Ted Knight in Caddyshack

The movie industry was in transition in 1980 – away from the auteur-driven seventies golden era and towards the age of the eighties blockbuster. Ringing out the old guard were duds like Cimino’s Heaven’s Gate, which became shorthand for out-of-control directorial hubris and Robert Altman’s Popeye which made a better soundtrack than a film. Representing the new were high-concept low IQ sequels like the troubled Superman II and the execrable Smokey and The Bandit Part II, each of which were hits out of all proportion to their quality. Kneel before Zod indeed.

However there were plenty of fine films from all over the spectrum in 1980 and here are the 20 that I think are keepers (after the jump) :

20. Foxes

Part of a cycle of bad girl films that also included the more popular but inferior Little Darlings, Foxes is helped by having Jodie Foster in the lead and a delightfully seedy and nihilistic take worthy of L.A., not to mention co-star Cherie Currie of The Runaways. There isn’t much of a plot to speak of, just loose vignettes of drinking, doping and doing it and the parents who are too self-absorbed to care. Enlivened by an era-appropriate cheese and sleaze rock soundtrack.

19. Return of the Secaucus Seven

This is John Sayles first film and it has a warts and all quality consistent with its ultra-low budget. It’s also a charming character study ripped off thanklessly for Lawrence Kasdan’s glib The Big Chill a few years later. The premise is the same, a group of counter-culture inclined pals from the 60s reunite now in their early 30s – aimless and struggling with an adulthood they once mocked. The main cast remains pretty anonymous today but they all give solid natural performances. On the fringes are Clark Gregg as an idealistic politico and David Straithairn as a goofy townie who has more depth than first appears.

18. Caddyshack

Maybe not a great film as a whole but as a collection of riffs it’s pretty dynamite. A sort of battle of the comedy stylings you get Ted Knight doing the classic haughty slow-burn, the great Rodney Dangerfield in a star-making turn as a sort of one-man Marx brother, Chevy Chase doing his louche smug deal, and Bill Murray doing the kind of off-the-wall character work that would be emulated by the likes of Will Ferrell years down the road. And a kick-ass Kenny Loggins song.

17. The Elephant Man

The film that catapulted David Lynch into the mainstream for a brief moment. The Lynchian weirdness is there in the very subject matter and the obsession look in the eye of Anthony Hopkins, as well as the choice to film in lush black and white. Yet it also passes as costume drama of a sort if you put aside the strangely unnerving soundtrack. Produced by Mel Brooks, and not coincidentally featuring a wonderful turn by his wife, Anne Bancroft.

16. Ordinary People
Robert Redford showed his mettle as a director by taking on this tricky film which succeeds for the most part in exploring a young man’s difficulty growing up and adjusting to a terrible family tragedy that is tearing his parents apart. The acting is what puts this over the top with Timothy Hutton rightly praised for his seamless work in the lead, the lovely Elizabeth McGovern as a fellow teen, and Donald Sutherland and Mary Tyler Moore who are fantastic as the parents. Moore in particular is as far as she can get from her sunny Mary Richards character on TV – brittle, wounded and wounding it’s a great and brave performance.

15. The Stunt Man

Richard Rush is one of the great almost-was Hollywood directors – praised by Truffaut but with a maddeningly scattershot body of work. At his best though here and to a lesser extent the 1974 cop buddy movie farce Freebie and The Bean his satire was both cutting and prescient. The Stunt Man was actually made in 1978 but languished until Rush could find a studio to release it, just in time for it’s twisted view of the mashup between fiction and reality to find it’s ultimate expression in the election of a b-movie star as President. Peter O’ Toole is the film director who seems to enjoy controller and manipulating everything, including Steve Railsback as a paranoid Vietnam vet pulled into the orbit of the film and leading lady Barbara Hershey. Naturally this entertainingly Machiavellian look at film making was only able to find a cult audience but it’s a cult that endures.

14. My Bodyguard

A sweet quirky tale enlivened by fine performances and well delineated characters. I shudder to think of what someone would do with a remake today – you would lose the charm of Chris Makepeace as the bullied rich kid and the layered menace of Adam Baldwin as his bodyguard for hire. Then there’s a young greaseball named Matt Dillon who has more charisma is his slicked-back hair than Taylor Lautner can muster with his perfectly chiseled abs.

13. Stardust Memories

Considered something of a letdown after Manhattan, Stardust Memories fuses the coldly abstract European experimentation of Interiors with the warm and schticky New York relationship comedy of Annie Hall. The effect can be disorienting and self-indulgent but it’s also fascinating. Woody was accused of treating his fans like dirt for the scenes of hero worship that are clearly played for putdowns but their is as much self-loathing those moments as there is misanthropy. Consider it Woody’s White album, a meandering, frustrating, sometimes brilliant mess.

12. Melvin and Howard

Jonathan Demme broke out of the genre pic ghetto with this delightful retelling of a story that may be true or may be a tall tale. He never judges or pushes the scales on the subject of speculation, the real-life Melvin Dummar who claims to have befriended Howard Hughes when he picked him up as a hitchhiker on a Nevada highway. Paul LeMat is perfect as Dummar, a man who takes his passenger (played to the hilt by Jason Robards) to be a bum until Hughes dies and apparently leaves him $150 million. Or does he? Mary Steenburgen won an Oscar as Dummar’s wife who is desperate to win some dough given the constant financial pressure they find themselves in. A classic.

11. The Shining

After the torpid costume drama of Barry Lyndon it was unclear where Stanley Kubrick would go next – he’d done high satire with Dr. Strangelove, a war movie with Paths of Glory and sci-fi with 2001. What genres were left? Horror, naturally. While Stephen King may have lamented the changes his source material underwent this remains a classic – not least of which because of Jack Nicholson’s unhinged lead performance. Part of what some folks objected to was the hint of menace already apparent in Jack before he even hits the winding road to the Overlook Hotel with wife and son in tow. The point Kubrick was making was that the ghoulish resort was the catalyst but the rage and derangement was there to be tapped into – in everyone but especially men.

10. Breaker Morant

Not an easy film to watch but Bruce Beresford’s epic telling of a true story is riveting as a drama of miscarried justice, prejudice, and the travails of war. Set during the Boer War it concerns three Australian officers serving with British forces in South Africa in the 19th century. While acting under their understood rules of engagement they kill a group pf Boer prisoners including, it turn out, a German. When the German government protests the British government decides that the easiest remedy is to court martial and execute the three Australians. Beresford doesn’t shy away from exploring the different racial and cultural differences that come into play, from Boer collaborators to African tribesman to the very real disdain in which the British held the Australians. Bryan Brown and the late Edward Woodward are both spectacular. Their sacrifice can’t help but echo in our own time of war crimes that are condoned by the brass while only the rank-and-file are held to account.

9. Used Cars

A final kiss-off to the malaise years, this is one of the great American satires, worthy of Preston Sturges. It’s the work of Robert Zemeckis, on his way to blockbuster fare like the Back To The Future series, but before he became too besotted by CGI technology to take an interest in actual people. Of course it’s hard not to take an interest when you have Jack Warden playing a dual role as conniving twin brothers who run adjacent competing used car lots. Or Kurt Russell at his slippery best as a fast-talking salesman who stashes cash in his fridge in preparation for a run for office. The scene where a typically dour (actual!) Jimmy Carter speech is jammed to make way for a ribald guerrilla TV spot is priceless.

8. The Blues Brothers
If Used Cars was a farewell to an era of diminished expectations than The Blues Brothers was a sly, overstuffed paean to two of the biggest tropes of 70s filmmaking – the car chase and the antihero. Every great populist work of the closing decade featured one, and ideally both of these – see for instance Smokey and The Bandit, Convoy, Billy Jack, the Dirty Harry series. Director John Landis and stars Belushi and Ackroyd pump both ideas up to ridiculous abstraction. Yes the Blues Brothers are anti-authority outcasts but really, they’re on a mission from God (compare this to the conflict between “Dirty” Harry Callahan’s moral code and the letter of the law his superiors keep citing.) You thought the car chase in French Connection was cool? Try a full half-hour plus of cars backflipping, crashing, balletically colliding and converging on Chicago’s downtown en masse. Plus some fine music from Ray Charles, John Lee Hooker, Aretha Franklin and Cab Calloway. And Aretha can act!

7. 9 to 5

Like The Blues Brothers this verges quite literally into cartoon territory but it’s delicious satire of gender roles in the workplace was grounded in a reality that still rings true. Granted there are more women in corporate leadership roles now than at the time of this film but the progressive solutions to making a better workplace advocated by Lily Tomlin’s Violet still are rare in most offices today – onsite day care, time sharing etc. The film’s a hoot – in addition to Tomlin there’s Jane Fonda cast against type as uptight Judy and Dolly Parton who is more than just the curvy body her co-workers and boss see her as. Dabney Coleman would make a career out of playing chauvinists like Franklin Hart, who sees each of these women as appendages to his career or his libido.

6. Airplane!

Don’t judge Airplane! by the pale, unfunny films it inspired, include it’s own sequel. Zucker Abrahams and Zucker or ZAZ as they are known to the faithful wrote and directed a deeply inspired and silly takeoff of self-serious 70s disaster flicks like Airport. The real genius is that it is nearly a scene for scene remake of straight-faced 50s disaster movie Zero Hour – even some of the dialogue is retained. Another great move was casting such icons of probity as Robert Stack, Peter Graves, and Lloyd Bridges in key roles. The final coup de grace was taking an actor known for his stolid portrayal of bad guys who had never done comedy before – Leslie Neilsen – and casting him as the doctor. This one film changed his entire career and made him a bigger star than he was ever destined to be. Everyone has their favorite bit of dialogue or sight gag. Mine include telling an operator to put Hamm on the line and to hold the Mayo (clinic, natch) and a mirror that turns out to be a doorway.

5. The Empire Strikes Back

Is this the best film in the Star Wars series? It’s the one I most enjoy watching, that’s for sure. There’s something about the middle film in a trilogy – it’s the meat in the sandwich when done right. (Don’t try to tell me it’s a sextet – the latter three films that have been appended to the beginning of the story should be best forgotten.) There’s a bit of the feel of a World War II era film, something like Casablanca, where the outcome of a great struggle was less than clear and the feeling of impending doom and sacrifice give everything an extra frisson. It’s the most adult in the series with plenty of juicy conflict, genuine frights and surprises, and a gratifyingly downbeat ending.

4. The Big Red One

Sam Fuller spent years trying to get this film made, a fictionalized account of his own World War II experiences liberating Italy. Ultimately the casting of Mark Hamill hot off of Star Wars helped shale the studio funding loose that he needed to complete his masterwork. Fuller had already proved himself a master of efficient war dramas like The Steel Helmet but never had he had a scope as large as this epic work which follows an American platoon through bombed out villages. At heart it’s a piece that celebrates bravery while simultaneously mourning all the humanity that war strips away.

3. Coal Miner’s Daughter

One of the best music bios ever, Sissy Spacek does her own singing and fairly becomes country legend Loretta Lynn while Tommy Lee Jones is magnetic as her husband and manager. It’s a fascinating and moving portrait of a rise to stardom but also of the marriage that gets pushed and pulled in every direction on the way. The depiction of poverty in the Appalachians is acute and devastating and no punches are pulled when it comes to the machinations of the music biz as well.

2. Raging Bull

The apogee of the DeNiro/Scorsese collaboration, Jake LaMotta could be one of the characters inhabiting Malle’s Atlantic City by the time he’s shown here as a would-be entrepreneur ex-boxer gone to fat. Michael Chapman’s black and white cinematography give the film the feel of 40s pulp photography come to life and Scorsese’s delight and knack in the knockabout rhythms of Italian-American discourse makes every scene zing. This was the first introduction for most film buffs to  Joe Pesci, who plays LaMotta’s scrappy brother. Cathy Moriarity is also great even if her age range is less believable than her co-stars.

1. Atlantic City

Leave it to avowed Frenchman Louis Malle to tap into the psyche of an America poised to elect Ronald Reagan after a decade of disappointment and malaise. Atlantic City the setting is depicted as a past it’s prime fantasy land degenerated into drugs and sleaze. All over the signs of the old Atlantic City are being obliterated by the wrecking ball, making way for a future 80s of corporate casinos and hermetic entertainment. Burt Lancaster is the walking embodiment of this decay and by movie’s end, a renewal that might be a hollow reflection of youth. It’s easily one of his best performances. Equally good is Susan Sarandon as Sally, the younger woman who he feels compelled to protect but who herself is driven to learn from the world around her.

Lamborghini Reventon

The decade started with such excitement. As the century turned it seemed that automotive design was on the cusp as well, looking backwards with retro designs like Volkswagen’s New Beetle, Chrysler’s PT Cruiser and Ford’s GT as well as forwards with Audi’s original TT and Ford’s original Focus series.

The 00s ended with excitement too – only it was the bad kind that leads to acid reflux and no jobs. Noted Italian design firms such as Bertone and ItalDesign were hanging on by a thread, if at all. Some of the most storied brands in the automotive world were similarly imperiled or had disappeared entirely: Saab, Pontiac, Saturn, Chrysler, Dodge.

Nevertheless it was a fascinating and sometimes frustrating ten years of automotive design. Here are my favorites in no particular order. Note that I’ve included both production models and concepts in the mix.

1. 2009 Chevrolet Camaro

The protracted build-up to the actual launch of Chevy’s newest Camaro (which included an appearance in Transformers almost a year before availability) blunted some of the freshness of this neuvo-retro-musclecar. With a clear eye though it’s evident that this is the most successful bridging of past and present in the segment. The design takes copious cues from the first generation late 60s Camaro but renders them in fresh and dynamic ways that could only be achieved with current design and manufacturing technology.

2. 2007 Audi R8

Audi has been at the forefront of raising the bar for interiors for almost two decades now and the R8’s interior is as lovely as ever. The real innovation though is striking exterior which finds a fresh take on the mid-engined supercar cliche. Aside from the perfect surfacing and detail work and Audi’s trademark use of advanced headlight design, there are the distinct contrast colored side blades which help to break up the side surfaces.  As it should, the design flair of the R8 is making it’s way back through the rest of Audi’s lineup.

3. 2008 Alfa Romeo 8C

Alfa Romeo spent much of the 90s floundering, as did parent company Fiat. Like the French, Italian companies have increasingly mistaken outre design for good design but Alfa beagn to bring things back on track in the latter part of the decade, primarily with the lovely (if overpriced) 8C.  As a design the 8C is nearly perfect in every way, a monument to the importance of proportions.

4. 2005 Aston Martin V8 Vantage

Any Aston Martin made over the last ten years looks great but the V8 is the cleanest, clearest expression of the design ethos.  Lithe, muscular and unencumbered by extraneous detail.

5. 2008 Chevrolet Malibu

After a long, long spell in the doldrums GM design finally began to wake up and reassert it’s primacy within the product development process (though it may have come too late to rescue the company as a whole.) The latest generation Chevy Malibu is a prime example. It’s simply the best resolved design in the family car segment with the kind of detailing and strongly defined theme that is more usually seen on luxury vehicles by brands like Audi and Acura. The roofline is key to the design, especially as it relates to the flowing hood line and shoulder indent.

6. 2007 Maserati GranTurismo

Maserati shook off a string of mediocre designs with the Quattroporte and especially the GranTurismo. A more expressive design than competitors like Aston Martin and Porsche and rightly so – the curve of the front fenders over the wheels are themselves worthy of celebration.

7. 2007 Audi A5

The fantastic R8 notwithstanding, Audi seemed to concentrate over the last decade more on interiors and headlights than on the whole of their designs – a far cry from their great run in the 90s and 80s. Yet at the end of the decade signs of a reintegration were apparent with the graceful A5 coupe as a prime exponent.  The undulating shoulder line is contrasted perfectly by the hard swath at the lower door skins and the wraparound of the front and rear fascias. It adds up to a lovely modern take on the traditional coupe.

8. 2009 Ford Flex

The decade was peppered with so-called crossovers, neither fish-nor-fowl mashups of cars and SUVs that all to often resembled genetic experiments gone horribly wrong. A happy exception was Ford’s Flex which, much like Chrysler’s iconic minivan in the 80s, recast the venerable station wagon. This time it’s as an aspirational vehicle, less Mom’s taxi than family luxobarge. This is reinforced by the Range Rover-like contrast roof, strategic chrome and brushed aluminum highlights, and an imaginative interior.

9. 2008 Lamborghini Reventon

Lamborghini’s stock in trade has always been low-slung drama but ownership by the German’s at Volkswagen seemed to mellow their design sense. On the one hand it was a relief to not be confronted by the tacky wings and scoops that adored some of their late 80s creations but what followed was very nicely rendered but a bit cold.  Not so the threatening Reventon. Like Cadillac’s recent design language, the Reventon’s brutally sharp edges are inspired by the Stealth bomber but Lamborghini takes it all a step further with a killer matte paintjob. A great example of how subtly tweaking the details of an existing design language can substantially alter the feel of the result.

10. 2008 Dodge Challenger

The Challenger would appear to be the most slavishly retro of the big 3’s musclecars, following Ford’s Mustang and Chevy’s more futurist Camaro. Yet a closer look reveals that the Challenger is more faithful to the idea of its early 70s predecessor. If anything the stance of the newer car is tougher, the look is bluffer, and the feel is kind of an amalgam of 70s cues with a contemporary application. Unusually the production model is better looking than the concept on which it’s based primarily due to the ditching of Dodge’s trademark crosshair grille design.

11. 2009 Ford Fiesta

Ford of Europe has continued to explore design possibilities even as the North American arm has sometimes fallen back into blandness. Thankfully CEO Alan Mullaly has decreed that all designs msut be shared between markets which means the dynamic and appealing little Fiesta will soon be sold here (though sadly not in 3-door from shown.)

12. 2002 Ford Thunderbird

The new T-Bird came at the tail-end of the retro craze and was one of the sales flops that led to Ford radically restructuring their business and leadership team. This had little to do with the slick design of the car which ably updated the themes of the 1955 original  with it’s own particular flavor. The unusual declining shoulder line and lovely headlight placements are echoed by the circular taillights and the trim beltline cut.

13. 2000 Mini Cooper

On one level the new Mini is the apogee of fake retro – like the VW New Beetle it’s a theme that belies much of what was original about the car that it’s meant to evoke. In the Mini’s case that means that the car is more maxi-sized than truly Mini, and Alec Issigoni’s groundbreaking hydragas suspension and innovative packaging are largely abandoned. And yet the design has proved to be arguably a bigger hit than the original (though not in total sales), becoming a must-have automotive accessory for elites in markets like the United Sates where the original barely made a dent. It’s also a canny updating of the original Mini theme with far better materials and execution befitting a product pitched at the style market rather than the original people’s car orientation of the classic version.

14. 2003 Land Rover Range Rover

How do you update an icon? Land Rover redid the Range Rover once before this model, with a blandly rote refresh that took all the thematic elements and re-rendered them unimaginatively. This third generation model also hews close to the original formula set forth in 1970 by William Town’s original design.  However it extracts a new purity and refinement, highlighting iconic elements like the roof and blacked out D pillars and the upright fender vents and tying it together perfectly. In addition the new interior was an industry-leading luxury cocoon.

15. 2005 Pontiac Solstice

When GM’s now dead “performance” brand decided to get into the Miata fighting business it did so with a tough, sporty little design that was one of the best the brand had produced. Alas, though, it wasn’t enough to stave off the reaper.

16. 2003 Infiniti FX45

Infiniti was early to the crossover party with this crossbreeed between an SUV and a sports sedan and stylistically they nailed it. All curves and bulges with big wheels and a characteristically 00’s turret-like greenhouse The FX chooses sides rather than compromising and the side it chooses is sporty, thank you.

17. 2005 Chrysler 300

Chrysler’s decade was simply awful and yet the 300 was decided bright spot, a successful relaunch of the big American sedan for a new millennium. The high shouldered styling set the trend for the rest of the decade and the muscularly purposeful design led to a slew of concepts (but sadly no production) responses from rival firms.

18. 2004 Toyota Prius

The Prius ubiquitous nature has rendered it bland but at launch it was a breakthrough. A truly futuristic looking car to match it’s future-facing powerplant. The design has become shorthand for caring about the environment, as well as being environmentally compatible in subtler ways such wind resistance that add to efficiency.

19. 2008 Bentley Brooklands

Bentley’s VW owners haven’t seemed to figure out quite what to do with teh brand stylistically but oh the big bold Brooklands! The kicked up beltline, huge wheels, imposing grille all say move out of our way, plebian. Elegant, purposeful luxury.

20. 2006 Ford F-250 Super Chief

This concept set forth a number of stylistic elements that have since wended their way through Ford’s car and truck line-up but as a pure expression of truckness in the new millennium the Super Chief sets the standard.

21. 2006 Nissan Urge

Nissan’s Urge concept took a cue from ultra-modern furniture design, reducing the elements to major shapes like the silver side swaths and the dark fenderettes over the wheels.  A cool added element was the inset open door panels, designed to give driver and passenger a motorcycle-like sensation of openness with the full-body protection of a car.

22. 2006 Saab Aero-X

Saab’s Aero-X looked like a leftover Star Wars prop and in a perfect world would have helped define the companies new direction. Instead it defined the road not taken as GM starved the company of investment.

23. 2006 Renault Altica

Renault’s appealing chunky Altica concept was riddled with neat surface elements like the broad shoulder lines that extend from the front fenders to define flares over the rear wheels. Also cool were the rear quarter panels with random geometric shapes in place of a full window. Practical? Non. Pleasing to the eye? Oui.

24. 2006 Citroen C-Metisse

Citroen’s C-Metisse concept signaled a new willingness for the storied French company to once again explore groundbreaking design. The van-like hatch is most striking for the way the rear wheels are framed by the broad flares which intersect the descending swath of greenhouse. The side glass echoes the circular wheel openings enhancing the relationship, as do the chrome strips at the extreme rear corners.

25. 2007 Ford Interceptor

Ford’s Interceptor concept was a vision of what the blue oval’s Chrysler 300 fighter might have been before budgets constraints and runaway gas prices put the kibosh on production. The low roofline and gunslit windows all bespeak the influence of Chrysler’s big sedan but Ford also finds it’s own way to express the brand with the wide stacked grille and headlight design and sweeping wheel openings.

26. 2007 BMW Concept CS

BMW’s concepts during teh decade were sometimes as polarizing as their production cars but were often more successful as designs. The big CS previewed themes that are starting to creep into BMW’s that are in dealerships but is also an extremely well-resolved take on the  sedan-as-coupe trend that has spread through the ranks of German companies since Mercedes-Benz introduced the CLS.  The body surfacing is particularly nice here as is the overall form which is well-proportioned given its size.

27. 2002 BMW GINA

The GINA was tucked away inside BMW’s design center for most of the decade before finally being revealed post the launch of the disappointing Z4 which it obviously influenced. This is what ground-breaking conceptual car design is all about – literally stretching the boundaries with a fabric wrapped frame which stretches to accomodate everything from active aerodynamic aids to door openings.

28. 2007 Toyota iQ Concept

Toyota’s production iQ is notable as well, a sort of smarter Smart car but the concept takes the great packaging a step further with surface elements that seem to transform from concave to convex depending on where the viewer stands.

29. 2007 Mazda Taiki

Mazda trotted out their new design ethos on a number of concepts towards decades end. The look is meant to be inspired by the elements interacting with nature, such as water on rock or wind on sand. The best of these was the Taiki with its nifty sculpted rear-wheel nacelles and flowing headlight elements.

30. 2008 Land Rover LRX

Land Rover’s LRX concept was a clear production ready glimpse of how they could (and will) move towards a smaller, friendlier SUV. Though others (notably Subaru’s Forester) have tried to scale down the segment this is the most successful attempt yet, aided by great detail work like the  dropped edge of the hood over the front wheel arch and the reverse wedge of the greenhouse.

31. 2009  Cadillac CTS Coupe

Cadillac started to revamp their design language in the late 90s but the refinement of their hard-edged “Art & Science” theme at the end of this decade was far more aesthetically successful than initial forays. The CTS sedan is quite handsome but it’s this Coupe concept (due to go into production soon) that really moves things forward with it’s radically sloped backlight and V shaped C-pillar.

32. 2009 Fisker Karma

Designer Henrik Fisker started his own company in the middle of the decade and began re-bodying BMW’s and others. His true plan emerged with the reveal of the Karma prototype – to build luxury gas/electric hybrids. Luckily the Karma is drop dead gorgeous with sinuously bulging fenders and a tapering greenhouse. Production is expected to commence late in 2010.

33. 2008 GMC Denali XT

The car-like pickup truck has had a mixed history since the glory days of Chevy’s El Camino and Ford’s Ranchero (roughly the 60s and 70s) and lesser 80s entries like Dodge’s compact Rampage, Subaru’s delightful Brat and Volkswagen’s odd Rabbit/Golf based model. The idea was revived by Honda this past decade for the Ridgeline  but GMC showed this very attractive concept that suggested how the attributes of both vehicle types could be melded harmoniously.

34. 2009 Audi Sportback

Audi gave some clues to their emerging next-gen design language with the Sportback concept, while also throwing their hat in the crowded and often ugly German luxury hatch field dominated by BMW.  Strong defined character lines give the flanks a sculpted look while their signature stylized headlamp elements echo the palm-like shape.

35. 2009 BMW Vision EfficientDynamics

Another brilliant BMW concept, the Vision is all intersecting planes and overlapping elements while exhibiting a light, glassy greenhouse that allows the elements to float together.

36. 2000 Jaguar F-Type

Jag’s F-Type concept was almost too good. It’s safety-reg unfriendly low glass height and lack of even a pretense of a roof made the design impossible to translate well to production despite repeated tries. Pity, as it’s purity is exquisite.

37. 2001 Buick Bengal

Look past the oh-so-00s vestigial rear doors that never became a trend and the Bengal concept offers a clean, uncluttered reboot of Buick’s antiquated design cues. The front end is especially nice with it’s canted headlamp strips and broad dollar-grin style grille.

38. 2001  Ford Forty-Nine

Chrysler kicked off the the trend of incorporated classic custom car cues into production and concept vehicles with the Plymouth Prowler in the mid 90s but Ford’s delicious Forty-Nine is a touchstone in post-modern retro-futurism. While cues nod to Ford’s iconic 1949 coupe, the whole is an homage to chopped and channeled “sleds” with modern headlight and interior technology that places the design in a contemporary context. If only Ford’s production models were as interesting in North America.

39. 2001 Dodge Super8 Hemi

Like the Ford Forty-Nine, Trevor Creed designed the Super 8 Hemi to be an amalgam of 50s cues and modern touches. The result was far more polarizing but with the benefit of hindsight can be seen to have it’s own virtues. Creed was reported to have been shocked by the extent of negative reaction, having considered this as a testing ground for ideas that would be used on a production basis. The wraparound windshield and roof shape are the clearest nods to 50s elements but the side strakes and brutally short overhangs could only be from the present time.

40.2002  Dodge Razor

Ah the road not taken. Though Pontiac’s Solstice got much of the contemporary attention, Dodge’s concept for a small, raw sports coupe was arguably even more compelling. A simple design that incorporates a strong stance, upright a-pillars and suggestive upkicks around the rear wheels it’s a pity  Chrysler’s German masters couldn’t see their way to producing this gem.

41. 2003 Cadillac Sixteen

Cadillac’s superb Sixteen cast a long shadow over the brand in that none of their production vehicles has yet to look as wonderfully impressive and clear of purpose. The central spine and stylized grille have made their way throughout the lineup though but it’s that elegantly formal roof and pillar-less sidelight that stick in the retina.  The double side-hinged hood adds a touch of retro whimsy.

42. 2003 Chevrolet SS

Chevy’s response to Chrysler’s impending big sedans and Ford’s big sedan concepts was the overtly sporty SS, a softer and sleeker take on the segment. The small rounded greenhouse is nestled atop bulging fenders and aggressive wheels giving a sense of power but also a sense of tidy maneuverability unusual in the class.

43. 2003 Ford 427

Ford kicked off the decade with the brilliant 427 concept for a full-sized American sedan, lacked the stones to actually produce it, and then watched Chrysler steal their thunder with the 300.  The 427 is traditional sedan in stance but in detail and execution its completely contemporary from the neat interlocked squares within the headlight elements to the chrome strip on the lower bodysides that echoes the single strip below the window line. The front end treatment did wind up, in watered down form, on the first-generation Focus.

44. 2004 Jeep Rescue

From a design standpoint this was a tough decade for Jeep but the Rescue was a terrific concept that pointed to what might have been. Emphasizing the core values of the brand but on a bigger canvas it’s immediately identifiable as a Jeep despite being a big four-door SUV, a full size and a half beyond anything the brand had marketed. The only positive that came from this concept was the idea of a 4-door Wrangler. When Jeep did attempt to size up they did so with the atrocious Commander which lacked entirely the grace and elemental rightness of this design.

45. 2008 Morgan LifeCar

Morgan has been known for 45 years essentially for their resistance to modernism. Even their most advanced car harbors a wooden frame that harks back to pre-war sports car construction. So the LifeCar, a fuel-cell powered electric sports car concept, came as something of a shock. Even more so was it’s machine age meets iPod body design which is of a piece with Morgan’s traditional theme but augmented by a novel hinged passenger canopy that mimics the scissoring of the front-hinged hood-and-fender tops unit.

46. 2001 Honda Unibox

While automotive design is often about hinting at or even obscuring the mechanics underneath the body panels, Honda’s Unibox concept is like a translucent watchback boldly exposing and flaunting the pure engineering below.

47. 2002 Mercedes-Benz F400 Carving

There have been a few tilting concepts before but they tended to be more like slightly evolved cycles. Here Mercedes gets the tilt jones on entirely with the suspension but the lack of roof (and windshield!)  and open front wheels still give a motorcycle feel but within a conventional layout.

48. 2006 Volvo C30

Volvo’s decade long design language which mimicked the idea of a sectioned violin found it’s best expression in the little C30, which also incorporated the glass hatch that distinguished the P1800 sports  coupe of the late 60s. In addition the floating center section of the dash connected the brand to classic Swedish furniture design.

49. 2004 Ferrari F430

The last two decades were hardly the best for Ferrari from a design standpoint as longtime stylist Pininfarina struggled to respect the brand’s and reflect modern forms. By keeping things simple the F430 managed the job ably. Front air intakes and exposed circular headlamps all look back to past Ferraris as does the overall mid-engind layout and theme but the execution is admirably smooth.

50. 2007 Nissan Pivo 2

There are certain design quirks that Japanese manufacturers go for but which can seem downright eccentric to others. Things like a dashboard mounted robot head that comments on your driving with helpful tips and glowing LED eyes.  The body of the vehicle also rests on a turntable that allows for full 360 degree rotation and the wheels and fenders can pivot to allow for four way steering.

If the 80s and 90s saw music fragmenting into hundreds of tiny subcultures the 00s offered a way out – in part by destroying the very music industry machinery that encouraged such fragmentation. File sharing may have killed music but it also saved it by letting people hear thousands of songs they never would have been exposed to.It also freed musicians like M.I.A., Radiohead, and Girl Talk to make music that was as boundary-less as their audience.

Here they are, my pick for the 100 best albums of the last decade:

Best of the 00s 100-76

Best of the 00s 75-51

Best of the 00s 50-26

Best of the 00s 25-1

Children of Men

The decade that’s ending has the ignominy of following the 1990’s, an era that will be looked back on as a creative peak rivaling the 1970’s for cinema. This is not to say the 00’s sucked as there were some great films and wonderful talents that emerged all over the world.

Pixar proved that the Toy Story movies were merely the tip of the iceberg when it came to animation that was artistic and commercially successful. Judd Apatow may have faltered of late but he also found a way to freshen the comedy genre and inject a sometimes Cassavettes-like realism into broad can-you-top-this flicks. Superhero films were abundant but Sam Raimi with Spider-Man and especially Chris Nolan’s two Batman films showed a new level of complexity within an often two-dimensional genre.

Then there was the aftermath of 9/11 and the ongoing nightmare of the Bush presidency. The films that grappled with this best were the ones that did so obliquely, even sub-texturally. The Dark Knight comes to mind here as well with a Wall Street Journal editorial even claiming to see a vindication of Bush in the film’s vision of Batman as over-surveilling rule-breaking vigilante against an amoral enemy. Or consider the TV in the background of one of Sideways most discomfiting, riotous scenes as Paul Giamatti sneaks into the bedroom of an amorous, thieving couple while Donald Rumsfeld talks on the screen behind them.

While undoubtedly I missed a few trends here are the 100 films that I truly enjoyed this decade, in rough order of release. Let the arguing commence!

Aardman's Chicken Run skewered WWII escape dramas

1. Chicken Run


You Can Count on Me didn't let us down

2. You Can Count on Me


Best in Show was no dog

3. Best in Show


High Fidelity celebrated a lost world...and lists like this one

4. High Fidelity


Cameron Crowe's autobiographical Almost Famous put a band-aid on it

5. Almost Famous


Wonder Boys brilliantly adapted Chabon

6. Wonder Boys


Gladiator asked if we were not amused...

7. Gladiator


Harron's American Psycho taught us about business cards... and plastic tarp

8. American Psycho


Memento fractured and reversed narrative ... what was I saying?

9. Memento


Peter Jackson's Tolkein trilogy ruled them all, bringing the epic to new heights

10. The Lord of the Rings: Trilogy


Ghost World made the planet safe for nerd girls and the Buscemis who love them

11. Ghost World


Shrek was Eddie Murphy's best performance of the decade (yes, including Dreamgirls)

12. Shrek


The Closet was workplace farce at it's best

13. The Closet


Donnie Darko proved impossible for Richard Kelly to follow-up (though he keeps trying)

14. Donnie Darko


The Royal Tenenbaums was Wes Anderson's ode to family

15. The Royal Tenenbaums


Waking Life had us flipping light switches to make sure we were awake

16. Waking Life


Moulin Rouge mashed up styles of music and cinema into a sumptuous treat

17. Moulin Rouge


Spirited Away was a modern Through The Looking Glass

18. Spirited Away


Ripley's game suggested that Matt Damon might age to resemble John Malkovich

19. Ripley’s Game


About a Boy proved that Hugh Grant is best as a (lovable) cad

20. About a Boy


Talk To Her showed that Almodovar could combine a new maturity with a Volkswagen-sized vulva

21. Talk to Her


Adaptation had Cage's two best performances of the decade

22. Adaptation


The Kid Stays in the Picture made us feel bad for losing Ali MacGraw to that McQueen guy

23. The Kid Stays in the Picture


Spider-Man wasn't related to Morris Spiderman D.D.S.

24. Spider-Man


About Schmidt gave us a vulnerable Nicholson

25. About Schmidt


24 Hour Party People took us to Madchester with the brilliant Steve Coogan as ringmaster

26. 24 Hour Party People


The Bourne Identity proved action movies didn't have to be edited by a Benihana's chef

27. The Bourne Identity


Y Tu Mama Tambien was some sad, sexy, slyly political stuff

28. Y Tu Mama Tambien


Rivers and Tides let us into the genius of artist Andy Goldsworthy

29. Andy Goldsworthy – Rivers and Tides: Working With Time


Finding Nemo immersed us in an undersea world

30. Finding Nemo


Errol Morris' Fog of War lifted the veil on Robert McNamara

31. The Fog of War


Sofia Coppola's Lost in Translation whispered in our ear and introduced us to Suntory time

32. Lost in Translation


Infernal Affairs was good enough for a Scorsese-helmed remake

33. Infernal Affairs


American Splendor bought multi-dimensional Harvey Pekars to life

34. American Splendor


The Triplets of Belleville pedalled us across the Atlantic

35. The Triplets of Belleville


My architect looked at the professional and very personal legacy of architect Louis Kahn

36. My Architect: A Son’s Journey


The Weather Underground supplied talking points for the Republican campaigns of '08

37. The Weather Underground


Whale Rider showed us how to make our warrior face

38. Whale Rider


28 Days Later showed us where monkey rage leads

39. 28 Days Later


The Kill Bill films kicked our asses in a tracksuit

40. Kill Bill Vol. 1 and Kill Bill Vol. 2


Brad Bird's The Incredibles was the American Beauty of the animated world. Think about it.

41. The Incredibles


Alexander Payne's Sideways burrowed into the heart of male middle-aged ennui

42. Sideways


End of The Century showed us the broken hearts of The Ramones and broke our hearts at the loss

43. End of the Century: The Story of the Ramones


Gondry and Kauffman's Eternal Sunshine of the Spotless Mind taught us the difference between Pope Alexander and Alexander Pope

44. Eternal Sunshine of the Spotless Mind


Vera Drake showed that bravery doesn't always announce itself

45. Vera Drake


Shaun of the Dead introduced us to pale, lumbering Brits and the zombies who want to eat them

46. Shaun of the Dead


Who better than Alfonso Cuaron to introduce hormones into the Harry Potter universe in the best film of the series so far.

47. Harry Potter and the Prisoner of Azkaban


Dig made The Dandy Warhols and Brian Jonestown Masacre actually seem like interesting bands

48. DIG!


Tom Dowd and the Language of Music allowed us to hear classic soul and rock with new ears

49. Tom Dowd and the Language of Music


Team America introduced us to full-on puppet nookie- with strings attached

50. Team America: World Police


Wallace and Gromit get a full-length film worthy of their legacy

51. Wallace & Gromit: The Curse of the Were-Rabbit


Good Night and Good Luck made us mourn for journalism while marveling at Straitharn's masterful performace as Murrow

52. Good Night. And, Good Luck


Grizzly Man made us hope that Werner Herzog would steer clear of narrating our life story. Oh, and avoid bears.

53. Grizzly Man


After Innocence was a devastating look at the American judicial system

54. After Innocence


Kung Fu Hustle put the slap back into slapstick, and a few kicks too

55. Kung Fu Hustle


We couldn't quit Brokeback Mountain

56. Brokeback Mountain


World, Amy Adams. Amy Adams, meet world. Now play nice...

57. Junebug


A History of Violence repped a new era for Cronenberg

58. A History of Violence


Apatow's 40-Year-Old Virgin ushered in the Apatowization of American film comedy

59. The 40-Year-Old Virgin


Batman Begins was origin story as high adventure

60. Batman Begins


Kiss Kiss Bang Bang bought us our Robert Downey Jr. back, and Shane Black's cool factor

61. Kiss Kiss, Bang Bang


Walk the Line was the best in a slew of music biopics

62. Walk the Line


Enron: The Smartest Guys in the Room was a preview of coming attractions for the nation's Bush-era economy

63. Enron: The Smartest Guys in the Room


Pan's Labyrinth made fascism really, really scary

64. Pan’s Labyrinth


Casino Royale emerged from the surf, dripping wet, as the best Bond movie since the 1960s

65. Casino Royale


The Lives of Others eavesdropped on the menaing of art and surveillance

66. The Lives of Others


A Scanner Darkly had Keanu Reeves' most animated performance in the most faithful Philip K. Dick adaptation ever

67. A Scanner Darkly


The Departed was grand guignol drama from Scorsese

68. The Departed


Children of Men took us into a bleak future

69. Children of Men


Block Party took Chapelle to my old neighborhood to put on a star-studded show

70. Dave Chappelle’s Block Party


Borat showed us that Sascha Baron Cohen may not have the balls of co-star Ken Davitian

71. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan


Greengrass staged United 93 as a straightahead pseudo-doc - and it worked

72. United 93


Little Miss Sunshine showed us the clutchless running van start

73. Little Miss Sunshine


Tristram Shandy hilariously adapted the "unadaptable" post-modern classic

74. Tristram Shandy: A Cock and Bull Story


Half Nelson was all good with a great performance by Ryan Gosling

75. Half Nelson


Ratatouille made the kitchen an acceptable place for vermin

76. Ratatouille


Persepolis told Marjane Satrapi's life with indelible imagery

77. Persepolis


The Coen Brothers' No Country for Old Men flipped a coin to decide our fate

78. No Country for Old Men


The Bourne Ultimatum was a series best

79. The Bourne Ultimatum


Juno taught us that in China they shoot babies out of t-shirt guns

80. Juno


The Diving Bell and the Butterfly could read our blinks

81. The Diving Bell and the Butterfly


There Will be Blood drank our milkshake

82. There Will Be Blood


Knocked Up suggested we consider a smashbortion

83. Knocked Up


Michael Clayton was just a janitor - a dreamy George Clooney janitor

84. Michael Clayton


Fincher's Zodiac nurtured a deep consuming obsession

85. Zodiac


3:10 To Yuma was a rare remake that bested the source

86. 3:10 to Yuma


Eastern Promises totally kicked our ass, naked

87. Eastern Promises


2 Days in Paris showed their family a compromising picture of us with a balloon

88. 2 Days In Paris


We were strung along by Man on Wire

89. Man On Wire


WALL-E was the sweetest post-apocalyptic movie ever

90. WALL-E


The Dark Knight asked why so serious?

91. The Dark Knight


Milk was here to recruit us

92. Milk


Iron Man needed a scotch

93. Iron Man


Happy-Go-Lucky taught us to drive

94. Happy-Go-Lucky


Synecdoche, New York created a smaller version of our lives in a warehouse

95. Synechdoche, New York


Inglorius Basterds demanded it's Nazi scalps!

96. Inglorious Basterds


Up broke our hearts in the first 15 minutes and named us Kevin

97. Up


In The Loop found new and creative ways to curse us out

98. In the Loop


The Hurt Locker defused our bomb

99. The Hurt Locker


Spike Jonze's adaptation of Sendak's Where the Wild Things Are began the wild rumpus

100. Where The Wild Things Are

Sky Saxon of the Seeds, who died in 2009

So the 00’s come to an end with a whimper, not a bang. These 25 albums were all great but I’d be lying if I told you that there was another 25 I was anguished about leaving off the list. Even so Dylan, the Yeah Yeah Yeahs, Raekwon, Monsters of Folk, Talbot Tagora and M. Ward all just missed the cut – to name a few. It was a dismal year for hip-hop but the likes of Wale and Kid Cudi give hope to the future. Merge records celebrated their twentieth anniversary while venerable Touch and Go announced their imminent closing.

Here without further ado, were my favorite 25 albums of the year:

1. Girls – Album
Get over the disappointment that Girls doesn’t even have any girls in the band and you’ll find that the duo of JR White and Christopher Owens have crafted an exquisitely detailed album that slides comfortably into the slot marked “Indie Rock” without becoming a slave to the genre’s tropes. It’s like Pavement’s Slanted and Enchanted run through a gloriously filter of Smiths sensibility.

2. Neko Case – Middle Cyclone
It may seem like Neko Case has been wrapping her considerable lungpower around the same seam of country tinged alt-Americana for several albums now. She’s so consistent and subtle in the ways she moves her craft forward from record-to-record that it can be heard to realize how much she’s progressed until you compare this to her earliest works. Her country twang has been leavened into a sweeping epic atmospheric sensibility underpinned by a sly sense of humor. Little flourishes color each song and her cover of Spark’s “Never Turn Your Back on Mother Earth” shows how unique her sound has become.

3. Thermals - Now We Can See
A concept album about death? Major bummer dude, and pretentious as hell. Yet The Thermals pull it off with the best album of their career, a considerable feat considering the breakthrough that was 2006’s The Body, The Blood, The Machine. This is the kind of melodic, intelligent, heartfelt punk that Green Day wishes they could write.

4. Future of The Left – Travels With Myself and Another
When the perpetually cross Welshmen in McLusky decided to call it a day, few thought that they would return in all but name and bassist but plus two members from the equally defunct Jarcrew. Yet return they have, with a brace of abrasively melodic post punk on this, their second album. All the snarkiness remains, abetted by pogo-worthy choruses and clever wordplay.

5. The Flaming Lips – Embryonic
After spending most of the decade perfecting their neo-psych chops and expanding their audience Flaming Lips take a hard left into Krautrock territory with Can in particular serving as a touchstone for a sprawling bass heavy album. There are moments that recall PiL’s classic Metal Box/Second Edition as well, minus Johnny Rotten.

6. Japandroids – Post-Nothing

Japandroids are the best kind of bubblegum lo-fi – chiming squalling guitars plus killer songs recorded with punch and definition enough to not obscure the fun. Anthems abound from “Wet Hair” to the magnificent “The Boys are Leaving Town.”

7. Grizzly Bear – Veckatimest
Grizzly Bear’s debut was praised (perhaps overly) for it’s Brooklynite take on the pastoral sound sweeping indie circles so it’s a treat to find the follow-up bettering it’s predecessor in every way. The influences du jour are still there – as with Animal Collective a Beach Boys streak tempered by a touch of freak folk and out-and-out experimentation. The arrangements are less dry than before, with a marvelous command of build and release all of which sets off a remarkable set of songs. A triumph.

8. Surf City – Surf City (EP)
As their name implies Surf City has a touch of classic surf rock to them, but it’s by way of The Pixies, spiked with the Cure’s romantic melodicism and a dash of good old fashioned fuzz. The sheer enthusiasm of the songs and the performances is infectious – just try not to bop along.

9. Abe Vigoda – Reviver
Not the aged actor from Barney Miller, these art punks have flown under the radar successfully enough to avoid a lawsuit – so far. That may not last because as cool as last year’s Skeleton full-length was, this EP is better – song after great song. Like No Age this isn’t quite lo-fi enough to count as the mannered sludge passed off by Times New Viking but it has a raw immediate quality with songs that can come off like Grizzly Bear’s hard-rocking little brothers.

10. Sonic Youth – The Eternal
Sonic Youth’s return to indiedom may be a tad less satisfying than their last Geffen album, Rather Ripped, but it’s their rockingest album since 1992’s Dirty. It’s chock full of Johnny Thunders asides and nods to The Stooges as well as the bands trademarked sideways riffs and alternate tunings. Of course it’s the tight, focused songs that elevate this to the top tier of their ever-growing canon, plus the novelty of hearing them attempt something like vocal harmony and interplay on many songs, another new wrinkle for these vets.

11. Dan Deacon – Bromst
As interesting as Dan Deacon has been in the past, he’s always undercut his songs with skronky dissonance and over-syncopation that make listening a challenge for many (me included). On Bromst he lightens the stew just enough to still be distinctive but also highlight his rhythmic inventiveness and control of texture and pacing resulting in his best record yet.

12. Animal Collective – Merriweather Post Pavillion
Animal Collective keeps edging closer and closer to melody while always underpinning what they do with a sense of playfulness and anything-goes studio arrangements. Their off-kilter sensibility gets it’s fullest expression to date here on a record that finds room for paeans to fatherhood and family life amongst the close-knit harmonies, circular rhythmic pulsing, and unexpected side turns. The Beach Boys are a touchstone but only if Brain Wilson had been able to channel his madness completely and musically, had embraced the chaos equally with the melody. A true stunner.

13. AC Newman - Get Guilty
While New Porngraphers have begun to sound a bit overstuffed on recent releases bandleader Carl Newman brings things back down to the basics on Get Guilty, his best work since the Porno’s Twin Cinema. It’s not that he does anything new here, it’s that he does his schtick with expertise. If powerpop full of big meaty choruses and thundering drums is your deal then sign right up.

14. Jarvis Cocker – Further Complications
The louche former Pulp frontman gets in touch with his guitar-heavy side and brings noisemeister Steve Albini to man the control board. The result is lean and mean and full of horny tongue-in-cheek single-entendres like “Caucasian Blues” (in which he laments being hung like a white man) and the utterly brilliant “I Never said I Was Deep.”

15. Atlas Sound - Logos

Nealy shelved after an early version leaked last year, the latest album from Deerhunter’s Bradford Cox has thankfully seen the light of day and it’s as good as anything by his increasingly notable day band. Noah Lennox from Animal Collective guests on the awesome “Walkabout” and there is a certain shared sensibility but Atlas Sound is skewed less towards rhythm circularity and more towards chewy hooks and strumming guitars.

16. St. Vincent – Actor
Like Neko Case and Spoon’s Britt Daniel, Annie Clark (who is St. Vincent for all intents and purposes) is a thinking person’s pin-up, as glorious for their art as for their looks. Her background in Glenn Branca’s guitar orchestra, The Polyphonic Spree, and Sufjan Steven’s band give a pretty good idea of her take on music – a sort of Kate Bush as guitar slinger. On Actor she has the songs to pull it off, sounding like early solo Peter Gabriel if he had roped Thurston Moore into playing guitar for him.

17. Mos Def – The Ecstatic
In a lousy year for hip-hop it was good to welcome Mos Def back with a first-rate album after years of tossed off efforts. Sounding more vital than he has in years over a set of clever engrossing beats and soundscapes it’s a reminder of how great rap can be when it’s not subject to rote rhyming and mega-sales expectations. The cherry on top is a great guest verse by Slick Rick.

18. The Pains of Being Pure At Heart – The Pains of Being Pure At Heart
The Jesus and Mary Chain have much to answer for in the last few years but inspiring a band as fun and freewheeling as this one is nothing to feel bad about. To be fair The Smiths and a fair sampling of other late 80s British indie rock can also be detected here but the attack is as fresh as a naughty schoolkid. It all sounds new to them and they write and play their damn bleeding hearts out, which almost is enough to forgive their unfortunate band moniker.

19. Bill Callahan – Sometimes I Wish We Were an Eagle
Callahan may no longer operate under the name Smog but he still has the same laconic delivery, insinuatingly dry songwriting, and command of melody. This time he’s backed with the richest instrumentation of his career with pianos and french horns and the likes standing ready to aid and abet but never overwhelm. In fact his use of space is more strategic than ever letting every violin or bell register like a thunderclap.

20. Polvo - In Prism
An unexpected comeback, Polvo was saddled during their early 90s heyday with the mathrock label and while their riffing is angular and their song structures can be architectural they have always had a warmth and humor that transcended the genre. They’ve also had Ash Bowie (who went on to play guitar in Helium) as a secret weapon, a guitarist with a knack for wringing melody out of sometimes dissonant patterns. Welcome back.

21. Franz Ferdinand – Tonight: Franz Ferdinand
For all the initial talk about this being a departure for the band it came as a bit of a letdown to hear that they actually sounded like… Franz Ferdinand. Repeated listens proved that the band had moved the game forward subtly, primarily by centering every song around the rhythm section. This is no bad thing as Franz bassist Bob Hardy and drummer Paul Thomson are one of the best in rock. On “Lucid Dreams” they do extend past the 8-minute mark (though the earlier, tighter version may be superior) and hints of T. Rex and Bowie still surface through the dancefloor. Undeniably catchy ass-shaking.

22. Kurt Vile – Childish Prodigy
The name is a tip-off that that Vile is a throwback to the theatrical self-mythologizing of 70s punk as it edged into glam. Ballads jostle with fuzzed out Iggy-esque rockers but there is always a twist instrumentally or lyrically to make it sound fresh rather than a guy living in the sounds of the past. Each successive song cements that Vile is a talent to watch.

23. Mika Miko – We Be Xuxa
The world surely needs more femme punk and Mika Miko are as good as it gets. Synthesizing sources as varied as The Raincoats, The Descendents, and Agent Orange makes for an album that pogos as much as it thrashes and that’s a damn good thing. It’s a short sharp shock of an album with room for detours like the mid-period Replacements-like jape “Turkey Sandwich.”

24. The Very Best – Warm Heart of Africa
While the band name The Very Best makes this sound like a compilation of some sort, what’s being sampled here by the production team Radioclit and singer Esau Mwamwaya is the very essence of music from around the world. Appropriately they are joined by a member of Vampire Weekend and M.I.A., a handy guide to the globe spanning beats and melodies found within. An audacious follow-up to last year’s jawdropping mixtape.

25. Wilco – Wilco (The Album)
Wilco studiously avoid making the same album twice, so it’s not surprising that the new one was met with a mixed reception. They also vary their approach from song to song to the extent that “Bull Black Nova”, a droning drama that I love, has been denounced by several friends as the worst track on the album. Whereas the last record served up gloriously tangled guitar lines in the guise of classic LA rock, this one puts the screws to triple AAA radio but still finds time for a straight ahead ballad like “You and I”.

mmm-MMMM

Every year at this time, we here at Mallination try to bring you a new list of Thanksgiving Turkeys – films so bad they can only be compared to a dumb, flightless, tasty, “jive” bird.  As an added bonus I’ve invited guest blogger Sean McDonald to contribute his own list of 5 to my list of 5 , forming a combined “super-list” of 10. Please note, Sean’s opinions are entirely his own. In other words I liked Munich despite the egregious use of intercutting during the penultimate love scene.  Enjoy the bad cinema, and happy Thanksgiving!

Noah’s List:

Two Much

My wife actually saved this for me on our DVR knowing that it would be a turkey shoo-in and she was right as always. Three of the most expressive actors of a generation, Antonio Banderas, Melanie Griffith, and Daryl Hannah, team up to star in a film that starts with the premise that Banderas is going to pull off a con by pretending to be twins. The twins are thoughtfully names Art and Bart and can be distinguished by whether Banderas is wearing his hair down and has his glasses on or a ponytail and no glasses. Naturally Art is an artist (or should I say “artist”) and Bart, well, surprisingly doesn’t work for Bay Area Rapid Transit given the literal-mindedness of the rest of this would-be screwball comedy. The lowlight is  a scene in which both Bart and Art have to be in the same room at the same time. Employing a handy doorway, some pacing and a quick hand at whipping off glasses and pulling hair back Banderas plays both characters at once. It’s indeed, Two Much.

The Power

George Hamilton plays a scientist (!) in the boringest movie ever about telekinesis.  As the members of the Human Endurance Committee (of which the film’s audience should be inducted into as honorary members) gather to puzzle over vague “test” results that suggest one of them has extraordinary powers, strange murders begin popping up. While half the cast overacts their pants off, the other half attempts to compensate by woefully underacting. Even stranger are the inept attempts at Hitchcockian set pieces like an inadvertently hilarious desert sequence that finds be-suited and tanned Hamilton struggling woodenly with a large, sweaty, Jeep driver before being attacked by jets on a bombing range. While these may sound like exciting activities you may find yourself wishing for the mind control to zap director Byron Zaskin into another dimension.

Octaman

Pity beautiful Pier Angeli, the Italian actress who compounded her drug overdose at the age of 39 with the fact that this piece of cinematic effluvia stands as her last film. Monster creation legend Rick Baker also got his start in this low-budget atrocity and judging by the incredibly lame Octaman costume a career in Hollywood was less-than assured. While still not as disturbing as the real-life Octomom, Octaman concerns Mexicans (fake), scientists (woefully fake), and a mutated half-man, half-octopus creature(ridiculously fake). For some reason two of the full-grown Octaman’s tentacles are suspiciously arm-like, and his slacks are quite something. It’s also worth noting that he has compound eyes for no other reason than that was the trick lens that they rented for the shoot.

88 Minutes

The titular 88 Minutes of this crap fest reference not just the 88 Minutes Al Pacino is informed he has left to live, but the 88 minutes of the viewers life that will sadly never be returned to them by this film that would barely rate as a subpar episode of Jake and The Fatman (look it up, kids). Pacino plays your everyday, average, super wealthy forensic psychologist/teacher who keeps having his dull serial killer seminar interrupted by a rude cell phone caller. And then he goes back to teacher. Thrilling! Leelee Sobieski does what she can to make things worse and Alicia Witt should be angling to get that cell phone away from Pacino so she can call her agent.  The best thing about the film are the heights to which it has inspired reviewers – “Al Pacino’s festival of hair” from the Chicago Tribune’s Michael Phillips is a particular favorite. Nominated for “Best Goatee”.

The Doors

Kyle Maclachlan, Meg Ryan, Kevin Dillon, and Val Kilmer combine all the worst parts of the acting styles in a film that also highlights the worst kind of glib, truthy-but-not-truthful, self-serious film making Oliver Stone is capable of.  The dialogue is actually worse than Morrison’s poetry. Kilmer gives a performance that captures all the self involved assholiness of Morrison without ever diving underneath. Ryan is woefully miscast as the love interest. Stone treats every scene with the kind of reverence usually reserved for a nativity pageant.

Sean’s List

I have a soft spot for bad movies. The kinds of movies that gleefully accept they are bad, that wink and smile through 95 minutes of glorious silliness. I think that Stephen Sommers’  Deep Rising is the Citizen Kane of great bad movies. There is another set of movies that are so easy to target (I am looking at you Paul W.S. Anderson) that wasting any more time one them is pointless. Then there is the third category of bad: Films that made me ANGRY as I watched them.

The Quest

Jean-Claude Van Damme’s directorial debut, my least favorite movie of all time and according to IMDB, Roger Moore’s least favorite of his own films. The primary problem is that this movie claims to be 95 minutes long. Let’s just say that 95 minutes has been artificially augmented. Every fight scene is soaked in unnecessary slow motion, “Scorsese stretches”, use of the same shot from multiple angles (don’t want to waste anything) and of course JCVD getting the crap kicked out of him, only to come back strong and win the fight. The clip barely does justice to what may be to worst edited film of all time. (Side Note – Did you know that James Remar has 111 acting credits? And his most memorable role was as Samantha’s boyfriend from TV’s Sex and the City?)

How The Grinch Stole Christmas

This was the cinematic equivalent to the scene in Mad Men (Season 2 spoiler alert!) when Joan’s fiancé forced himself on her on the floor of Don Draper’s office. Despite her pleas to stop and attempts to restrain him, he keeps on going and she quits resisting. I stared away at he wall blankly for the first 30 minutes of this, eventually willing myself to sleep. F you Ron Howard. (Side note – did you know the little girl now plays one of the leads in Gossip Girl? No, I didn’t care either).

Strange Wilderness

Truly one of the un-funniest “comedies” I have ever sat through (it was a rental, but still). What is truly amazing is that this clip STILL makes me laugh every time  -

- but it is the ONLY funny moment in this entire misbegotten disaster. There is no story, are no funny characters and no other funny moments. I have already put more thought into this paragraph than the filmmakers did on this entire 87 minute piece of horseshit (Side Note – Did you know that horseshit is Tom Hanks favorite swear word?)

The Last Kiss

What I find the most shocking about his most is that the great Paul Haggis wrote this. This movie basically took Chris Rock’s “New P***y, Old P****y” monologue, layered on a thick measure of anxiety and slapped you in the face with this sock full of man-angst for 103 minutes. I am not sure what kind of influence Zach Braff had on this movie, but any good will he built up with Garden State got flushed away. (Side Note – Paul Haggis’s first writing credit is from the original Love Boat TV series).

Munich

Look, I love Jewish Revenge Fantasies as much as the next guy (Marathon Man and Inglorious Basterds were great), but Munich ranks at the top of my list of movies that sent me over the edge. This is a thriller that is not thrilling. A “history” movie that feels very revisionist. A lead that was the least convincing Jew of all time. The worst sex scene of all time, replacing the pool scene from Showgirls . This movie starts strong, but by the end, you feel much like the leads. Empty and unsatisfied. (Side Note – Munich star Mathieu Kassovitz is a terrific French director who made the criminally underrated Crimson Rivers).

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One of these men is this year's Sexiest Man Dead

People Magazine just named their Sexiest Man Alive for 2009 (it’s Johnny Depp – so 2006!) which means it’s time in the name of all that’s symmetrical for us to announce our annual Sexiest Man Dead award for 2009. You can click here to see our previous winners.

It was a tough year with a lot of great, lifeless competitors on the filed but in the end only one moldering corpse can be the winner.  Sorry Twilight fans, Robert Pattinson is still not eligible as he only plays dead and is in fact very much alive in real life.

Here he is, this year’s Sexiest Man Dead, Marlon Brando:

Bringing the fun with him wherever he went – whether it’s onscreen in fizzy roles like Paul in Last Tango in Paris or at home with his family on their private Tahitian island is just one reason why Brando has joined this most elite of clubs.

He was  Hollywood’s most irresistible iconoclast; as one-of-a-kind as his beloved 15-year-old boots and as smoldering as his favorite Cuban cigars.

“Marlon Brando has magical powers. He’s unlike anyone else,” said actress Natalie Wood, who was married to Robert Wagener.  “He’s funny, generous and clever. It’s just a shame he’s so hard on the eyes.”