2006 / Paul Greengrass > By definition, United 93’s subject matter defies objectivity. It’s hard to like it or dislike it, mostly because of social courtesy standards and the simple fact that the so-called truth will always be skewed by the filmmaker.

This paradox withstanding, the film does an excellent job in re-enacting the events that occurred on September 11. However, my primary complaint lies in the characterization of the terrorists aboard the plane: While it’s essential to hear both sides of every story, I often felt that I empathized more with the terrorists because the time devoted to them paled in comparison to the passengers. One could argue this makes sense as post-9/11 media coverage has also been skewed towards the terrorists: We know where they’re from, how they grew up and what they ate for breakfast everyday. But as for the passengers, they are inevitably grouped together as a collective with a singular face, and it’s hard to feel a deeper emotional connection to them in such a superficial situation.

Another minor gripe is that the flight control terminology that is scattered throughout the film also diminishes the tension level because the audience will often waste precious time thinking, “Wait, what did they mean by that?” Sure, it’s necessary to challenge your audience, but I believe there is an argument against that in this scenario.

Overall, though, United 93 is as appropriate a film as I could have envisioned about the incident. It’s not an easy topic, and I do commend Greengrass for a brave and understandably flawed product that succeeds in its goal.

2006 / Terry Zwigoff > The term overcriticized is arguably the best way to describe Zwigoff’s follow-up to the heart-warming, gut-wrenching family drama Bad Santa. Be warned, however: This is a bitterly made film, one with direct and ebullient comtempt for the academic world of art. It’s unfortunate that such a well-made satire will be lost on many, especially those who will identify a little too well with the characters in the film. By the end, the joke is on everyone but those who have distanced themselves from such a subjective industry. As long as one does not take the film too seriously, the underlying message, however exaggerated, is in my opinion appropriate and necessary.

2006 / Sanaa Hamri > This is certainly not a film that was marketed properly: It’s not about African-Americans or simply race issues, but rather a fairly simple, somewhat superficial yet ultimately satisfying story about the hurdles of love (and life). Along with Prime, these are the types of films that Hollywood has lost interest in, films where the Humphrey&Ingrid-type chemistry helps you empathize with the characters and storyline even if you’re uninterested in the actual plot. The emotions evoked by the film are universal: Of misguided hearts, societal norms and family pressures.

Thankfully, first-time director Hamri does an excellent job in balancing style, substance and the manipulation that is so prevalent in romantic dramedies. Often, she utilizes cut-scenes to bring up a topic and then leads to an expository sequence. Surprisingly, instead of creating staccato pacing, it actually smooths out transitions and keep us glued. I do hope now that she builds on this first venture, and would love to see how she deals with a completely different topic.

2006 / Eli Roth > The truest horror is when you find yourself identifying with the characters and their situations, and Roth hits this on the nail. After all, how many college kids have dreamed of backpacking through Europe and picking up girls along the way? Turning fantasies into nightmares is truly a gift, and that’s primarily why Hostel works. It’s real, in the sense that it could be occurring right now, and we could be the next victim.

The film is tightly packed: half of it is the setup, which is unusually interesting and fun, and half of it is the execution. The story is initially subtle, and since most viewers know the basic gist of what will happen, the time leading up to the execution creates a natural tension. My biggest annoyance with the film was its overuse of sound, specifically the high-pitched screeches, to evoke fear, as it felt like an awful cop-out. In retrospect, however, the final work is a well-crafted horror/thriller that ought to stay in the annals of the genre for quite a while. The ending, especially, gives me hope that Eli Roth is a man to watch.

2006 / Paul McGuigan > I’m not sure why I’ve heard so many complaints about this film “tricking” the viewer, since it was fairly obvious from the opening sequence that something fishy was going on. But as I let myself delve into the fantasyworld that was occupied by a very revived Josh Hartnett, I found time slipping past me. Well edited with gorgeous cinematography, Lucky Number Slevin is hands down the biggest surprise (on the upside) I’ve had in a film this year. This is not for those who always want to know what’s going on, but perfect for those willing to give in and indulge what the new Hollywood has to offer. A perfect antithesis to megabores such as Poseidon, LSL is definitely worth a watch for its creativity and no-nonsense mindset.

2006 / Rian Johnson > Impressive is Johnson’s ability to supplant the world of old noir-like films (a la The Maltese Falcon or North by Northwest) into a modern-day, high school setting. The dialogue is supercrisp to the point where it took me a minute to adjust to its speed and complexity. Joseph Gordon-Levitt continues to impress, following up his tremendous performance in Myterious Skin. While the setup is solid, the execution flounders at times due to somewhat lack of proper pacing. Overall, the film is still a treat even if it taxes your interest here and then.

2006 / J.J. Abrams > This is the most fun I’ve had while watching a film this year. Entertaining from beginning to end. Better than the first two, and definitely more faithful to the television series as well. Aside from some absolute lameness (i.e., the trite plot that mirrors anti-Bush sentiments), I enjoyed this thoroughly. And Maggie Q is going to fucking blow up in this country.