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IndieWIRE Critics: Summer Hours Best of 2009, Mulholland Dr. Best of Decade

Posted by Eric Lavallee on Dec 22, 2009
Source: IndieWIRE.com

I'm a huge fan of lists, especially those that include year end picks from film critic peers that I admire and respect. If there was an French version of IndieWIRE I'm sure their group of critics would be voting the same way as Olivier Assayas' The Summer Hours beat The Hurt Locker and A Serious Man by a nose as the Best Picture of the Year, and a film that took me a couple of tries to acknowledge it as genius in David Lynch's Mulholland Drive was claimed tops of the 00's over my favorite of the decade, WKW's In the Mood for Love. IndieWIRE have put together a great "critics" system over the course of the past year, which will only get better with time. It certainly rivals metacritic.com -- what I normally would refer to when I want a consensus vote. I suggest you take a look at the multiple categories they have this year including, the Best Undistributed Film chart.

Best Film of Year Indiewire Poll Summer Hours

I'm currently putting my own top 50 of the decade list, but with a good twenty-five titles on a must see/haven't seen list - (its the more obscure titles that I have trouble getting a hold of), I figured I would have found the time between the moment I thought about putting something like this together in February, and now, when just about everyone knows their top 20, 25 and 50 like the back of their hands, I'm realizing this ain't going to happen anytime soon. So in the mean time, I put together a top 10 here, which I think is safe from any further alterations, and I'll launch my own hopefully before the snow melts next year. For the record, I admired Before Sunset and think its one of the better sequels since they started making part twos, but number 7? Really?  

Best Film of Decade Indiewire Poll Mulholland Drive



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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