Critic Consensus Top Ten Films of 2011

It's that time of the year again, Ladies & Germs, for Continuity Film's Critic Consensus Top Ten Films of 2011.

First things first: The Formula.

I take the Top Ten Lists of the National Critics from The Austin Chronicle to the Washington Post (which are compiled on Metacritic.com) and I allocate the following scores to the list:

#1(10 points), 2(9), 3(8), 4(7), 5(6),6(5),7(4),8(3),9(2),10(1).

Criteria: Some critics have a tendency to bend the rules in their favor. This is like a student not doing the homework assignment. This is a TOP TEN List, not a Top Eleven, or a Top Ten and 1/2, this is not an Alphabetical-Top-Ten either. TOP TEN. Period.

Anyone who breaks that simple rule is DQ'd. Sorry, try again next year. (For the record, 80 Critics complied and 15 were DQ'd, not bad, that's 84.21%).

So, without further ado, here is the Critic Consensus Top Ten Films of 2011.

10. Margaret (119)
9. The Artist (142)
8. Take Shelter (145)
7. Hugo (148)
6. The Descendants (155)
5. Melancholia (160)
4. Certified Copy (165)
3. Drive (195)
2. A Separation (200)
1. The Tree of Life (341)

Thus far, I have ONLY seen "Hugo", "Drive", & "The Tree of Life."

I absolutely LOVED "Drive" and it was MY #1 Film of 2011. I thought "Hugo" was very good but I didn't love it (I didn't see it in 3D either and the theater only had the center-speaker working) but it was a film-lover's film through and through.

"The Tree of Life." There were sequences in their that were some of the most beautiful scenes EVER filmed. Overall, it was good, a little wonky at times, and extremely esoteric (but being a Malick fan, I was expecting that). If the film was ONLY the scenes in Waco, Texas, it might've gone down as on of the greatest films of recent memory. But Malick couldn't help himself. I can't wait to rewatch it b/c there is NO one like Malick working in film today.

Other films that I did see. I did see "Meek's Cutoff" (11th, 105) which I did NOT like at all. In fact, I hated it. I did see "Beginners" (19th, 65) which I thought was fantastic. Christopher Plummer is a lock for Best Supporting Actor in a very personal film stuffed with memory, love, and heartbreak.

I did see "War Horse" (42nd, 26) and I was extremely underwhelmed. I was expecting an epic, overdue WWI film (it does have flashes of WWI brilliance) but it gets bogged-down in sappy and melodramatic storytelling. This movie should've been Rated-R and graphic as hell. Spielberg cheats a lot in this movie and he reuses a ton of his old trick that are painfully telegraphed. If any of you have seen Bresson's minimalist masterpiece "Au Hasard Balthazar" (1966), you will notice a thematic element borrowed and inserted into the "War Horse" plot-line. I personally believe that Bresson executed it much better than Spielberg.

I did see "The Adventures of Tintin" (134rd, 3). It was an entertaining Indiana-Jones-esque adventure tale and it was glorious in 3D.

I did see "Super 8" (48th, 20). Again, it was awkward and I didn't really like it. It was surreal b/c the entire time you're watching it you are witnessing J.J. pay homage to Spielberg. It was distracting. It was like watching someone channel a dead-person. Wouldn't you rather just talk to the dead person?

In the next couple of weeks, I will be seeing "Midnight in Paris" (30th, 35), "The Girl with the Dragon Tattoo" (39th, 29), "The Descendants" (6), "Moneyball" (15th, 90), "Senna" (32nd, 33), "Win Win" (44th, 24), "Rise of the Planet of the Apes" (43rd, 24), "Margin Call" (37th, 31), etc.

Lastly, in terms of Best Picture, here are my predictions (in alphabetical order):

-The Artist (142) 9th
-A Dangerous Method (58) 21st
-The Descendants (155) 6th
-Drive (195) 3rd
-The Girl with the Dragon Tattoo (29) 39th
-Hugo (148) 7th
-Moneyball (90) 15th
-Tinker Tailor Soldier Spy (94) 12th
-The Tree of Life (341) 1st
-War Horse (26) 42nd

I nailed ALL Ten noms last year, but this year is much harder.

My reasons: There is NO strong Animation contender and the Academy DOES NOT favor Foreign Films (therefore, scratch both "A Separation" and "Certified Copy" out of the Top Ten).

I added "A Dangerous Method" b/c of Cronenberg. I selected "War Horse" b/c of Spielberg and they need a Feel-Good-Movie nom. "The Girl with the Dragon Tattoo" b/c of Fincher. "Moneyball" b/c of Pitt.

I was hesitant to include "Drive", but I think the Academy will come around. I did not select Von Trier's "Melancholia" b/c they are going to blackball him.

That's all folks. Until next year. Enjoy the list and if you want to know where your favorite film is, shoot me an email in the comments section.

Happy New Year!

Critic Consensus Top Ten Films of 2010

It's that time of the year again, Ladies and Germs, for Continuity Film's Critic Consensus Top Ten Films of 2010.

First things first: The Formula.

I take the Top Ten Lists of the National Critics from The Austin Chronicle to the Washington Post (which are compiled on Metacritic.com) and I allocate the following scores to the list:

#1(10 points), 2(9), 3(8), 4(7), 5(6),6(5),7(4),8(3),9(2),10(1).

Criteria: Some critics have a tendency to bend the rules in their favor. This is like a student not doing the homework assignment. This is a TOP TEN List, not a Top Eleven, or a Top Ten and 1/2, this is not an Alphabetical-Top-Ten either. TOP TEN. Period.

Anyone who breaks that simple rule is DQ'd. Sorry, try again next year. (For the record, 79 Critics complied and 19 were DQ'd, not bad, that's 80.61%).

So, without further ado, here is the Critic Consensus Top Ten Films of 2010.

10. 127 Hours (125)
9. The Ghost Writer (126)
8. The Kids Are All Right (141)
7. Carlos (153)
6. The King's Speech (159)
5. Toy Story 3 (202)
4. Inception (219)
3. Black Swan (234)
2. Winter's Bone (240)
1. The Social Network (425)

Thus far, I have not seen "The King's Speech", "Carlos", and "127 Hours."

Although I really loved "Greenberg" (29th), I was disappointed that it didn't garner more recognition and I was surprised that "True Grit" (17th) only received 94 points.

The highest rated Documentary? "Exit Through the Gift Shop" (14th).

"The Town" (which I haven't seen yet) got absolutely ZERO love from the Critics, only getting 12 points (52nd) and tied with "Harry Potter and the Deathly Hallows: Part I."

I was equally surprised that "How to Train Your Dragon" did not receive much love either. I thought that film was fantastic. (7 points).

And some whacky critic out there gave "Predators" a 3!!!

Finally, my prediction for the Academy's Best Picture Nominations are (in alphabetical order)...

-127 Hours (125) 10th
-Black Swan (234) 3rd
-The Fighter (50) 22nd
-Inception (219) 4th
-The Kids Are All Right (141) 8th
-The King's Speech (159) 6th
-The Social Network (425) 1st
-Toy Story 3 (202) 5th
-True Grit (94) 17th
-Winter's Bone (240) 2nd

"Carlos" is ineligible for an Oscar becaused it premeired on British TV.

I was looking for this year's "The Blind Side" (an Unranked Nominee) but I can't think of anything THAT outlandish.

But...the Academy definitely has a tendency to disappoint (ummm, "Star Trek", last year)...so, knowing that the Academy stretched the Nominees from 5 to 10 to incorporate a slot for an Indie, a Genre, and a Pixar, I mean, Animation, my gut tells me that...

"Winter's Bone" will be this year's SNUB. Yeah, I know, a #2 ranked film is going to be snubbed from a nomination? It wouldn't be the first time. "WALL-E" (1) and "The Dark Knight" (2) were snubbed in 2008. "The Diving Bell and Butterfly" (2) in 2007 and "United 93" (1) in 2006. Again, this was BEFORE they flexed the noms to 10.

Which film, do you ask, will replace "Winter's Bone" as the final nom?

Well, since I already included "The Fighter" (22nd) on my nom list, it has to be a film that is backed by a studio renown for campaigning for an Oscar nom...

Warner Brothers and Legendary Pictures produced "The Town" and it has all the hallmarks of an Oscar nom.

So, expect the unexpected next week when the Academy releases its Best Picture Nominees. And I have a feeling that there will be a dark horse write-in candidate that will shake up the whole field and cause the blogosphere to spontaneously combust.

Dare I say, "Shutter Island"???

Stranger things have happened...

Critic Consensus Top Ten Films of 2009

The Critics have spoken.

Welcome, fellow cinephiles, to Continuity Film's Critic Consensus Top Ten Films of 2009.

Some of you may not be familiar with this post nor the Critic Consensus, so I will gladly explain myself.

First things first: The Formula.

It's really easy. Even my wife, who is notoriously horrid in math, can figure this out.

I take the Top Ten Lists of the National Critics from The Austin Chronicle to the Washington Post (which are compiled on Metacritic.com) and I allocate the following scores to the list:

#1(10 points), 2(9), 3(8), 4(7), 5(6),6(5),7(4),8(3),9(2),10(1).

Criteria: Some critics have a tendency to bend the rules in their favor. This is like a student not doing the homework assignment. This is a TOP TEN List, not a Top Eleven, or a Top Ten and 1/2, this is not an Alphabetical-Top-Ten either. TOP TEN. Period.

Anyone who breaks that simple rule is DQ'd. Sorry, try again next year.

Coincidentally, the Academy Awards flexed their Nominations from 5 to 10 this year. At first, I was not in favor of the extra Noms (Who needs more? They never get 5 right, let alone 10! They just want to make their own Top Ten and make more money!) but I have come around to the reality that this is a good thing. It is a good thing for Indies, Animations, and Genre Flicks.

However, I see a major problem brewing this year with Foreign Films, but that is a rant for another post for another day.

Upon further ado, here is the Critic Consensus Top Ten Films of 2009.

10. In the Loop (72)
9. The White Ribbon (73)
8. Fantastic Mr. Fox (77)
7. Summer Hours (92)
6. Precious (97)
5. Inglorious Basterds (134)
4. Up (142)
3. A Serious Man (155)
2. Up in the Air (201)
1. The Hurt Locker (296)

This was a banner year for Science Fiction films:

"District 9" was 12th (69), "Star Trek" was 14th (46), "Avatar" was 16th (44), and "Moon" was (39).

I was shocked that Marc Weber's brilliant "(500) Days of Summer" only placed 22nd (34). In my opinion, probably the best and most honest Romantic-Comedy since "Eternal Sunshine of the Spotless Mind."

I was not shocked that Clint Eastwood's "Invictus" placed 69th (8) (word around the campfire is that it's nothing more than a polished, yet, cliched sports movie), one notch about Drew Barrymore's "Whip It" (7). However, I guarantee that "Invictus" will sneak into the Academy's Nominations by the end of the year and will pass over a more deserved movie.

In fact, if I was a betting man, this is how I believe the Academy Awards will be when they are announced in February (remember, they display them in alphabetical order first.)

-Avatar (44) 16th
-District 9 (69) 12th
-The Hurt Locker (296) 1st
-Inglorious Basterds (134) 5th
-Invictus (8) 69th
-Precious (97) 6th
-A Serious Man (155) 3rd
-Up (142) 4th
-Up in the Air (201) 2nd
-Where the Wild Things Are (71) 11th

I would be shocked beyond belief if the Academy did not select James Cameron's "Avatar." Sure, the story is recycled from all of his previous films, but the watershed moment that we all experienced while watching the film with sunglasses on in 3D changed the landscape not only of film, but of entertainment in general. ESPN already announced its 3D channel to launch this Summer just in time for the World Cup. 3D-ready TVs will flood the marketplace by the end of the year. Other channels will launch their own 3D stations. Other movies will adopt Cameron's methods and we will see a whole slew of 3D titles. "Avatar" has already altered the path of this entire decade.

Like I said above, "Invictus" (because of Eastwood) will slip past a more worthy nomination ("The White Ribbon", "Star Trek").

That takes us to "Star Trek." I can't see the Academy nominating 3 Sci-Fi films (heck, they may only nom "Avatar"), even though "Star Trek" is an amazing movie.

"Up" will be this year's recipient of the Pixar/Disney nomination slot after the Academy criminally ignored "WALL-E" last season.

"Precious" will be this year's Indie-Darling-Film nomination.

And finally, I have Spike Jonze's "Where the Wild Things Are" edging out the two Foreign Films ("The White Ribbon" and "Summer Hours"). I thought "Wild Things" was technically brilliant, but I wasn't overally impressed by the storyline.

If any of you out there are interested in finding a movie outside of the Critic Consensus Top Ten, write it in the Comment section and I'll respond immediately.

For example, "Hey, I saw 'The Hangover' like 3 times in the theater and I laughed my ass off. Where is it?"

"The Hangover" (6) 81st.

OR, "Yeah, I saw that Adam Sandler movie. Funny something. I don't remember the title, but it was like 30-minutes longer than it needed to be."

"Funny People" (27) 29th.

And finally, "What about 'G.I. Joe: Rise of Cobra'? That movie was sick! I mean, it was nowhere near as awesome as the Animated Movie in the late-80s when Sergeant Slaughter beats the shit out of everybody, and then Peter Jackson uses the same exact scene in 'Return of the King', but instead of Sergeant Slaughter, that would be weird, it was that fat guy who was once a skinny kid from 'The Goonies', Samwise, who kills Goblins for the US of A!"

"G.I. Joe: Rise of Cobra" (0) N/A.

Any critic that would have voted for that movie would have been brought out to a pasture and shot.

Enjoy the list, I will check back in when the Academy officially announces their Top Ten Nominations.

There's bound to some sort of controversy.

There always is.

Alternate Movie History Part I: Worst Working Titles

In a town called Big Whiskey, an old, grizzled angel-of-death cowboy walks into a bar and unleashes hell on its patrons as he decimates an entire gang of wrongdoers.

He exits the bar, and in the pouring rain, he warns the rest of the town:

"You better bury Ned right! Better not go cuttin' up, nor otherwise harm no whores. Or I'll come back and kill every one of you sons-o-bitches."

This is a scene from Clint Eastwood's Western masterpiece. Perhaps you've heard of it, it's called...

..."The Cut Whore Killings" (1992).

What? The Cut Whore What?

You got it right, "The Cut Whore Killings", at least, that's what David Webb Peoples (screewriter) originally titled the film.

We all know it better as "Unforgiven" (1992).

Thank God. And Clint, for that matter.

Imagine seeing the trailer for this film back in 1992. Everyone in the audience is jazzed, Clint is back as a cowboy, this Western looks dark and brooding, this looks unbelievable, and then...

..."The Cut Whore Killings" title card splashes across the screen.

Cue "collective audience groan" sound-effect.

This is not the first time filmmakers made the correct decision regarding Working Titles.

There is a long, brutal history of downright terrible titles that almost made it to the silver screen near you.

Let's see if you recognize this movie...

A spaceship crew is eating dinner around a table in a mess-hall. They are cracking jokes between one another.

One of the crewman's laugh turns into a choking noise. The other members of the crew laugh even louder.

The choking crewman is now violently gagging and holding his chest. The others try to the restrain the man, thinking that he might be experiencing a cardiac arrest.

Suddenly, a burst of blood explodes from the crewman's chest. He falls onto the table and a vicious-looking alien crawls out of his torso and scampers away.

Remember that scene? How can anyone forget it. Of course, it's from Ridley Scott's Sci-Fi/Horror masterpiece...

..."Star Beast" (1979).

Yep. "Star Beast."

In space, no one can hear you scream.

And with a title like that, no one would be in the audience to scream either.

Good thing Mr. Scott and the Producers came up with the title, "Alien" (1979).

How about some of these famous quote and their NOT so famous Working Titles...

-"Of all the gin joints, in all the towns, in all the world, she walks into mine."

"Everbody Comes to Rick's" (1942), aka, "Casablanca."

-"I'm not mad, I'm proud of you. You took your first pinch like a man and you learn two great things in your life. Look at me, never rat on your friends and always keep your mouth shut."

"Wiseguy" (1990), aka, "Goodfellas."

-"Just what do you think you're doing, Dave?"

"How the Solar System Was Won" (1968), aka, "2001: A Space Odyssey."

-"You don't understand. I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am, let's face it. It was you, Charley."

"The Hook" (1954), aka, "On the Waterfront."

-"Snap out of it!"

"The Bride and the Wolf" (1987), aka, "Moonstruck."

Okay, pop quiz hot shot...

...Which film won Best Picture at the 2007 Academy Awards?

That would be "Infernal Affairs" (2006), aka, "The Departed."

...Which film is generally regarded as Hitchcock's best film?

"From Among the Dead" (1958), aka, "Vertigo."

...Which film is known as the first Film Noir masterpiece?

"The Gent from Frisco" (1941), aka, "The Maltese Falcon."

...Which Billy Wilder film is considered one of the best comedies of all-time?

"Not Tonight, Josephine!" (1959), aka, "Some Like It Hot."

...Which film was AFI's original #1 film?

"The American", aka, "Citizen Kane."

The following films listed below have garnered an Honorable Mention as the Worst Working Titles EVER.

Enjoy!

-"Black Mask" (1994), aka, "Pulp Fiction."
-"The Greatest Gift" (1946), aka, "It's a Wonderful Life."
-"Oil!" (2007), aka, "There Will Be Blood."
-"The Man Who Came to Play" (1978), aka, "The Deer Hunter."
-"Rope Burns" (2004), aka, "Million Dollar Baby."
-"La Bella Confusione" (1963), aka, "8 1/2."
-"The Body" (1986), aka, "Stand By Me."
-"King of the Jungle" (1994), aka, "The Lion King."
-"Glory for Me" (1946), aka, "The Best Years of Our Lives."
-"Blood and Guts" (1970), aka, "Patton."
-"Watch the Skies" (1977), aka, "Close Encounters of the Third Kind."
-"Dead Right" (1971), aka, "Dirty Harry."
-"The Human Interest Story" (1951), aka, "Ace in the Hole."
-"A Boy's Life" (1982), aka, "E.T."
-"Would I Lie to You?" (1982), aka, "Tootsie."
-"Shoeless Joe" (1989), aka, "Field of Dreams."

Trailer Trash: How Bad Trailers Ruin Good Movies. Exhibit A: "In Bruges" (2008).

"In Bruges" (2008) is a great movie. Probably in my Top Ten of 2008.

It's that good.

The theatrical trailer is trash. It completely strips the film of its emotional core. It is a classic Marketing FUBAR.

Trailer Trash: How Bad Trailers Ruin Good Movies is a new segment to Continuity Film.

Before I go in-depth with the trailer, I'd like to start first by looking at the Poster (see above).

The poster for "In Bruges" is a blood-splattered post-card. The 3 Main Characters (Harry, Ray, & Ken) are split in three panels, each with Bruges scenery in the background, and they all hold guns. The tagline on the bottom right is: "Shoot first. Sightsee later." Colin Farrell's character Ray is in the center panel, holding a revolver in one hand and a pint of beer in the other.

The poster is terrible and the Marketing Department of Focus Features should fire whoever the heck was in charge of this film.

"Shoot first. Sightsee later." Wow. How original. Yeah, you know what, I, "White Male Demographic 18-34" is so ensconced in my XBOX 360 and I'm so sick of my fridge full of beer and cold pizza that I need to drop everything and see a film with a tagline like that! Oh wait, sorry, I will go because Colin Farrell, who I have a man-crush on, is holding a revolver and a beer, a BEER, how cool is that?

Let's take a look at this masterpiece of a trailer, shall we?



I remember seeing the trailer in the movie theater sometime last year with Rebecca. I specifically remember telling her, "Wow. That looks embrassing."

The trailer starts off with Ray (Farrell) in a confessional booth with a Priest. It is revealed that Ray has committed murder. The Priest asks him who. Ray says, "You Father."

Blam. Blam. Blam.

Cuts to a bunch of people saying "Bruges."

We then see a bunch of random images with sub-title cards: "They Were Supposed to Disappear"..."Blend In"..."And Wait For the Boss to Call"...

We hear a phone message of a bunch of f-bombs being bleeped-out (which, btw, is annoying as hell to listen to in a theater).

More sub-title cards: "In Bruges..."..."If You Can't Hide Out"..."You Get Taken Out."

Suddenly, there is a guitar riff from that crap-song "The Impression That I Get" by The Mighty Mighty Bosstones. Like I didn't hear that song enough from my Sophmore year roomate in College. And that was 1999.

It is followed by a series of MTV-Video Circa 1999 fast-cuts of random images.

Finally, to put a cherry on top of an already horrific trailer, they throw in the dwarf/midget for good measure.

It's funny, because Colin Farrell's character Ray, perfectly sums up what I felt, and what I imagine 90% of the audience felt after they watched this horrorshow...

"If I'd grown up in a farm and was retarded, Bruges might impress me, but I didn't, so it doesn't..."

Ditto.

Okay, after seeing that trailer, would you honestly think that it would get nominated for Best Original Screenplay?

No? Well, it did.

After seeing the trailer, would you honestly think that Colin Farrell and Brendan Gleeson would both be nominated for Best Supporting Actor in a Comedy/Musical at the Golden Globes?

No? They did.

In fact, it is probably Colin Farrell's best performance.

Wow, Anthony, since the trailer doesn't do the film justice at all, what is the film actually about?

Well, I'm glad you finally asked.

"In Bruges" is a dark comedy. In fact, it's more of a dark dramedy (drama/comedy).

The closest film I could compare it to would be Gary Fleder's "Things to Do in Denver When You're Dead" (1995), which is an underrated film that got caught in the post-Pulp Fiction maelstrom.

The film is about two Irish guys who have been sent to Bruges. Bruges?

It's in Belgium.

It is the oldest Medieval city in all of Europe (or, so the movie says).

We eventually find out that these two blokes are hitmen who are taking a leave of absence after a botched hit.

Ken (Gleeson) is the veteran. He's a normal guy, just like you and me. He's not a ruthless, by-the-numbers, assassin. He's a fat guy who likes history and art and he's loving Bruges. He's the professional.

Ray (Farrell) is the rookie. He's a hot-headed blowhard who hates Bruges, hates history, and would piss on the Mona Lisa if he was drunk enough. He's green. He's new at this game and he's still trying to figure out the rules.

Ken and Ray are waiting for word from their boss, Harry (Fiennes), the expletive-laden madman who we primarily hear through the receiver of a telephone.

That's all you need to know.

The film is at times hilarious, touching, funny, poignant, and startingly original.

"In Bruges" is a character-driven film about hitmen with feelings. They are not video-game-automatons who shoot first and ask questions last.

These guys shoot first and cry about it later on.

They are normal guys who have a job to do. They don't necessarily like it, but it's all they know.

They're like blue collar hitmen.

I urge you all to see it.

You won't be disappointed.

The Decline and Fall of Robert De Niro

"The Decline and Fall of Robert De Niro

-OR-

How the Finest Actor of His Generation Sold his Soul to The Paycheck Devil."



How did Robert De Niro go from this...









...to this?









I remember the day. I remember the moment.

I knew the Decline of Robert De Niro came once I saw the trailer for "The Adventures of Rocky & Bullwinkle" (2000).

Do you remember it?

Robert De Niro, playing the Fearless Leader, looks into the camera and says:

"Are you talkin' to me? Are you talkin' to me? But I'm the only one here, so you must be talkin' to ME?"

Yes, that is the precise moment when Robert De Niro sold his soul to the paycheck devil.

(If you really want to experience it, check out the trailer on YouTube, 0:16 - 0:25 is the time-count, it is horrifying).

Not only did De Niro sell-out by taking a shameless paycheck movie but he also ape'd-his performance in "Taxi Driver."

I can only imagine De Niro's agent trying to sell him on the movie.

-Agent: Bobby. Listen, I have this great script, actually, the script is terrible, but the performance is right up your alley. After "Analyze This", I think this would be the perfect follow-up for you. Ready? "Rocky & Bullwinkle". Ha?! Amazing, right?

-De Niro: You mean, the cartoon?

-Agent: Yeah. The cartoon. You always told me you loved it. Well, they're making it into a film, sorta' like "Roger Rabbit", but better. Jason Alexander, you know him, Costanza from "Seinfeld"? He's already attached. But they need someone to play the Fearless Leader. I thought you would be perfect for the part.

-De Niro: The Fearless What?

-Agent: Leader. Bobby, listen to me, when have I given you wrong advice? (Pause) Okay, I know what you're going to say, "Frankenstein". That doesn't count. Anyway, listen, you can play the Fearless Leader like Mike Myers played Dr. Evil. Or, better yet, like how Charlie Chaplin played Hitler in "The Great Dictator."

-De Niro: Hmmm. I don't know. I was thinkin' maybe we can call Marty. See what he's up to...

-Agent: Marty? No, been there, done that like 6 times already. It's time for you to branch-out. You're not getting any younger, no offense, and it's time to think about a new direction in your career...

-De Niro: I don't know. I'm not feeling fearless. It doesn't seem like anything I can really get into.

-Agent: They're offering you 10 million plus a percentage on the back-end. (Pause).

-De Niro: Where do I sign?

How did he go from being Robert "Fuckin'" De Niro to Bob?

Where did it all begin?

Robert De Niro was THE finest actor of his generation. Let's take a quick glance at his memorable work:

From Johnny-Boy in "Mean Streets" (1973) to Vito Corleone in "The Godfather: Part II" (1974) to Travis Bickle in "Taxi Driver" (1976) to Michael in "The Deer Hunter" (1978) to Jake LaMotta in "Raging Bull" (1980) to Al Capone in "The Untouchables" (1987) to Jimmy Conway in "Goodfellas" (1990) to Max Cady in "Cape Fear" (1991) to Ace Rothstein in "Casino" (1995) to Neal McCauley in "Heat" (1995) to Moe Tilden in "Copland" (1997).

Somehow along the way, De Niro had an itch to scratch. And that itch was called...

...Comedy.

After a good, but not great, performance in "Analyse This" (1999), De Niro was convinced that he could make the transition from drama to comedy seamlessly. He was also successful in "Meet the Parents" (2000).

He wanted to wear both masks.

It was all downhill from then on.

Let's take a quick peek at his forgettable performances since he decided to scratch his itch.

From "The Adventures of Rocky & Bullwinkle" (2000) to "Men of Honor" (2000) to "15 Minutes" (2001) to "The Score" (2001) to "Showtime" (2002) to "City by the Sea" (2002) to "Godsend" (2004) to "Hide & Seek" (2005) to "Stardust" (2007) to "Righteous Kill" (2008).

If you look closer at these films, you will notice that not all of them are comedies, some are thrillers, some are fantasy films, etc.

But they all have one-common-denominator.

Plot-driven.

Look closer at De Niro's unforgettable performances. For the most part, all character-driven.

Another factor? Marty.

Out of those 11 Unforgettable Performances, 6 were directed by Marty.

The Marty Factor. They had their own cinematic shorthand language. They knew how far each could be pushed. They were blood brothers. They brought out the best in each other.

After "Casino" (1995), Marty and De Niro went their separate ways.

Was their a rift between the dynamic duo?

I don't think so. Marty was trying out new stuff, "Kundun" (1997), "My Voyage to Italy" (1999), "Bringing out the Dead" (1999).

Meanwhile, De Niro was being sold down the golden river.

They couldn't get on the same page. Marty then made "Gangs of New York" (2002) and "The Aviator" (2004). Daniel Day-Lewis was perfect as Bill The Butcher and there was absolutely no role for De Niro in "The Aviator".

And Marty already had De Niro's replacement in Leonardo DiCaprio.

The New Dynamic Duo was born.

They had one more opportunity in "The Departed" (2006). Marty offered De Niro the role of Frank Costello. Unfortunately, De Niro declined the offer because he was knee-deep in directing "The Good Shepherd". The role of Costello eventually went to Jack Nicholson.

De Niro made a desperate decision and starred opposite Al Pacino in "Righteous Kill" (2008), a lame attempt for both men, to return to their tough-guy roles. It was a failed experiment.

And it looks like De Niro is not stopping there. He is attached to star in "Frankie Machine" (2010), pairing himself up with Michael Mann again. It feels like another painful attempt to recapture his former glory...

"An ex mob hit man (De Niro) living in rural comfort is lured back into his former profession by the scheming son of a Mafia Don."

Originally, this had Marty directing and De Niro starring. This was the film. This was the return of the dynamic duo.

Then it all fell apart. Marty dropped the film and made "Shutter Island" (2009) instead, again with Leo.

Wait, wait, wait. Back-up. Take a look at the log-line of "Frankie Machine."

Do you see what I'm seeing? Can you read between the lies?

Shouldn't it read:

"An ex-A-list-actor (De Niro) living a rural comfort is lured back into his former profession by the scheming director Michael Mann."

Finally, look closer at the title pictures above.

De Niro as Jake LaMotta (young & skinny, old & fat).

These two pictures are a perfect example of De Niro's decline and fall.

De Niro was once the ferocious, raging, pull-no-punches, younger Jake LaMotta. He was an absolute bull. He was a force of nature. A freakin' hurricane. He became that character. He lived it. He breathed it. He would ask his brother, with a straight-face, "Did you fuck my wife?" and then he would beat the shit out of him in front of his wife and kids because he wasn't convinced.

Then, later in his career, De Niro became the hefty, has-been, soft, older Jake LaMotta. He was washed-up. Punch-drunk. Desperately doing any gig he could get. Reciting Shakespeare, making crude jokes. He became that fat-man, puffing on a cigar, looking into a mirror, and pathetically imitating Marlon Brando's character from "On the Waterfront" (1954).

From Robert to Bob.

From A-List to C-List.

From Travis Bickle to Fearless Leader.

From Character to Caricature.

The Actor Formerly Known as Robert De Niro.

Critic Consensus Top 40 Films (2002-2008)

Having already completed the Critic Consensus's from 2002 to 2008, it's only natural that I made a list detailing the Critic Consensus Top 40 Films.

Unfortunately, the numbers for 2001 are not readily available and, of course, 2009 is just underway, so this list will only comprise the last 7 years.

40. "Babel" (109, 2006)
39. "Once" (113, 2007)
38. "LOTR: The Two Towers" (115, 2002)
37. "Master and Commander" (116, 2003)
36. "The Squid and The Whale" (117, 2005)
35. "Happy-Go Lucky" (122, 2008)
34. "Children of Men" (123, 2006)
33. "Ratatouille" (123.5, 2007)
32. "Army of Shadows" (124, 2006)
31. "Atonement" (124, 2006)
30. "Y Tu Mama Tambien" (125, 2002)
29. "The Incredibles" (126, 2004)
28. "Adaptation" (127, 2002)
27. "Man on Wire" (127, 2008)
26. "Finding Nemo" (129, 2003)
25. "Capturing the Friedmans" (132, 2003)
24. "A History of Violence" (137, 2005)
23. "Far From Heaven" (146, 2002)
22. "Before Sunset" (148, 2004)
21. "Mystic River" (153, 2003)
20. "Borat" (158, 2006)
19. "The Queen" (163, 2006)
18. "Milk" (164, 2008)
17. "Slumdog Millionaire" (164, 2008)
16. "American Splendor" (172.5, 2003)
15. "Eternal Sunshine of the Spotless Mind" (186.5, 2004)
14. "Letters From Iwo Jima" (188, 2006)
13. "There Will Be Blood" (194, 2007)
12. "Million Dollar Baby" (196, 2004)
11. "The Dark Knight" (196, 2008)

10. "Pan's Labyrinth" (198, 2006)
9. "Brokeback Mountain" (212, 2005)
8. "The Departed" (224, 2006)
7. "The Diving Bell and Butterfly" (230, 2007)
6. "Sideways" (233, 2004)
5. "LOTR: The Return of the King" (235.5, 2003)
4. "WALL-E" (263.5, 2008)
3. "United 93" (270, 2006)
2. "Lost in Translation" (284, 2003)
1. "No Country For Old Men" (300, 2007)

Breaking down the numbers, it looks like 2002 had 4 entries, 2003 (7), 2004 (5), 2005 (3), 2006 (9), 2007 (6), 2008 (6).

This will be the last Critic Consensus blog-post until next year.

For some, it is a sad day, even sadder than the day after Thanksgiving, after having gained multiple pounds and still knowing that there will be another month of weight gain to look forward to!

For others, it is a happy day, finally, Continuity Film will be talking about films without gumming up all the works with crazy numbers, stats, and rambling rants.

For me, it was fun. It was fun to blend my interest in film and my addiction to numbers.

At times, it felt like I was squeezing the last remnants out of a bottle of toothpaste, you know what I mean, when you curl it, and curl it, and you have to squeeze with two hands just to get a pitiful drop that is barely enough to brush your teeth in the morning and then your wife reprimands you for throwing away a "perfectly good bottle" after you've almost broken your index finger squeezing so damn hard.

No, she's not a witch, she's my wife.

True love.