Das American Film Institute präsentiert die besten Filme 2007!
Das AFI hat ja bereits seine Top 10 Liste für das Jahr 2007 präsentiert (welche jedes Jahr ohne Reihung veröffentlicht wird), und nach dem die Filme nun beehrt wurden, gibt es hier noch einmal eine vollständige Liste mit einem kurzen Text zum Film:
AFI MOVIES OF THE YEAR ~ 2007
BEFORE THE DEVIL KNOWS YOU’RE DEAD
BEFORE THE DEVIL KNOWS YOU’RE DEAD is a film that races with the pulse of a young filmmaker, but is constructed with the depth and maturity of an American master at the top of his game. Sidney Lumet’s dark and intricate tale takes place in a world you will not want to enter, but the powerful screenplay by Kelly Masterson grabs you and won’t let go. The film is a grand opera of immorality and is staged exquisitely by Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei and Albert Finney, whose performances fuse to form a diamond that sparkles with the dazzlement of dysfunction.
THE DIVING BELL AND THE BUTTERFLY
THE DIVING BELL AND THE BUTTERLY is a soaring cinematic achievement, one where the transportive nature of film takes us inside the mind of a paralyzed protagonist. Director Julian Schnabel astounds in his fusion of poetry, humor and profound humanity to examine the struggle from inside the mind as the character reaches for the impossible. Janusz Kaminski’s brilliant cinematography illuminates the film’s commanding point of view, visually enveloping the audience in the deeply emotional, but remarkably unsentimental screenplay by Ronald Harwood. Adapted from an extraordinary true story, the film challenges us to look into a mirror, appreciate the fragility of our own lives and marvel at the power of the mind.
INTO THE WILD
INTO THE WILD is a vast journey across America - and deep inside oneself. Writer/director Sean Penn’s sensitive adaptation and expansive direction brilliantly captures the exuberance and idealism of youth - and the danger of pushing love away. The story lives in the eyes of Emile Hirsch, the warm smile of Catherine Keener, and the luminous spirit of Hal Holbrook. INTO THE WILD celebrates the dreamer in all of us - and the danger of dreaming alone.
Deep inside JUNO is the tiny but true heartbeat of American film. Director Jason Reitman has an extraordinary control of tone, shifting sympathies and a clear respect for the fully realized characters created by screenwriter Diablo Cody. The result is a surprise in almost every scene as cliches are upended and life is celebrated at every turn. Ellen Page delivers the breakthrough performance of the year - one that embodies the comedy inherent in being a misfit and the strength that comes when facing life’s biggest challenges.
KNOCKED UP delivers the funniest, freshest comedy of the year. Writer/director Judd Apatow stretches the boundaries of romantic comedies by introducing one of American film’s most unlikely pairings, and then brilliantly crafts a story where moment by moment, laugh by laugh - the couple embrace each other - and the audience - in a world of humor and heart. The film marks a star turn for Katherine Heigl, who lights up the screen with every smile.
MICHAEL CLAYTON is pulse-quickening entertainment for both the heart and mind. Driven by a screenplay that ranks among the finest in American film, Tony Gilroy’s film astounds at every turn - each word, each scene resonating beyond their literal meanings. George Clooney shines as one of the great actors of his generation, adding a dimension to his movie star persona that harkens back to the classic roles of Humphrey Bogart - still and silent, dark and deep. Extraordinary supporting roles by Tom Wilkinson and Tilda Swinton add humor and horror to the riddles posed throughout the plot, and when the answers begin to arrive, no one is safe at the film’s surprising and spectacularly satisfying end.
NO COUNTRY FOR OLD MEN
NO COUNTRY FOR OLD MEN breathes new life - and death - into the classic American western. Joel and Ethan Coen construct the film like a steel trap, one that springs and snaps with a ferocity seldom seen in the movies. The film features a killer combination of acting talent - Josh Brolin, Tommy Lee Jones and Javier Bardem, who creates and then unleashes one of the great screen villains of our time. Driven by heart-stopping tension and pacing, the Coen Brothers’ masterful juxtaposition of savagery and innocence is a powerful tale of morality in a bleak world where a life can end with the flip of a coin.
RATATOUILLE is a soaring, sumptuous feast for all who love the movies. Writer/director Brad Bird continues to define himself as one of the great filmmakers of our generation, this time with the inspiring tale of a rat who aspires to be a chef. This animated gem creates environments that are so fully realized, so rich with detail, that both young and old alike will feel as though their passports have been stamped and their palates sated. At the film’s significant heart, is the relationship of artist and critic - and to celebrate their union here, AFI raises a glass of a fine French cabernet to RATATOUILLE.
THE SAVAGES paints an intimate portrait of America’s emotional future. Writer/director Tamara Jenkins’ richly detailed character study beautifully captures the complexity of a sibling relationship and the struggle to deal with an aging parent. Laura Linney and Philip Seymour Hoffman - two of our finest actors - portray people at an awkward moment in their lives who step backward into their heart and heroism. Intelligent and entertaining, funny and yet rigorously unsentimental, THE SAVAGES places our destiny firmly in the hands of talented artists, and, ultimately, proves the power of film in bringing us all together to celebrate life.
THERE WILL BE BLOOD
THERE WILL BE BLOOD is bravura filmmaking by one of American film’s modern masters. Paul Thomas Anderson’s epic poem of savagery, optimism and obsession is a true meditation on America. The film drills down into the dark heart of capitalism, where domination, not gain, is the ultimate goal. In a career defined by transcendent performances, Daniel Day-Lewis creates a character so rich and so towering, that “Daniel Plainview” will haunt the history of film for generations to come.