American Cinematographer's Fifty Best Shot Films of the Decade

[Ezee E]

Link (http://www.movieline.com/2010/06/was-amelie-really-the-best-shot-film-of-the-last-decade.php)



1. Amélie: Bruno Delbonnel, ASC, AFC (2001)
2. Children of Men: Emmanuel Lubezki, ASC, AMC (2006)
3. Saving Private Ryan: Janusz Kaminski (1998)
4. There Will Be Blood: Robert Elswit, ASC (2007)
5. No Country for Old Men: Roger Deakins, ASC, BSC (2007)
6. Fight Club: Jeff Cronenweth, ASC (1999)
7. The Dark Knight: Wally Pfister, ASC (2008)
8. Road to Perdition: Conrad L. Hall, ASC (2002)
9. Cidade de Deus (City of God): César Charlone, ABC (2002)
10. American Beauty: Conrad L. Hall, ASC (1999)

The remaining selections are below. Biggest omission? Probably Peter Deming’s contributions to Mulholland Drive, right? Only one Robert Elswit film seems a pretty grave oversight as well, considering Good Night and Good Luck, Magnolia and even the underrated Punch-Drunk Love. But then he also shot Gigli, so you tell me.

11. The Assassination of Jesse James by the Coward Robert Ford (Deakins)
12. Tie: In the Mood for Love (Christopher Doyle, HKSC, and Mark Li Ping-bin) and Pan’s Labyrinth (Guillermo Navarro, ASC)
13. The Lord of the Rings trilogy (Andrew Lesnie, ASC, ACS)
14. Eternal Sunshine of the Spotless Mind (Ellen Kuras, ASC)
15. Gladiator (John Mathieson, BSC)
16. The Matrix (Bill Pope, ASC)
17. The Thin Red Line (John Toll, ASC)
18. The Diving Bell and The Butterfly (Kaminski)
19. Slumdog Millionaire (Anthony Dod Mantle, BSC, DFF)
20. Tie: Eyes Wide Shut (Larry Smith, BSC) and Requiem for a Dream (Matthew Libatique, ASC)
21. Kill Bill (Robert Richardson, ASC)
22. Moulin Rouge (Donald M. McAlpine, ASC, ACS)
23. The Pianist (Pawel Edelman, PSC)
24. Hero (Doyle)
25. Black Hawk Down (Slawomir Idziak, PSC)
26. O Brother, Where Art Thou? (Deakins)
27. Babel (Rodrigo Prieto, ASC, AMC)
28. Lost In Translation (Lance Acord, ASC)
29. Crouching Tiger, Hidden Dragon (Peter Pau, HKSC)
30. The Curious Case of Benjamin Button (Claudio Miranda, ASC)
31. The Man Who Wasn’t There (Deakins)
32. The New World (Lubezki)
33. Sin City (Robert Rodriguez)
34. Atonement (Seamus McGarvey, ASC, BSC)
35. Munich (Kaminski)
36. The Prestige (Pfister)
37. Memoirs of a Geisha (Dion Beebe, ASC, ACS)
38. The Aviator (Richardson)
39. Zodiac (Harris Savides, ASC)
40. The Insider (Dante Spinotti, ASC, AIC)
41. Gangs of New York (Michael Ballhaus, ASC)
42. Tie: Brokeback Mountain (Prieto) and The Fountain (Libatique)
43. The Fall (Colin Watkinson)
44. The Passion of the Christ (Caleb Deschanel, ASC)
45. Snow Falling on Cedars (Richardson)
46. House of Flying Daggers (Xiaoding Zhao)
47. Sky Captain and the World of Tomorrow (Eric Adkins)

[B-side]

Yeah, I'm not thrilled with it.

[Ezee E]

A solid top ten. I'll have to think about it myself, but fairly sure I'd have half of those in there.

[megladon8]

Nice to see Wally Pfister getting some props. The man is a brilliant artist.

[B-side]

The Dark Knight in the top 10 is pretty confusing.

[Spinal]

Antichrist, bitches.

[B-side]

Antichrist, bitches.

That's a major omission.

[Watashi]

Speed Racer, bitches.

[baby doll]

I pretty much stopped reading after Amélie. I was like, "Okay, they're defining 'best shot' as the slickest, most professional-looking cinematography, and I don't need to take this seriously."

[Ezee E]

One of Gus Van Sant's movies should be listed on here. Preferbly Elephant, but Last Days, and Gerry were all shot great.

[Raiders]

Antichrist, bitches.
It's 1998 - 2008 and Von Trier's film is 2009.

[Boner M]

I pretty much stopped reading after Amélie. I was like, "Okay, they're defining 'best shot' as the slickest, most professional-looking cinematography, and I don't need to take this seriously."
Pretty much.

[number8]

What a stupid list.

[MacGuffin]

Yep, awful list. By the way, is it choose the sluttiest looking Lady GaGa avatar week on Match Cut?

[Sven]

Gigli was certainly shot well.

[Arthur Seaton]

I pretty much stopped reading after Amélie. I was like, "Okay, they're defining 'best shot' as the slickest, most professional-looking cinematography, and I don't need to take this seriously."

Dude, are you always this douche-y?

[Sven]

Dude, are you always this douche-y?

Well, he has a point. I did the same thing.

[number8]

I didn't stop reading, but that's a really shitty #1 choice.

[Derek]

Yeah, I read through the list, but agree with baby doll's sentiments. This is about as safe and dull a list like this could be.

[Spinal]

I'm really confused by the time frame used here. An 11-year span beginning with 1998. OK, whatever.

[Arthur Seaton]

Well, he has a point. I did the same thing.

It's a tone thing with baby doll. You're cool.

[Ezee E]

I'm really confused by the time frame used here. An 11-year span beginning with 1998. OK, whatever.
I figured it was postdated, but it isn't.

We should keep in mind that this magazine is also written with technology and gadgets in mind, hence the results that you see.

[D_Davis]

Well, he has a point. I did the same thing.

Pretty much.


Glad to see Peter Pau on there, though.

[Arthur Seaton]

Pretty much.


And Davis, you are even cooler than Sven. You like ska.

[Spun Lepton]

"Okay, they're defining 'best shot' as the slickest, most professional-looking cinematography..."

:|

[Derek]

:|

Again, I don't see what's wrong with what baby doll said aside from the tone perhaps. Great cinematography does not equal "slick" and this list tends to equate purty, eye-popping pictures with greatness. If you're taking offense to the "professional-looking" part of his comment, I don't think he's arguing for more amateurish cinematography to be recognized, but cinematography that serves and raises the material rather than simply looking pretty by creating a glossy image.

[Spinal]

I dunno, I think the cinematography in Amelie certainly elevates the material. #1 might be a bit high, but I don't have a problem with it being there.

[Watashi]

I tried to come up with a Top 10 of the decade, but I couldn't do it. It's just way too hard. There are so many worthy candidates. It's hard to single out a "best". Road to Perdition would be up there though.

[MacGuffin]

I tried to come up with a Top 10 of the decade, but I couldn't do it. It's just way too hard. There are so many worthy candidates. It's hard to single out a "best". Road to Perdition would be up there though.

Are we only including American films? If so, I may be able to come up with something.

[MacGuffin]

My list is better:

The 10 Best Shot American Films of the Naughts (Based on Aesthetic Value and Historical Significance)

1. Mulholland Drive
2. Lost in Translation
3. Zodiac
4. I'm Not There
5. Miami Vice
6. The Limits of Control
7. No Country for Old Men
8. Inland Empire
9. There Will Be Blood
10. Public Enemies

[BuffaloWilder]

Dude, are you always this douche-y?

Yes. Yes, he is.

There's no poster on here who can sap all the fun and enjoyment out of watching movies like baby doll, I've found.

:P

[BuffaloWilder]

Top Ten (from '98 to '08):

1. There Will Be Blood
2. Children of Men
3. The Fall
4. Happy Feet
5. The Assasination of Jesse James By the Coward Robert Ford
6. Fear and Loathing In Las Vegas
7. The Dark Knight
8. Collateral
9. A.I. Artificial Intelligence
10. Primer

[Sven]

There's no poster on here who can sap all the fun and enjoyment out of watching movies like baby doll, I've found.

Man. Why type things like this, where he can read them? How mean have we become?

I certainly hope baby doll sticks around.

[BuffaloWilder]

Man. Why type things like this, where he can read them? How mean have we become?

I certainly hope baby doll sticks around.

I'll add a smiley.

I'm only a quarter serious. It's all Hal Hartley's fault.

Who loves ya, baby doll

[MacGuffin]

Yeah, BuffaloWilder that was a twat thing to do. If it wasn't for baby doll as sooriyakumaran and his compellingly academic shenanigans on RT several years back, I don't think I'd be the cinema fan I am today.

[Watashi]

Are we only including American films? If so, I may be able to come up with something.
No...

[MacGuffin]

No...

Well, check the last post on the first page for my list of the best shot American films of the naughts. Maybe I'll do an international list some other time.

[BuffaloWilder]

Yeah, BuffaloWilder that was a twat thing to do. If it wasn't for baby doll as sooriyakumaran and his compellingly academic shenanigans on RT several years back, I don't think I'd be the cinema fan I am today.


I wasn't being serious. I mean c'mon, does that not even sound even a little bit OTT?

[MacGuffin]

I wasn't being serious. I mean c'mon, does that not even sound even a little bit OTT?

What's OTT?

[Fezzik]

TBH, I don't usually agree with baby doll's assessments, but I think he's kinda got this one pegged. It just doesn't seem like much thought was put into this, or much research.

How do I know this? I've seen most of these movies, and I'm sure there are tons of better shot films out there I've simply not been made aware of.

For what its worth, some from the 12-50 range kick the crap out of most of the top 10 in terms of cinematography - at least as far as my own personal opinion carries.

Out the 50 they listed, this is my personal top 10:

1. In the Mood for Love
2. Saving Private Ryan
3. Road to Perdition
4. There Will Be Blood
5. Crouching Tiger, Hidden Dragon
6. Pan’s Labyrinth
7. Zodiac
8. The Prestige
9. The Thin Red Line
10. The Assassination of Jesse James by the Coward Robert Ford

[number8]

I wasn't being serious. I mean c'mon, does that not even sound even a little bit OTT?

I think it's hilarious that you keep putting your responses in spoiler text. As if it would be spoiling the conversation if you don't hide your admittance of not-really-seriousness. Good show.

[NickGlass]

I feel like I'm missing out because I really, really do not get the appeal of Pfister's cinematography in Nolan's Batman films. The Prestige, sure, I understand (if only for a few scenes--the cinematography was the only striking aspect of the film for me), but the calculated approach to "gritty" undermines the actual grittiness he's attempting to evoke (at least in Batman Begins).

[Pop Trash]

Public Enemies wasn't shot particularly well. Mostly I had problems with the framing (camera all up in Johnny Depp's grill, ugh) which is more Mann's fault than the cinematographer, but still.

Also your list needs more The New World and The Assassination of Jesse James. George Washington too.

EDIT: This is directed at Clipper's list.

[Boner M]

Remember Cinematography Fan from RT? Man, that guy was a douchebag.

[Fezzik]

I feel like I'm missing out because I really, really do not get the appeal of Pfister's cinematography in Nolan's Batman films. The Prestige, sure, I understand (if only for a few scenes--the cinematography was the only striking aspect of the film for me), but the calculated approach to "gritty" undermines the actual grittiness he's attempting to evoke (at least in Batman Begins).


Agreed. Then again, I think most things about that film were overrated, so maybe I'm biased.

[Philosophe_rouge]

Remember Cinematography Fan from RT? Man, that guy was a douchebag.

I just remember the shot from Scenes from a Marriage, with big red circles from where the cinematographer "screwed up".

[MacGuffin]

Public Enemies wasn't shot particularly well. Mostly I had problems with the framing (camera all up in Johnny Depp's grill, ugh) which is more Mann's fault than the cinematographer, but still.

Also your list needs more The New World and The Assassination of Jesse James. George Washington too.

EDIT: This is directed at Clipper's list.

Okay, maybe two Michael Mann films is pushing it, but I really liked the novelty behind using a modern digital camera to shoot a Depression-era movie.

[megladon8]

I feel like I'm missing out because I really, really do not get the appeal of Pfister's cinematography in Nolan's Batman films. The Prestige, sure, I understand (if only for a few scenes--the cinematography was the only striking aspect of the film for me), but the calculated approach to "gritty" undermines the actual grittiness he's attempting to evoke (at least in Batman Begins).


He wasn't going for "gritty" with Batman Begins, though.

The Dark Knight yes, but not the first movie.

[megladon8]

Man. Why type things like this, where he can read them? How mean have we become?

I certainly hope baby doll sticks around.


While I wouldn't say anything outright mean to/about baby doll, I don't see how anyone could deny that he can be quite condescending at times.

Disagreeing with someone is fine, but tacking some flippant remark like "well, I guess there's no accounting for taste" is not indicative of someone being friendly.

I have no problem with people whose opinions tend to be contrary to the norm. That would be silly. But the posturing is a little much.

[BuffaloWilder]

I think it's hilarious that you keep putting your responses in spoiler text. As if it would be spoiling the conversation if you don't hide your admittance of not-really-seriousness. Good show.

Well - yeah.

[MacGuffin]

I've always looked at BuffaloWilder as E.E. Cummings, Jr. No offense, BuffaloWilder.

[number8]

Well - yeah.

Fuck you.

Fuck you.

[BuffaloWilder]

I've always looked at BuffaloWilder as E.E. Cummings, Jr. No offense, BuffaloWilder.

Uh - I like his plays, I guess.

[BuffaloWilder]

Fuck you.

Fuck you.

:pritch:

[NickGlass]

He wasn't going for "gritty" with Batman Begins, though.

The Dark Knight yes, but not the first movie.

Okay, then just swap out the titles in my previous post. What was he going for in Batman Begins, then? I just remember it being grainy, unfocused, vague, and very dimly lit.

[BuffaloWilder]

Okay, then just swap out the titles in my previous post. What was he going for in Batman Begins, then? I just remember it being grainy, unfocused, vague, and very dimly lit.

Urban visual mythologization.

[D_Davis]

I think Collateral is wonderfully shot.

[MacGuffin]

I think Collateral is wonderfully shot.

I think it's very well-composed (shot compositions, lighting), but it looks like shite for a digital film. Miami Vice is much better overall and the look better accompanies the material, in my humble opinion.

[D_Davis]

I think it's very well-composed (shot compositions, lighting), but it looks like shite for a digital film. Miami Vice is much better overall and the look better accompanies the material, in my humble opinion.

I can see this, but I think the look of Collateral adds a kind of otherworldly atmosphere to the film. I like that it doesn't look all digitally clean, in the same way that I think Inland Empire is great looking movie.

[MacGuffin]

I can see this, but I think the look of Collateral adds a kind of otherworldly atmosphere to the film. I like that it doesn't look all digitally clean, in the same way that I think Inland Empire is great looking movie.

I will agree with you about Inland Empire - the movie seems to take on several visual styles throughout while at the same time maintaining that distinctively "lo-fi" quality. My favorite visual flourish of the movie is how Lynch frames headshots as well as how character's heads appear during dialogue sequences; it almost looks like a fish-eye lens is being employed.

[D_Davis]

The lo-fi technique does work better with Inland Empire.