piece offers a bleak view of human relationships. Based on the stage play by Patrick Marber, it returns director Mike Nichols to the fertile territory he mined in Carnal Knowledge and Who's Afraid of Virginia Woolf? Under the guise of telling the truth, the four protagonists -- two couples whose romantic loyalties are continually shifting and realigning -- lay waste to one another's emotions with alarming ease. Powerfully acted, especially by Clive Owen, Jude Law and Natalie Portman, Closer reveals the terrible damage that people do to one another in the name of love. (JO)

Second Run
Celebrating the overachieving, underhyped movies of 2004

While Michael Moore and Mel garnered most of this year's critical attention, plenty of fine films opened to little or no fanfare. Following are our reviewers' favorite movies that didn't draw the adulation they deserved. Consider yourself armed for the next trip to Blockbuster:

Control Room. In a year of agitprop documentaries both left and right, the best political doc of the bunch was this genuinely fair and balanced look at Arab news station Al Jazeera and its coverage of the Iraq war. Yes, the filmmakers ultimately lean left, but it's the U.S. military's PR guy, Josh Rushing, who stands out as the strongest and most likable personality. Sadly, he was discharged shortly after the movie was finished, possibly for becoming too open-minded. (Luke Y. Thompson)

The Door in the Floor. In Tod Williams' exceptionally crafted movie about a marriage wrecked by loss, relative newcomer Jon Foster plays a high-school student interning with a famous writer (Jeff Bridges) and his wife (Kim Basinger) for the summer. Bridges is glorious in his debauchery, and Foster is truly charming as a young man whose innocence goes up in flames. The script, too, is tight and deft. (Melissa Levine)

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