PORTRAIT OF YOUTH (Kwak Ji-gyun, 1991)

http://www.theoneonefour.com/2011/03/07/in-review-portrait-of-youth-kwak-ji-gyun-1991/

The 2011 Korean Cinema Blogathon March 7-13

http://newkoreancinema.com/join-us-for-the-korean-blogathon-2011-1901

2010 OSCARS

http://www.theoneonefour.com/2011/02/27/2010-oscars/

Jonathan Rosenbaum on The Marketplace of Ideas

http://colinmarshall.libsyn.com/the-consummate-cinephile-jonathan-rosenbaum-on-the-changing-film-culture

Highlights of 20th Century Korean Cinema at the Korean Film Archive

http://www.theoneonefour.com/2011/02/17/highlights-of-20th-century-korean-cinema-at-the-korean-film-archive/

BEDEVILLED (Jang Cheol-soo, 2010)

http://www.theoneonefour.com/2011/02/15/in-review-bedevilled-jang-cheol-soo-2010/

BLUE VALENTINE (Derek Cianfrance, 2010)

http://www.theoneonefour.com/2011/02/10/in-review-blue-valentine-derek-cianfrance-2010/

100 Greatest Chinese Films

Since I love lists, here is one of the greatest Chinese language films from the Taipei Golden Horse festival. I've only seen roughly a fifth of these, lots to catch up on.

100 GREATEST CHINESE-LANGUAGE FILMS

01. A City of Sadness (悲情城市); dir. Hou Hsiao-hsien (侯孝賢), 1989
02. A Brighter Summer Day (牯嶺街少年殺人事件); dir. Edward Yang (楊德昌), 1991
03. A Time to Live and a Time to Die (童年往事); dir. Hou Hsiao-hsien (侯孝賢), 1985
04. Days of Being Wild (阿飛正傳); dir. Wong Kar-wai (王家衛), 1990
05. Spring in a Small Town (小城之春); dir. Fei Mu (費穆), 1948
06. Crouching Tiger, Hidden Dragon (臥虎藏龍); dir. Ang Lee (李安), 2000
07. Yi Yi: A One and a Two (一一); dir. Edward Yang (楊德昌), 2000
07. Dust in the Wind (戀戀風塵); dir. Hou Hsiao-hsien (侯孝賢), 1986
09. Dragon Inn (龍門客棧); dir. King Hu (胡金銓), 1967
09. In the Mood for Love (花樣年華); dir. Wong Kar-wai (王家衛), 2000
11. The Love Eterne (梁山伯與祝英台); dir. Li Han-hsiang (李翰祥), 1963
11. The Terrorizer (恐怖份子); dir. Edward Yang (楊德昌), 1986
13. Vive L'amour (愛情萬歲); dir. Tsai Ming-liang (蔡明亮), 1994
13. Yellow Earth (黃土地); dir. Chen Kaige (陳凱歌), 1984
15. A Touch of Zen (俠女); dir. King Hu (胡金銓), 1971
16. Comrades: Almost a Love Story (甜蜜蜜); dir. Peter Chan (陳可辛), 1996
17. A Better Tomorrow (英雄本色); dir. John Woo (吳宇森), 1986
18. Infernal Affairs (無間道); dir. Andrew Lau (劉偉強)、Alan Mak (麥兆輝), 2003
19. In the Heat of the Sun (陽光燦爛的日子); dir. Jiang Wen (姜文), 1994
19. Street Angel (馬路天使); dir. Yuan Muzhi (袁牧之), 1937
21. Chung King Express (重慶森林); dir. Wong Kar-wai (王家衛), 1994
21. Red Sorghum (紅高粱); dir. Zhang Yimou (張藝謀), 1987
23. The Wedding Banquet (喜宴); dir. Ang Lee (李安), 1992
23. The Goddess (神女); dir. Wu Yonggang (吳永剛), 1934
23. The Boys From Fengkuei (風櫃來的人); dir. Hou Hsiao-hsien (侯孝賢), 1983
26. Happy Together (春光乍洩); dir. Wong Kar-wai (王家衛), 1997
27. The Sandwich Man (兒子的大玩偶); dir. Hou Hsiao-hsien (侯孝賢), Wan Jen (萬仁) & Tseng Chuang-hsiang (曾壯祥), 1983
27. At Dawn (破曉時分); dir. Sung Tsun-shou (宋存壽), 1968
27. Rouge (胭脂扣); dir. Stanley Kwan (關錦鵬), 1988
30. Center Stage (阮玲玉); dir. Stanley Kwan (關錦鵬), 1992
30. Farewell My Concubine (霸王別姬); dir. Chen Kaige (陳凱歌), 1993
30. That Day, on the Beach (海灘的一天); dir. Edward Yang (楊德昌), 1983
30. Fist of Fury (精武門); dir. Lo Wei (羅維), 1972
30. Lust, Caution (色，戒); dir. Ang Lee (李安), 2007
35. Xiao Wu (小武); dir. Jia Zhangke (賈樟柯), 1997
35. A Chinese Ghost Story (倩女幽魂); dir. Tony Ching (程小東), 1987
35. The Story of Qiu Ju (秋菊打官司); dir. Zhang Yimou (張藝謀), 1992
38. Execution in Autumn (秋決); dir. Lee Hsing (李行), 1972
38. Cape No. 7 (海角七號); dir. Wei Te-sheng (魏德聖), 2008
40. Spring River Flows East (一江春水向東流); dir. Cai Chusheng (蔡楚生) & Zheng Junli (鄭君里), 1947
41. The Blue Kite (藍風箏); dir. Tian Zhuangzhuang (田壯壯), 1992
41. The Puppetmaster (戲夢人生); dir. Hou Hsiao-hsien (侯孝賢), 1993
41. Darkness and Light (黑暗之光); dir. Chang Tso-chi (張作驥), 1999
44. The Mission (鎗火); dir. Johnnie To (杜琪峰), 1999
44. Still Life (三峽好人); dir. Jia Zhangke (賈樟柯), 2006
44. To Live (活著); dir. Zhang Yimou (張藝謀), 1994
44. The Arch (董夫人); dir. Cecile Tang (唐書璇), 1970
48. Goodbye Darling (再見阿郎); dir. Pai Ching-jui (白景瑞), 1971
48. Kung Fu Hustle (功夫); dir. Stephen Chow (周星馳), 2005
50. Let It Be (無米樂); dir. Yen Lan-Chuan (顏蘭權) & Chuang Yi-tseng (莊益增), 2005
50. Beautiful Duckling (養鴨人家); dir. Lee Hsing (李行), 1964
50. The Highway (大路); dir. Sun Yu (孫瑜), 1934
50. Taipei Story (青梅竹馬); dir. Edward Yang (楊德昌), 1985
50. Ashes of Time (東邪西毒); dir. Wong Kar-wai (王家衛), 1994
50. Raise the Red Lantern (大紅燈籠高高掛); dir. Zhang Yimou (張藝謀), 1991
56. An Autumn's Tale (秋天的童話); dir. Mabel Cheung (張婉婷), 1987
56. Growing Up (小畢的故事); dir. Chen Kun-hou (陳坤厚), 1983
58. The Way of the Dragon (猛龍過江); dir. Bruce Lee (李小龍), 1972
58. The Spooky Bunch (撞到正（小姐撞到鬼）); dir. Ann Hui (許鞍華), 1980
58. Old Well (老井); dir. Wu Tianming (吳天明), 1987
58. Made in Hong Kong (香港製造); dir. Fruit Chan (陳果), 1997
58. Rebels of the Neon God (青少年哪吒); dir. Tsai Ming-liang (蔡明亮), 1992
58. The Way We Are (天水圍的日與夜); dir. Ann Hui (許鞍華), 2008
58. No puedo vivir sin ti (不能沒有你); dir. Leon Dai (戴立忍), 2008
58. Blind Shaft (盲井); dir. Li Yang (李楊), 2003
66. Shaolin Soccer (少林足球); dir. Stephen Chow (周星馳), 2001
66. Eat Drink Man Woman (飲食男女); dir. Ang Lee (李安), 1994
66. Strawman (稻草人); dir. Wang Tung (王童), 1987
66. The Private Eyes (半斤八兩); dir. Michael Hui (許冠文), 1976
66. Drunken Master (醉拳); dir. Yuen Woo-ping (袁和平), 1978
66. Story of a Mother (母親三十歲); dir. Sung Tsun-shou (宋存壽), 1973
66. Zu: Warriors from the Magic Mountain (新蜀山劍俠); dir. Tsui Hark (徐克), 1983
73. In Our Time (光陰的故事); dir. Jim Tao (陶德辰), Edward Yang (楊德昌), Ko I-cheng (柯一正) & Chang Yi (張毅), 1982
73. Jade Love (玉卿嫂); dir. Chang Yi (張毅), 1984
73. Sun, Moon and Star (星星月亮太陽); dir. Yi Wen (易文), 1962
73. The One-Armed Swordsman (獨臂刀); dir. Chang Cheh (張徹), 1967
73. A Chinese Odyssey I-II (西遊記); dir. Jeff Lau (劉鎮偉), 1995
73. Summer Snow (女人・四十); dir. Ann Hui (許鞍華), 1995
73. A Borrowed Life (多桑); dir. Wu Nien-chen (吳念真), 1994
73. Platform (站台); dir. Jia Zhangke (賈樟柯), 2000
73. Summer Palace (頤和園); dir. Lou Ye (婁燁), 2006
73. Kekexili: Mountain Patrol (可可西里); dir. Lu Chuan (陸川), 2004
83. Blue Gate Crossing (藍色大門); dir. Yee Chih-yen (易智言), 2002
83. Not One Less (一個都不能少); dir. Zhang Yimou (張藝謀), 1999
83. Flowers of Shanghai (海上花); dir. Hou Hsiao-hsien (侯孝賢), 1998
83. Crazy Stone (瘋狂的石頭); dir. Ning Hao (寧浩), 2006
83. Hill of No Return (無言的山丘); dir. Wang Tung (王童), 1992
83. The River (河流); dir. Tsai Ming-liang (蔡明亮), 1997
83. He Never Gives Up (汪洋中的一條船); dir. Lee Hsing (李行), 1978
83. Boat People (投奔怒海); dir. Ann Hui (許鞍華), 1982
91. The Last Message (天才與白癡); dir. Michael Hui (許冠文), 1975
91. The Blue and the Black (藍與黑); dir. Doe Ching (陶秦), 1967
91. Two Stage Sisters (舞台姊妹); dir. Xie Jin (謝晉), 1965
91. Little Toys (小玩意); dir. Sun Yu (孫瑜), 1933
91. The Lin Family Shop (林家舖子); dir. Shui Hua (水華), 1959
91. Crossroads (十字街頭); dir. Shen Xiling (沈西苓), 1937
91. Police Story (警察故事); dir. Jackie Chan (成龍), 1985
91. Once Upon a Time in China (黃飛鴻); dir. Tsui Hark (徐克), 1991
91. The Hole (洞); dir. Tsai Ming-liang (蔡明亮), 1998
91. Devils on the Doorstep (鬼子來了); dir. Jiang Wen (姜文), 2000

"The Marketplace of Ideas" on Korean Cinema

http://www.theoneonefour.com/2011/01/27/the-marketplace-of-ideas-on-korean-cinema/

OKI'S MOVIE (Hong Sang-soo, 2010)

http://www.theoneonefour.com/2011/01/26/in-review-okis-movie-hong-sang-soo-2010/

2010 In Review

http://www.theoneonefour.com/2011/01/05/in-review-2010-in-film-and-television/

A PETAL (Jang Sun-woo, 1996)

http://www.theoneonefour.com/2010/11/25/in-review-a-petal-jang-sun-woo-1996/

In Review: THE SOCIAL NETWORK (David Fincher, 2010)

http://www.theoneonefour.com/2010/11/21/in-review-the-social-network-david-fincher-2010/

CHILSU AND MANSU (Park Kwang-su, 1988)

http://www.theoneonefour.com/2010/11/19/in-review-chilsu-and-mansu-park-kwang-su-1988/

IN REVIEW: HAHAHA (Hong Sang-soo, 2010)

http://www.theoneonefour.com/2010/10/23/in-review-hahaha-hong-sang-soo-2010/

Podcasts Review

http://www.theoneonefour.com/2010/10/15/top-5-film-podcasts/

Review of Pusan International Film Festival

http://www.theoneonefour.com/2010/10/12/in-review-2010-pusan-international-film-festival/

Preview: Pusan International Film Festival

http://www.theoneonefour.com/2010/09/19/preview-2010-pusan-international-film-festival/

Review of 2010 Chungmuro Film Festival

http://www.theoneonefour.com/2010/09/07/in-review-chungmuro-international-film-festival-in-seoul/

VAGABOND (Agnes Varda, 1985)

http://www.theoneonefour.com/2010/08/14/in-review-vagabond-agnes-varda-1985/

THE LAST METRO and THE STORY OF WOMEN

http://www.theoneonefour.com/2010/08/06/in-review-late-films-by-new-wave-directors-on-vichy-france/

Article on STREET SCENES 1970

I have just published an article on the 1970 collective film STREET SCENES 1970, which was produced and edited by Martin Scorsese while he was a part-time professor at NYU. STREET SCENES has been a largely forgotten piece of Scorsese's career, and this is the first full-length piece on the film and its production and reception. The article is in the latest issue of FILM HISTORY. It is available for download but only if you have a subscription. The journal is also found in most libraries.

The link is available here.

SECRET SUNSHINE

My article on Lee Chang-dong's SECRET SUNSHINE is currently available in the new issue of the on-line journal JUMP CUT.

http://www.ejumpcut.org/currentissue/RaymondSecretSunsh/index.html

Arthouse Momo

http://www.theoneonefour.com/2010/06/14/arthouse-momo-in-seoul/

Federico Fellini Retrospective at Seoul Cinematheque

http://www.theoneonefour.com/2010/06/07/federico-fellini-retrospective-at-the-seoul-cinematheque/

Korean Film History, Written and Filmed

A review of Darcy Paquet's book "New Korean Cinema: Breaking the Waves" and Jang Sun-woo's documentary The Cinema on the Road (1995):

http://www.theoneonefour.com/2010/06/04/in-review-korean-film-history-written-and-filmed/

THE HOUSEMAID (Im Sang-soo, 2010)

http://www.theoneonefour.com/2010/05/20/in-review-the-housemaid-im-sang-soo-2010/

POETRY (Lee Chang-dong, 2010)

http://www.theoneonefour.com/2010/05/17/in-review-poetry-lee-chang-dong-2010/

This Week in Cinema

Two posts about screenings this week in Seoul:

http://www.theoneonefour.com/2010/05/13/oscar-season-in-korea/

http://www.theoneonefour.com/2010/05/11/this-week-at-the-cinematheque-jiff-in-seoul/

Jeonju Film Festival Part Two

http://www.theoneonefour.com/2010/05/09/in-review-last-days-at-jeonju/

Jeonju Film Festival Report

http://www.theoneonefour.com/2010/05/04/in-review-weekend-screenings-at-jeonju/

Preview of Jeonju Film Festival

http://www.theoneonefour.com/2010/04/29/11th-jeonju-international-film-festival-april-29th-may-7th/

PAJU (Park Chan-ok, 2009)

http://www.theoneonefour.com/2010/04/18/in-review-paju-park-chan-ok-2009/

Article on THE KING OF COMEDY in FILM CRITICISM

In the current issue of FILM CRITICISM, I have an article on Martin Scorsese's THE KING OF COMEDY: "Too Smart, Too Soon: The King of Comedy and American Independent Cinema." The full article is only available in print version, but you can check out the abstracts of the current issue here.

Elia Kazan Retrospective

http://www.theoneonefour.com/2010/04/04/in-review-elia-kazan-retrospective/

The 12th International Women's Film Festival in Seoul

http://www.theoneonefour.com/2010/03/28/the-12th-international-womens-film-festival-in-seoul-april-8-15/

BARKING DOGS NEVER BITE (Bong Joon-ho, 2000)

http://www.theoneonefour.com/2010/03/21/in-review-barking-dogs-never-bite-bong-joon-ho-2000/

UP IN THE AIR (Jason Reitman, 2009)

http://www.theoneonefour.com/2010/03/15/in-review-up-in-the-air-jason-reitman-2009/

New at the Cinematheque

http://www.theoneonefour.com/2010/03/13/two-korean-films-this-week-at-the-seoul-cinematheque/

In Review: Paris, South Korea - The Influence of French Cinema on Korean Auteurs

New post at the oneonefour.com:

http://www.theoneonefour.com/2010/02/19/in-review-paris-south-korea-the-influence-of-french-cinema-on-korean-auteurs/

A GOOD LAWYER'S WIFE (Im Sang-soo, 2003)

New review:

http://www.theoneonefour.com/2010/02/11/in-review-a-good-lawyers-wife-im-sang-soo-2003/

THE NIGHT OF THE HUNTER (Charles Laughton, 1955)

New Review at theoneonefour.com:

http://www.theoneonefour.com/2010/02/04/in-review-the-night-of-the-hunter-charles-laughton-1955/#more-5669

HAPPY END (Chung Ji-woo, 1999)

Review of Happy End at the oneonefour.com:

http://www.theoneonefour.com/2010/01/20/in-review-happy-end-chung-ji-woo-1999/

Friends of Cinematheque Film Festival

Link to a preview of the upcoming Cinematheque Friends program:

http://www.theoneonefour.com/2010/01/13/the-5th-friends-of-the-cinematheque-film-festival/

3 IRON (2004); THE CASE OF ITAEWON HOMICIDE (2009)

An article discussing two Korean films at theoneonefour.com:

http://www.theoneonefour.com/2010/01/06/in-review-korean-cinema-high-and-low/

THE HUSTLER (Robert Rossen, 1961)

When I first became interested in film, I would routinely watch my favorites many times. This was the mid-90s, and thus most of the films I've seen dozens of times come from this era: Miller's Crossing (1990), Reservoir Dogs (1992), Heat (1995), Casino (1995), etc. But there were also many classic films that obsessed me, usually noir, Hitchcock, or Bogart: The Third Man (1949), Rear Window (1954), The Maltese Falcon (1941), etc. Since coming to Seoul, I've had a few occasions to revisit these old VHS memories on the big screen, which can be like experiencing them for the first time. On Sunday at the Seoul Cinematheque, I was able to revisit another of my old beloved classics, Robert Rossen's The Hustler (1961). It was easily one of the best experiences I've had at the theatre, and vaulted the film to near the top of my best films list. I thought I would try to articulate both my passion for this film and try to defend my high esteem for it. (SPOILERS ahead)

In terms of context, The Hustler was made in 1961, at a time when the old studio system was fading, and bares the marks of this period. Although essentially a gritty noir drama, it is shot in widescreen, making great use of this extended frame. In terms of its content, it is highly doubtful the movie gets made under the more strictly enforced Production Code of the 1940s. There is a greater frankness here, a feeling that this is an adult drama but still as subtle and restrained as classical filmmaking at its best. Furthermore, 1961 marks the year after Dalton Trumbo was the first blacklisted writer to officially return to Hollywood by receiving writing credit for Exodus (1960) and Spartacus (1960). This is significant in terms of the thematic harshness on display in The Hustler. It is not overtly political, but certainly would have cast suspicions on its director had it been released in the 1950s. In fact, director Rossen was called before HUAC before eventually "naming names" in 1953 in order to return to work. Viewed in this light, The Hustler is both a return to the social realm of Rossen's earlier work (particularly 1947's Body and Soul, another noir film using sports as metaphor) and even a self-critical comment by Rossen on his betrayal. This is why the blacklist context increases my appreciation of this film, as compared to Elia Kazan's self-justifying On the Waterfront (1954).

The story of The Hustler is structured into a very tight, very classical progression while feeling very loose and rambling, conveying an art cinema level of verisimilitude. After a seven-minute cold opening, itself a characteristic that marks it as slightly post-classical, we get the title sequence and then enter the Ames poolroom. The next 30 minutes, consisting of the first act, is made up of a pool match between Fast Eddie Felson (Paul Newman) and Minnesota Fats (Jackie Gleason).


This is the most extended sports scene in the film, and, unusually, it takes place as the first act rather than the conclusion. Following this, the second act shows Eddie living in the transitory noir spaces of bus stations, bars, pool rooms, and seedy hotels (all filmed on location in New York City).


He meets the damaged and alcoholic Sarah (Piper Laurie) and develops a romance with her. For many, this romance is the major weakness of the movie, even amongst its admirers, but I enjoy this aspect as much as the rest. Laurie's performance here is right on the edge, at times heavily melodramatic and thus potentially off-putting but ultimately exactly the kind of high emotion needed. The theatrical gestures can seem overdone, especially in the close-up lens of the camera, but Sarah is herself a performative character acting a role while also trying to live it.


At the mid-point of the second act (and of the film as a whole), there is a turning point. Eddie rejects his old partner Charlie, fights with Sarah, rejects a business offer from the gambler Bert Gordon (George C. Scott), and gets his thumbs broken after hustling money in a back alley pool game. In this castrated state, Eddie starts to become more thoughtful and reflective, no more so than in a picnic scene in the country with Sarah. After explaining how he was bothered by being called a loser by Gordon, he goes on to explain his love of the game. However, he still hasn't achieved any self-knowledge at this point, continuing to allow others, especially Gordon, determine his value.

After recovering, he agrees to work with Gordon, beginning the final act as Eddie, Sarah and Gordon travel to Louisville during Kentucky Derby weekend so Eddie can play a billiards match with the aristocratic Findley. It is here where the climax occurs, as Eddie is losing to Findley and begging Gordon to keep playing.

Sarah tells Eddie not to beg him, but Eddie coldly rejects her. After this display of "character", Gordon tells Eddie he can keep playing, and he easily defeats Findley. Back at the hotel, Sarah degrades herself with Gordon and then commits suicide in his bathroom.


The denouement finds Eddie back at Ames to defeat Minnesota Fats and confront Gordon. In contrast to the opening, the pool game is almost perfunctory, with Eddie now easily winning. He rejects Gordon's offer to keep playing pool for him, and leaves he game completely.

But not before a memorable exchange with Minnesota Fats:

Eddie: Fat man, you should a great game of pool.
Minnesota Fats: So do you, Fast Eddie.

The Hustler is very much a character study of Felson, and it is difficult to imagine anyone else playing the role more effectively than Newman,. In later years, in interviews, Newman admitted to disliking the performance, finding a lack of the kind of understatement that would more and more define with later career. And while that subtlety works with the characters in The Verdict (1982) and Nobody's Fool (1994), I disagree with Newman and think it would not work at all with this film and this character. I think Newman's reservations, like those critics who dislike the character of Sarah, revolves around the distrust of the large emotions of melodrama. This is a film of large gestures and large themes that seem to clash with the more realistic elements that most critics tend to valourize. For example, take the following shot of Eddie just before he collapses after his loss to Minnesota Fats.

Both the scene and Newman's performance can appear, as Newman put it, as someone playing the violin too hard and producing a shriek. But so few films try for this type of intensity that I admire the film all the more for it, especially since the moments are earned and take place within a believable if stylized world.

If some criticize Laurie and Newman, no one I know has anything but positives for the third lead, George C. Scott, an actor often seen as "too big" for the movies and thus most effective when given scenery to chew (Dr. Strangelove, Patton). This is a magnificent performance, big and broad and yet utterly grounded. Maybe his best moment is his most atypical, as he tries to explain to Eddie about Sarah's suicide and then sobs in tears as Eddie attacks him.


The final confrontation between Gordon and Felson thus already feels like a more equal grounding, as if Eddie has learned something and Gordon has finally felt something. Equally good in this final scene, and throughout, is Jackie Gleason as Minnesota Fats. Although it is never explicitly stated, both Gleason's performance and Rossen's direction tell us an entire back story to this man.

Clearly, he has sold out to Gordon and recognizes everything Eddie says to Gordon to be accurate. By situating a sitting Minnesota Fats between the two men, Rossen is making the stakes involved for Eddie very clear. Thus the final great exchange between Fats and Eddie cited above is not only redemptive for Eddie, but for Fats as well, and Gleason's look and gesture convey this beautifully.

I want to conclude by recalling the political context and also remembering that this is a sports movie. I would call it maybe the greatest movie about sports, even if pool is not usually considered a sport but rather a game. I think it is a great sports movie because it gets at something at the heart of competition and its relationship with masculinity and capitalism. The desire to win, the desire to prove one's manhood, and the desire to make money are all corrupting of human relationships and corrupting of whatever value sports can have (if there is any, which is debatable). Eddie's speech about pool is touching not because he talks about winning, but because it is about "playing the game right" and earning self-respect. Eddie's tragedy is not realizing this until he has lost everything. Perhaps Rossen identified with this himself, having sold his soul to the Bert Gordons of HUAC and the studios to keep making money. He spent the 50s making largely forgettable spectacles. Now that the blacklist had started to clear, making The Hustler proved a certain redemption for him as well.

2009 In Review

Normally I wait until March to compile a review of the year's movies, since by January I normally haven't enough films. But thanks to festivals and the internet, I have already seen over 40 films this year. So although there are a few prominent omissions, most notably Jason Reitman's Up in the Air, I thought I would rank the films I have seen so far.

5 Stars

The White Ribbon
Face
Lost in the Mountains

4 1/2 Stars

Dogtooth
A Lake
Like You Know It All
Inglourious Basterds
The Hurt Locker

4 Stars

Humpday
Drag Me to Hell
District 9
Adventureland
Butterflies Have No Memories
The Cove
Daytime Drinking
In the Loop
The Fantastic Mr. Fox
The Girlfriend Experience
Anvil! The Story of Anvil
Goodbye Solo
Mother

3 1/2 Stars

Funny People
The Brothers Bloom
(500) Days of Summer
Thirst
Persecution
The Hangover
World's Greatest Dad
Avatar
Night and Fog
Bruno
I Love You Man
A North Chinese Girl

3 Stars

Tyson
Anti-Christ
Hierro
Closer to Heaven
Koma

2 1/2 Stars

Halloween II

2 Stars

Where Are You?

1 1/2 Stars

Dust

Classic Hollywood at the Seoul Cinematheque

http://www.theoneonefour.com/2009/12/20/hollywood-classic-special-at-seoul-cinematheque/

Jean Cocteau/ Jean Genet Special at the Seoul Cinematheque

http://www.theoneonefour.com/2009/12/15/jean-cocteau-jean-genet-special-at-the-seoul-cinematheque/

MY DEAR ENEMY (Lee Yoon-ki, 2008)

New Review:

http://www.theoneonefour.com/2009/12/13/my-dear-enemy-lee-yoon-ki-2008/