Keep in mind that I haven't seen EVERY film released in 2004, which is why people can add to it or put their own .02 in. But here are my selections.
HIGHLIGHTS
HERO
Technically, this film was released in 2002, but sat on the shelf until Miramax decided to put it out for the U.S., but it nevertheless remains my pick for film of the year. Taking place in pre-Unified China, the story revolves around the convoluted and fluxing accounts of a local prefect's conquest of three legendary anti-unification assassins bent on killing the King of Qin. Although it uses the same technical feats of Crouching Tiger, Hidden Dragon, this film surpasses its companion piece with incredible depth and heart working in sync with its brilliant style and not under it.
DAWN OF THE DEAD
Romero's gory 1978 satirical masterpiece has been re-interpreted into a more violent yet equally qualified version. Replacing the comedy with violence and the commentary with light nihilism, this remake once again revolves around scattered survivors taking refuge from a global zombie plague, but this time, the zombies are viscious bloodthirsty savages who take all the fun out of the end of the world by making a much more dangerous and bleak place. Traditionalists may dislike the new direction, and the performances are weak for the caliber of the cast, but the experience is much more visceral and satisfying than most horror films today.
TOUCHING THE VOID
A seemingly conventional documentary about a horrifying ordeal befalling two mountaineers in the Andes in 1985 breaks free of its PBS-style convention and pulls the viewer into the horror first hand. The two climbers recall the events of the climb and give insight into the process of climbing, and continue to keep their objective voice as the story involves a horrifying injury that leaves one of them left on the mountain to die. Absolutely spectacular. Watch the bonus featurettes to see how a reunion and revisit to the mountain for the film doesn't go as pleasantly as planned.
The PASSION of the CHRIST
It may be historically inaccurate and hold back on the discrepancies of the gospels, but this controversial and idealized film about the death of Jesus is masterfully made. Mel Gibson may like to occasionally wallow in superfluous slow-motion, but his framing, coloring and direction are dynamite. Virtually every frame of this film resembles a Rembrant painting and the use of authentic languages without subtitles diminishes the exploitative elements caused by the slightly excessive violence and extremely gimmicky villainy of all non-apostle characters. Some of the colors may not translate well to TV.
THE BOURNE SUPREMACY
Finally, the sequel to the 2001 film detailing the adventure of amnesiac black ops assassin Jason Bourne as he tries to learn his true identity while gloriously kicking the shit out of the operatives sent to kill him. After being framed for an assassination, Bourne goes after the CIA for coming after him and killing his lover in the process. While the story seems a little thatched together, the film is much tighter, faster, and more interesting than its earlier installment, and most certainly darker; Matt Damon shows his chops playing Bourne as a more unstable and angrier man than before; tormented by the memories of what he has done. Most of the ass-kicking is gone, but in its place is one of the best car chases filmed since Bullitt.
ALSO WORTH WATCHING THIS YEAR
Friday Night Lights
The Incredibles
Dodgeball: A True Underdog Story
Highwaymen
The House of Flying Daggers
Sideways
The Polar Express
Collateral
The Spongebob Squarepants Movie
Team America: World Police
Man on Fire
Coffee and Cigarettes
Shrek 2
Kill Bill vol.2
Lemony Snicket's A Series of Unfortunate Events
I (Heart) Huckabee's
Sky Captain and the World of Tomorrow
Hellboy
HIGHLIGHTS
HERO
Technically, this film was released in 2002, but sat on the shelf until Miramax decided to put it out for the U.S., but it nevertheless remains my pick for film of the year. Taking place in pre-Unified China, the story revolves around the convoluted and fluxing accounts of a local prefect's conquest of three legendary anti-unification assassins bent on killing the King of Qin. Although it uses the same technical feats of Crouching Tiger, Hidden Dragon, this film surpasses its companion piece with incredible depth and heart working in sync with its brilliant style and not under it.
DAWN OF THE DEAD
Romero's gory 1978 satirical masterpiece has been re-interpreted into a more violent yet equally qualified version. Replacing the comedy with violence and the commentary with light nihilism, this remake once again revolves around scattered survivors taking refuge from a global zombie plague, but this time, the zombies are viscious bloodthirsty savages who take all the fun out of the end of the world by making a much more dangerous and bleak place. Traditionalists may dislike the new direction, and the performances are weak for the caliber of the cast, but the experience is much more visceral and satisfying than most horror films today.
TOUCHING THE VOID
A seemingly conventional documentary about a horrifying ordeal befalling two mountaineers in the Andes in 1985 breaks free of its PBS-style convention and pulls the viewer into the horror first hand. The two climbers recall the events of the climb and give insight into the process of climbing, and continue to keep their objective voice as the story involves a horrifying injury that leaves one of them left on the mountain to die. Absolutely spectacular. Watch the bonus featurettes to see how a reunion and revisit to the mountain for the film doesn't go as pleasantly as planned.
The PASSION of the CHRIST
It may be historically inaccurate and hold back on the discrepancies of the gospels, but this controversial and idealized film about the death of Jesus is masterfully made. Mel Gibson may like to occasionally wallow in superfluous slow-motion, but his framing, coloring and direction are dynamite. Virtually every frame of this film resembles a Rembrant painting and the use of authentic languages without subtitles diminishes the exploitative elements caused by the slightly excessive violence and extremely gimmicky villainy of all non-apostle characters. Some of the colors may not translate well to TV.
THE BOURNE SUPREMACY
Finally, the sequel to the 2001 film detailing the adventure of amnesiac black ops assassin Jason Bourne as he tries to learn his true identity while gloriously kicking the shit out of the operatives sent to kill him. After being framed for an assassination, Bourne goes after the CIA for coming after him and killing his lover in the process. While the story seems a little thatched together, the film is much tighter, faster, and more interesting than its earlier installment, and most certainly darker; Matt Damon shows his chops playing Bourne as a more unstable and angrier man than before; tormented by the memories of what he has done. Most of the ass-kicking is gone, but in its place is one of the best car chases filmed since Bullitt.
ALSO WORTH WATCHING THIS YEAR
Friday Night Lights
The Incredibles
Dodgeball: A True Underdog Story
Highwaymen
The House of Flying Daggers
Sideways
The Polar Express
Collateral
The Spongebob Squarepants Movie
Team America: World Police
Man on Fire
Coffee and Cigarettes
Shrek 2
Kill Bill vol.2
Lemony Snicket's A Series of Unfortunate Events
I (Heart) Huckabee's
Sky Captain and the World of Tomorrow
Hellboy
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