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| 2004: Passion, Politics & Mediocrity |
by Jonathan Cornwell |
| Analysis(January 30, 2005) |
2004 will go down as one of the most disappointing and mediocre years in recent cinema history. Numerous big budget flops and failed sequels litter the landscape as Hollywood
desperately attempts to discover new ideas and keep the cash flow coming into an industry that has catered to teenagers for over a decade now. For cinephiles and critics alike,
the state of cinema is at an all-time low; however, there are always exceptions, and a silver lining is emerging amidst the mainstream drudge. Consider the rising tide of
independent cinema. Several years ago, finding indepedent gems was limited to hard to find art houses in metropolitan areas. Now, more and more independent films are
finding their way into the multiplexes to service a growing demographic - mature audiences that crave worthwhile filmmaking minus the special effects and lobotomized
screenplays. If an independent film proves a hit in the art house circuit, it has an excellent chance to expand to wider release in the mainstream cinemas. In fact, some multiplexes
have even gone so far as to dedicate one screen to independent features almost every week. While this is an encouraging trend, much work still must be done, especially for
studio heads that are too frightened to greenlight anything that doesn't have a "2" after the movie title.
As usual, although the vast majority of films were mired in mediocrity, the cream of the crop, especially the top 10-15 films, were outstanding cinematic efforts. One of the
more interesting aspects of the top films was their release dates. Of the top films, only 3-4 of them came out in November or December, with the rest released throughout the
year. Almost every month had at least one top film, and the month of July was particularly strong. The month of May was pathetic, mostly due to the disasters of Troy
and Van Helsing, while February was bolstered by the stunning success of Mel Gibson's
The Passion of the Christ. I consider this year's top ten stronger than last year's,
but 2003 was a much deeper year overall.
There is no question that the story of the year was the aforementioned The Passion of the Christ. Made by Gibson for about $25 million, the film broke every February
box office record, and totaled $370 million domestically, trailing only Shrek 2 and Spider-Man 2.
Fueled by a grassroots support from churches, conservatives, and a strong word-of-mouth, the graphically violent final hours of Christ's life struck a nerve in the American
public. The controversy over the film - the claim of anti-Semitism - only helped pique further interest, and it cemented Gibson as one of Hollywood's power brokers. Only
struggling Newmarket Films would distribute the film, and it paid off big time. The film also sharply divided critics, with a slight majority panning it because of a misunderstood
emphasis on the violence, and quite frankly, not being able to relate to Christianity. I am among the minority who consider it a flat-out masterpiece and one of the most
important films to hit screens in over a decade. No other film has created such a buzz in the industry in many years.
Because of election year politics, many critics like to pair Gibson's film with Michael Moore's equally volatile Fahrenheit 9/11,
a propaganda piece that has sullied Moore's reputation as a top-notch documentarian. The battle became a Red state vs. Blue state showdown, conservatives vs. progressives,
as Red-staters won at the box office and the ballot box in November. Although Fahrenheit 9/11 became the top grossing documentary of all time, it was loathed by audiences
who weren't tilted toward the left. And, to be honest, there is no contest between the two cinematically, as Passion is a work of art and Fahrenheit a political hit piece with
little staying power (as evidenced by Bush's solid victory). While Gibson's film made a lasting statement, Moore's film was entertaining but ultimately hollow.
Among my annual superlatives section, best director was the hardest to choose. While I finally settled on Clint Eastwood for his powerful Million Dollar Baby,
equally brilliant was the great Zhang Yimou for both Hero and House of Flying Daggers,
Michael Gondry for Eternal Sunshine of the Spotless Mind,
and Alexander Payne for Sideways. All gave impressive efforts, but Baby stands out
because of its sublime storytelling and throwback characters that echo the great films of the 1930s.
Looking ahead to 2005, things are looking up. Although there are the usual sequels to contend with, there are also exciting new ideas on the horizon. Whether or not they
pan out only time will tell. Certainly George Lucas' Revenge of the Sith will be the most anticipated film of the year as it closes the Star Wars franchise (although there are
rumors that Lucas will in fact make another trilogy following the events of Return of the Jedi), and Peter Jackson's King Kong will test the filmmaker's skill at crafting big
budget epics. One can only hope that the coming year will be stronger top to bottom that the one that just limped into the history books.
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| Best Performances |
As always, determining a year's best performances in each major category (Actor, Actress, Supporting Actor, Supporting
Actress) is a daunting task. However, there are usually a few can't-miss performances that are easy to identify. In this
section, I have selected the top five performances in each category, in order of excellence. Obviously, these are subjective
choices, but a strong argument can be made for each name listed below.
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| Best Actor | Best Actress | Best Supporting Actor | Best Supporting Actress |
| Best Actor |
1. Clint Eastwood, Million Dollar Baby
This is Eastwood's most heartfelt performance of his long career, combining a world-weary presence with a sorrowful regret that echoes in every scene he's in.
His Frankie sees a road to redemption, takes it, but then must confront his own belief system when fate deals him another tough blow. He has fashioned a character
that is so true and palpable that it's easy to identify with his suffering in the final scenes. He is so at ease with Swank and Freeman that one can only hope they will
work together again. If Unforgiven was his self-evaluation, then Million Dollar Baby is his answer.
2. Don Cheadle, Hotel Rwanda
Cheadle's strength is at the heart of his character in Hotel Rwanda, a film that leaves little room for interpretation. His Paul is a man whose courage and fortitude amidst
unspeakable violence communicates a dignity and humanity that presents an effective counterpoint to man's propensity to do evil. This is a moving, even terrifying,
performance from a consumate character actor that finally has the chance to shine on his own. His versatility as an actor has allowed him to give one of the most
harrowing efforts of the year.
3. Jim Caviezel, The Passion of the Christ
You won't see many better performances on screen than Caviezel's torturous turn as Jesus in the final hours of his bloody execution. Gibson has tapped into the talent
that Terrence Malik evoked in The Thin Red Line, and the result is inspiring. Caviezel literally gave his body for the part, hanging on a real cross for hours in a bitterly cold
wind and being struck by lightning during the Sermon on the Mount. Most critics won't recognize this effort because of personal biases, but this transforming experience
portrays Caviezel in his most raw, true self. He communicates the suffering and love that made Christ's sacrifice the most remembered event in human history.
4. Jamie Foxx, Ray
A consensus top performance, Foxx doesn't just portray Ray Charles, he is Ray Charles. This is one of the best real life transformations ever captured on screen. Foxx
nails every mannerism and attitude of one of the century's greatest songwriters. He gives us a glimpse into the behind the scenes struggle and confrontation that
haunted Charles throughout a memorable life. There isn't a moment when we don't see Charles rather than someone trying to play him on screen, and that's why Foxx
will probably take home top honors at the Oscars.
5. Paul Giamatti, Sideways
Make it two years in a row for Giamatti, whose effort in last year's American Splendor is equalled here with a similar character in Sideways. As a sad-sack divorced man whose
wine-tasting aficionado propels him through each day, Giamatti has mastered the middle-aged angst that consumes many in his generation. Perfectly balanced by Thomas
Haden Church's womanizing hedonist, Giamatti captures the bitter but soft-hearted spirit of a man who only slowly recognizes that there is such a thing as a fresh start.
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| Best Actress |
1. Hilary Swank, Million Dollar Baby
The year's best performance comes from a woman, who, in just five short years, has become one of Hollywood's top actors, Swank evokes the strong-willed spirit and
desire to succeed that Maggie must achieve to make her life worthwhile. The hurt and pain of the film's closing moments is all the more palpable because Swank has
given us everything she has, allowing the viewer to believe in her character completely. She stands toe-to-toe with legends Eastwood and Freeman and more than holds
her own; her chemistry with Eastwood is the best of the year. This is such a difficult part to play, and Swank nails it perfectly; it trumps her effort in Boys Don't Cry.
She's as close to an Oscar lock as there has ever been.
2. Julie Delpy, Before Sunset
Delpy drives the heart of Before Sunset, an ode to unrequited love that is the most rewarding cinematic experience of the year. Playing opposite Ethan Hawke, she
glistens in every scene, besting herself in Before Sunrise. As both characters reminisce about their regrets and the lives that have unfolded since their last meeting,
Delpy's vulnerability and guarded affection for Hawke's character has the unique perspective of both a youthful passion and a world-wise sense of reality. Which perspective
wins out is for the viewer to discover, but Delpy has fashioned a role that is hard not to submit to completely.
3. Kate Winslet, Eternal Sunshine of the Spotless Mind
The sparkplug of Kaufman's Eternal Sunshine, Winslet has formed a character that is every guy's dream - bubbly, spontaneous, and a little crazy. She has the "it" quality, and
although her character doesn't understand the attention, it's easy to see why Jim Carrey undergoes a procedure to erase her memory - it's too difficult to live without her. Winslet
is the sunshine of the film, and the peripheral characters follow her every step. She also coaxes one of Carrey's best performances without breaking a sweat.
4. Nicole Kidman, Dogville
A very underrated performance, Kidman is the heart and soul of Lars von Trier's insightful Dogville, a film that will only grow in appreciation over time. More or less
a stage performance that is captured on film, Kidman is at her most raw, true self here. The stage reveals every aspect of an actor's talent, and Kidman embodies her
character with a vulnerability and soft-hearted spirit that is severely tested by the citizens of the small town. She makes a transformation at the end that for most viewers makes
sense, but also reveals something hidden and more calculated about her effort. This is a truly impressive turn.
5. Catalina Sandino Moreno, Maria Full of Grace
The breakthrough performance of the year, Moreno's first major role is a revelation. As a human mule for a Columbian drug trade, she takes the viewer step-by-step through
the harrowing moments of ingesting the drug pellets to the immigation officers that ambush her at the airport. For someone of her relative inexperience, this is a veteran
effort; she is assured, measured, and supremely confident in her abilities. It will be interesting to see where she goes from here.
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| Best Supporting Actor |
1. Clive Owen, Closer
Owen has been a rising star for some time now, and his intense performance here as a jealous husband has to be seen to be believed. The label of "next James Bond"
certainly fits, but I wonder if his smoldering persona would be too much for the 007 franchise. Anyhow, his name is finally in the top circle of actors, as his characters
have shown a diversity but also a strong presence in every role. In Closer, Owen is given some of the best lines of the year, and he delivers them with stinging
accuracy. He is such a natural actor that limiting him to mundane mainstream fare would be disappointing; in some ways I lament the fact that Hollywood can't ignore
him anymore. Hopefully he will keep a steady diet of independent projects on his plate in the future.
2. Morgan Freeman, Million Dollar Baby
Freeman provides the glue that holds Eastwood's masterpiece together; we travel the storyline with his commanding, sincere narrative. His supporting work as
Eastwood's boxing gym director is nothing short of rhythmic mastery. The chemistry between the two is palpable - two friends who see their lives as bittersweet.
Freeman also has one of the year's best scenes, in which he explains to Hilary Swank the relationship between him and Eastwood's Frankie. His effort here is worthy
of another Oscar.
3. Thomas Hayden Church, Sideways
Church bursts onto the scene after a long absence from the limelight with a heartfelt effort as Giamatti's sidekick on a wine-tasting vacation binge. His character,
who sees an impending marriage as a last ditch opportunity to salve his wild urges, approaches life as a confident puppy dog, only to discover that free-wheeling
morality comes at a price. Many times the supporting characters in comedies are overlooked, but here it's obvious that Giamatti's standout role would not be as
good without Church's antithesis on hand.
4. David Carradine, Kill Bill Vol. 2
Carradine produces the most disturbing villain of the year in Tarantino's martial arts tale, a man whose conscience was seared long before the climactic showdown
with Uma Thurman's The Bride. His character sees life and those around him as merely obstacles to maintaining his own self-identified superiority, as evidenced by
his immense cold-hearted cruelty toward The Bride. He may eventually see the error of his ways, but it's not enough to avoid a fate that was long deserved.
5. Peter Sarsgaard, Kinsey
As usual, Sarsgaard brings the compassion and honesty to a film that presents Kinsey's sexual revolution as fact rather than theory. His character plunges head first
into Kinsey's world of ambiguous sexuality, only to realize that promiscuity comes at too high a price - "...It will cut you wide open." As with last year's effort in
Shattered Glass, he becomes the viewer's compass in a storyline that doesn't necessarily provide a certain destination.
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| Best Supporting Actress |
1. Virginia Madsen, Sideways
Madsen emerges from years of obscurity to give a sublime, completely assured performance as Giamatti's love interest in Sideways. She plays her role with
a sincerity and openness that is rare on the big screen, communicating the soft-hearted geniality of a woman who knows a good thing when she sees it. In the fiilm's
critical scene, she responds to Giamatti's description of the perfect wine with an insightful and warm demeanor, nonverbally echoing his own sense of desire for her affections.
This is wonderful filmmaking, and Madsen finds the right note in almost every scene she's in.
2. Sophie Okonedo, Hotel Rwanda
Okonedo is little known outside Hollywood insiders, but she makes a huge splash here as Don Cheadle's emotionally distraught wife during the Rwandan genocide.
Amazingly, she steals most scenes she's in, so visceral and convincing is her work opposite Cheadle. Her cries of desperation are so harrowing that it startles the
audience several times throughout the disturbing film. During the final sequences, when she is reunited with loved ones, the power of her earlier work is compounded,
registering with viewers in a powerful way. This is a remarkable performance.
3. Natalie Portman, Closer | Garden State
Portman has emerged from her Star Wars funk with two glistening performances this year in Closer and Garden State. Her childish efforts of the past are
put to rest here as the very adult stripper-turned model who exposes the characters around her with a zeal for revenge, and then in Zach Braff's Generation X/Y ode to
helpless apathy as the adorable next-door girl who inspires the uninspired. Her work opposite Clive Owen and Braff recalls her incredible promise that was last evident
in the cult classic The Professional. She has the talent to win several Oscars before she's done.
4. Cate Blanchett, The Aviator
Hands down the year's most enjoyable supporting character, Katherine Hepburn, Blanchett only reinforces the fact that she is truly one of the world's most versatile and
talented actors. Tackling such a cinema giant wasn't easy, but she nails it. She's clearly the best reason to see Scorsese's The Aviator; watch her opposite DiCaprio as she
absorbs the viewer's attention. This is one of the more fascinating and satisfying roles to come her way, and she relishes the opportunity to convince the audience that
Hepburn is there, wisecracks and all.
5. Laura Linney, Kinsey
Linney gives another outstanding supporting role opposite Liam Neeson's driven Kinsey. She excels at taking emotional punches and turning them around to make herself
the backbone of the picture. Here, she must convey the measured sense of frustration with Kinsey's obsessive nature to make a difference. As a pawn in his grand
scheme of progressive sexuality, Linney eventually becomes the barometer for his sometimes too scientific approach to the intimacy of sex.
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| Worst Films |
Listed below are the worst films of 2004 (that I've seen) in reverse order:
5. Scooby-Doo 2 -
One can only hope that the Scooby-Doo franchise is done after this stale sequel. Unfortunately, its healthy box office take is probably enough
to continue the torture. Can special effects and live action get any worse? Tired screenwriting and lackluster performances only exacerbate the fact that this
is one of the prime examples of what's wrong with the current state of cinema.
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4. Godsend -
Banal and terribly miscalculated, this film about the possible consequences of cloning a human child has to be the low point of the careers
of Robert De Niro, Greg Kinnear, and Rebecca Romijn-Stamos. The young clone (Cameron Bright) is the only bright spot (no pun intended) of an otherwise
lame motion picture. Godsend has some of the worst "gotcha" moments in the thriller genre, telegraphing them and turning potentially disturbing scenes into
the object of laughter. Poorly written and directed, this sorry picture is the epitome of bad filmmaking run amok.
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3. Darkness -
The award for most incoherent picture of the year goes to this ridiculous film, starring an out-of-place Anna Paquin and a screenplay that
takes itself way too seriously. Unsure of its genre, either horror or supernatural thriller, the film unravels as fast as any that I can remember. By the time
the excruciatingly awful final act concludes, most viewers have left the theater. Darkness is exactly where this cinematic schlock belongs.
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2. Catwoman -
Many have this debacle of a film the worst of the year, and for good reason. Seeing Halle Berry sully her recent Oscar win in one role is hard to
watch. This is a train wreck of a motion picture, one that many will see just to say that they saw how bad blockbuster films can get. Flat-out the year's
worst screenplay, Catwoman adds insult to injury with a campy performance from Sharon Stone and an anticlimactic finale that is painfully dull. It's hard to
believe that this much money can result in such a disastrous final product. At least there won't be a sequel.
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1. Soul Plane -
A stunningly idiotic and pointless endeavor, this soul-less motion picture is an unbearable waste of time. What exactly the studio was thinking when
this disaster was greenlighted I don't know, but considering the end product someone should probably be out of a job. Centered around a 747 that is custom fit for
ghetto sensibility, the film meanders around a nonexistent storyline, begging to be put out of its misery. Stock full of terrible performances from a lackluster cast, which
includes Snoop Dogg and Tom Arnold (in the most embarassing role of his career), this brain-dead picture is both insulting and incompetent. For those unlucky enough to
have experienced this decidedly dumb film, you can at least take to heart the fact that you've actually seen one of the worst films ever made.
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| 2004 Top Ten |
Listed below are the top films of 2004 in reverse order:
Honorable Mention:
Maria Full of Grace,
Spring, Summer, Fall, Winter...And Spring,
Touching the Void
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10. Spider-Man 2 |
This is one of the few blockbusters that works on all levels, both as a character piece and an action extravaganza. It's the best superhero film to date, fueled by
the solid effort of Tobey Maguire, the web-spinning Spider-Man must choose between a life of service or the love of Mary Jane (Kirsten Dunst). Sam Raimi's film
focuses on the behind-the-scenes life of a superhero, which isn't exactly a bowl of cherries. Wisely shifting the screenplay toward an intense character study, this
sequel easily trumps its predecessor in every way. Strong supporting roles from James Franco and Alfred Molina only heighten the tension and frustration that
a real-world superhero would face. Hollywood has finally found the right template upon which to build future blockbusters. This is one of the most satisfying films of the year.
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9. House of Flying Daggers |
The most visually arresting picture of the year, Zhang Yimou's breathtaking film creates scene after scene of wondrous beauty amidst a love story that
develops between a royal captain and a renegade. Set in China's Tang Dynasty, Yimou crafts a series of colorful action sequences that rivals anything ever before
seen from the genre. Led by a luminous Zhang Ziyi, the characters find a unique balance between pathos and skillful choreography. Two memorable scenes - one in a
lush forest of tall trees and another in a snowfall - are enough to put most other films to shame. Coupled with Yimou's other great film, Hero (see below), this is one
of the most impressive one-two punches in some time.
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8. Dogville |
One of the most searing pictures of the year, Lars von Trier's vision of small town America isn't so much about the accuracy of the subject matter as it is about
the cruelty of self-preservation and superiority that infects mankind. Riveting performances from Nicole Kidman and Paul Bettany lead an all-star cast that acts out
the multi-layered storyline on stage (literally). Von Trier's use of few props and imaginary boundaries that separate houses and objects in the town of Dogville only
further focus the film's gaze on characters. The film demands terrific acting, and it proves that films do not need special effects to effectively communicate its themes.
Dogville's power, much like reading a good book, comes from its reliance on the viewer's imagination as a companion piece to the disturbing story that unfolds on stage.
Emotionally resonant, the film makes a lasting impression on those who see it.
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7. Sideways |
The universal praise heaped upon Alexander Payne's hilarious and insightful film about middle-aged malcontents is not without merit. A stellar cast, led by Paul
Giamatti, exhibits mastery over a strong screenplay that emphasizes the humanity of those always searching for something better. A wine taster and a womanizer
take to the vineyards of California to find inspiration and companionship, not knowing what they would really find was themselves. Wonderful supporting work by
Thomas Hayden Church, Virginia Madsen, and Sandra Oh imbues the film with characters that resonate with viewers because of their authenticity.
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6. Before Sunset |
The follow-up to Richard Linklater's Before Sunrise (1995), this sequel doesn't disappoint. In fact, it's superior in many ways, including the year's best on-screen couple,
Julie Delpy and Ethan Hawke. Reuniting in Paris after nine years, the couple reminisces about their time in Vienna and why they didn't meet again as planned. Their lives have
unfolded with little passion, and rekindling the fires of their brief romance is enough to reconsider whether or not they should indeed be together despite the obstacles in
their way. With sparkling dialogue and chemistry that is rare in films today, Before Sunset is a romantic's dream.
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5. Eternal Sunshine of the Spotless Mind |
A cinephile favorite, this quirky romantic comedy brings the talents of writer Charlie Kauffman, Jim Carrey, and Kate Winslet together in an unforgettable study of the
importance of human memory. The idea of wiping a person's memory clean of an event or another person (a girlfriend or boyfriend) is a tantalizing subject. The ensuing
consequences are studied here as Carrey's character uses his subconcious mind to hide away his love interest (Winslet) from the technicians (Tom Wilkenson, Mark Ruffalo,
Kirsten Dunst) who would delete her existence. Strong performances and witty dialogue make this one of the year's most enjoyable pictures.
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4. Hotel Rwanda |
Drawing similarities to Spielberg's Schindler's List, Hotel Rwanda tells the true story of a hotel manager (Don Cheadle in a riveting performance) who saves the lives of hundreds of Tutsi refugees
from genocide at the hands of the Hutus. This harrowing picture of the evils and triumphs of the human heart portrays both the insanity and the self-sacrifice that mankind
is capable of mustering. Directed by Terry George, the film brings to light an event that most people either ignored or forgot about. With nearly one million murdered,
the brutal conflicts between tribes in Africa are a warning against the idea of anarchy as a viable alternative to current government.
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3. The Passion of the Christ |
Mel Gibson's controversial film is one of the most important films to hit screens in over a decade. This authentic portrayal of Christ's torturous crucifixion communicates
the incredible sacrifice that one man made for mankind. Even for those with no belief in God or Christianity, The Passion of the Christ packs a powerful punch for the
axiom that love is indeed stronger than hate. Claims of anti-Semitism were clearly misguided, as the story of Christ's execution unfolds as it happened. Gibson's goal here was
to portray the horrific violence of Christ's final hours as accurately as possible. To that end, the film is unflinching and honest. Yet beyond the violence is a soft voice that
beckons man to live in peace.
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2. Hero |
Visual poetry at its best, this visceral masterpiece rivals Zhang Yimou's Raise the Red Lantern for best film of his now legendary career. Yimou employs aspects
of epic storytelling, meaningful characters, and stunning cinematography to communicate his theme of sacrificing one's self for the greater good. The tale of an assassin
who has the Emperor of China at his mercy, the film unfolds in a series of flashbacks a la Rashomon that are highly interpretative and awash in beauty and spectacle.
As the assassin slowly recognizes his role in history, the film reveals truths about human nature that transcend the seemingly straightforward storyline. Hero continues
the emerging success of Asian cinema in a country that is growing tired of Hollywood's stale blockbusters.
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1. Million Dollar Baby |
As with last year's Return of the King, this year's top film towers above all the rest, but with vastly different approaches. While King defined the word "epic,"
Million Dollar Baby is one of the most powerful and moving character-centered films I've ever seen. Clint Eastwood focuses on three characters with a real world
intensity that recalls the joys of simple filmmaking from the early years of cinema. Everything from setting, cinematograhy, dialogue, and relevant societal issues combine
to invoke a stirring cinematic experience. Bolstered by astonishing performances from Eastwood, Hilary Swank, and Morgan Freeman, and a screenplay that puts many other
so-called "classics" to shame, Baby slowly reveals its mastery as characters, honest and true, take center stage. Combined with last year's Mystic River, Eastwood
is in the prime of his career at a time when most directors would have long since walked away from the industry. Simply put, Million Dollar Baby is one of the best films to
ever grace the big screen.
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| Other Superlatives |
Best Director: Clint Eastwood, Million Dollar Baby
Best Ensemble: Clint Eastwood, Hilary Swank & Morgan Freeman, Million Dollar Baby
Best Original Screenplay: Charlie Kaufman & M. Gondry, Eternal Sunshine of the Spotless Mind
Best Adapted Screenplay: Paul Haggis, Million Dollar Baby
Best Cinematography: Christopher Doyle, Hero | Xiaoding Zhao, House of Flying Daggers
Best Foreign Language Film: Hero, China
Best Documentary: Touching the Void
Best Original Score: Clint Eastwood, Million Dollar Baby
Best Visual Effects: Greg Anderson, Mark Freund, Darin Hollings, Kenneth Nakada, Sky Captain...
Best Art Direction: Aline Bonetto, A Very Long Engagement
Best Costume Design: Emi Wada, House of Flying Daggers
Best Editing: Valdís Óskarsdóttir, Eternal Sunshine of the Spotless Mind
Best Sound: J. Geisinger, J.J. Haboush, C. Mandel, K. O'Connell, G.P. Russell, Spider-Man 2
Best Animated Film: The Incredibles
Best Breakthrough Performance: Catalina Sandino Moreno, Maria Full of Grace
Best Breakthrough Filmmaker: Zach Braff, Garden State
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