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The Best Films of 2009

The Best Films of 2009 (photo)

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Matt Singer: We entered 2009 with a new president who promised to bring our country hope. But looking back at the year in film, I don’t see a lot of hope; I see a lot of grief and despair. Oh sure, the box office charts were dominated by your now-typical assortment of franchises, spin-offs, reboots and sequels — a major cause of grief and despair for some — but you also had enough apocalypse movies to fill a book on Biblical prophecy. Even some of the obligatory superheroes got dark: the world (spoiler alert!) doesn’t end in “Watchmen,” but it comes awfully close.

There was an air of doom in certain quarters of the film industry this year too, as the effects of the bad economy rippled through everything from festival attendance to the shriveling ranks of working film critics. Examining my own list of the year’s best, I find that most were stories about people struggling with loss, like the husband in my #4 film, or the trio of siblings in my #2 film (too bad Scorsese’s “Shutter Island” was moved to next year, on the basis of the early reviews, it looks like it would have fit in perfectly). I also see a lot of films on my list about waiting: waiting for success that never comes (my #5 film), or for the end of a tour of duty in Iraq (#6), or for the moment when a demon will come and drags your eternal soul to hell (#3). The bleak mood may have also contributed to it being a fine year for dark comedies, including two outstanding films on my list.

I’ve read lots of complaints that 2009 was a mediocre year for movies, but people who tend to complain about that sort of thing say that every year, no matter how many good movies there are. All I know is trying to pick just ten favorites out of all the worthy films felt tougher this year than it has in the four previous I’ve been at IFC. To me, that feels like a reason to hope. Without further ado:

12202009_crank2.jpg10. “Crank: High Voltage”

Chev Chelios, the protagonist of the “Crank” series, is the perfect action hero. In each film, he’s saddled with a physical impairment that forces him to remain in a constant state of excitement. For Chelios, and for the audience of action films, boredom equals death. This time around, Triad gangsters steal Chelios’ heart and he has to get it back while keeping his artificial ticker pumping by blasting it with jolts of electricity. Subversive genre twists and clever metaphors abound: we follow a hero who is literally heartless on a quest for bigger and bigger electrical shocks while directors Mark Neveldine and Brian Taylor try to jolt the audience with bigger and bigger shocks of their own, provoking viewers with a nonstop barrage of offensive humor, frenetic imagery, outrageous violence, and narrative non-sequiturs. Not all the jokes land, but you have to admire Neveldine/Taylor’s willingness to push the boundaries of bad taste and conventional visual storytelling. (The DIY duo shot much of the film themselves on cameras you can get at Best Buy.) They’re kind of action heroes themselves: blazing a bloody path into uncharted territory.

12202009_whiteribbon2.jpg9. “The White Ribbon”

Speaking of shocking, after films like “Caché,” “Funny Games,” and his latest, “The White Ribbon,” it may be time to anoint Michael Haneke as “The Master of Shock,” in much the same way Hitchcock earned the moniker “The Master of Suspense.” Certainly no other current director is as good as Haneke at blindsiding an audience with an unsuspected jolt of terror. You can tell when it’s one of his movies as much by what’s on the screen as by the noises the people watching them make; just listen for the moments when everyone in the theater collectively gasps for breath. Beyond its beautiful, austere cinematography by Christian Berger and its chilling portrait of a small German town’s self-destruction in the years leading up to World War I, “The White Ribbon” boasts several images so shocking that that they will haunt you for days, and weeks, and beyond.

12202009_intheloop.jpg8. “In the Loop”

“War is too important to be left to politicians. They have neither the time, the training, nor the inclination for strategic thought.” That sentiment, originally expressed by General Jack D. Ripper from Stanley Kubrick’s “Dr. Strangelove,” is illustrated with uproarious and terrifying results in Armando Iannucci’s “In the Loop,” a film worthy of comparison to “Strangelove” and its pitch black political satire. In depressingly believable fashion, “In the Loop” shows how careerism, infighting, and general stupidity, can send the world spiraling into an unnecessary war. The film sounds like a didactic bummer, which is what it would have been Iannucci hadn’t packed it with rapid-fire jokes, many of them highly quotable. (I’d share some, but my word count is making things difficult difficult lemon difficult.) The documentary-style visuals and madcap energy of the film’s screwball finale gave “In the Loop” a sense of immediacy and urgency that most “important” films about the war in Iraq lacked. Clearly, a work of filmmakers with plenty of strategic thought.

12202009_headless3.jpg7. “The Headless Woman”

Argentinean director Lucrecia Martel’s “The Headless Woman” boasted an ingenious visual style, one that put the viewer right inside its lead character’s foggy headspace. Verónica (an appealingly enigmatic María Onetto) runs over something, or maybe someone, on a deserted road and never stops to find out what. For the rest of the movie, Martel evokes Verónica’s emotional disconnection from everyone around her, framing her in the foreground of images that are otherwise blurred by shallow focus. As Verónica stares off into the murky distance, and her friends and loved ones close ranks around her, insisting she’s done nothing wrong while covering up any proof that could implicate her, we come to share her twin drives: curiosity about the full details of the accident and fear about the dark truth of her actions.

12202009_hurtlocker4.jpg6. “The Hurt Locker”

Most of us would not be able to withstand the pressure, much less the technical challenges, of diffusing a single bomb. Staff Sergeant William James (Jeremy Renner) has done it more than 800 times. The power of Kathryn Bigelow’s “The Hurt Locker” isn’t that it makes us wish we could do what he does, but that we come to some understanding of why James does. While James Cameron dominated headlines with his latest biggest movie in history, his ex-wife Bigelow beat him at his own game with a smarter, leaner movie about life in wartime against an insurgency. And like Bigelow’s “Point Break,” “The Hurt Locker” is both a well-executed thriller and an insightful character study about men with an uncontrollable compulsion for reckless thrill seeking. The movie opens with a quote from journalist Chris Hedges that reads “War is a drug.” So are movies as good as this one.

12202009_anvil.jpg5. “Anvil! The Story of Anvil”

Life isn’t fair. In a world where celebrities are made overnight for singing poorly on reality television shows, talented guys like Steve “Lips” Kudlow and Robb Reiner of the Canadian metal band Anvil have been toiling in obscurity for 25 years. They inspired a generation of rock bands who appear in the film to sing their virtues, but they still spend their days making ends meet working construction and catering jobs and their nights playing gigs in dive bars. Now middle-aged with families to support, they should have given up their dreams of stardom long ago. Thank God they didn’t because the result of that stubborn, and maybe even borderline stupid, determination was this heartbreaking and heartwarming documentary, a moving story about the power of perseverance and friendship. Director Sacha Gervasi, a screenwriter turned first-time filmmaker was an Anvil roadie in the 1980s, and it shows in the finished product. Only a documentarian with a personal connection to his subjects could have crafted a film this affectionate, candid, and insightful.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.