Seth's secret shame, Superbad
2007 was a great year for dark and despairing cinema, but less so for really good comedy. But if nothing else, it can lay claim to at least one comedy sequence for the ages, even while it's so raunchy it would've made Curly Howard blush. In the scene, Seth (Jonah Hill) confesses to his best friend Evan (Michael Cera) his longstanding compulsion to draw penises. Of course, Evan has a hard time believing it (2007's funniest line in a walk: "Dicks? Like a man dick?") but the wonder of the scene is that Hill plays it completely straight. Seth is clearly ashamed of himself, angered by the trouble it's brought him, and annoyed that no one seems to understand his plight. In addition, screenwriters Seth Rogen and Evan Goldberg (note the first names) make the details in the scene so specific that I wouldn't be surprised if it wasn't drawn from real life. Which, of course, only makes it that much funnier.
Chase in the rain, We Own the Night
A lot of people would claim that the chase sequence at the end of Quentin Tarantino's Death Proof is the year's best action scene, but I'd go to the mat instead for James Gray's We Own the Night. Tarantino's was well-choreographed and nicely sustained to be sure, but it couldn't match the pure visceral impact of Gray's. For one thing, there's real urgency in the scene- Joaquin Phoenix's Bobby has just learned that his former Russian mob associates have not only figured out where he's hiding but are planning to kill his police chief dad, and he's racing through the rain to stop this from happening. In addition, the direction is almost unbearably tense, as Gray shoots the scene entirely from inside Phoenix's car, with brutal violence glimpsed through his windshield as the wiper blades whoosh back and forth. Gray has never been known as an action director, but he shows a gift for it here, which makes me all the more grateful that he's refused to sell his talents short by making a string of mediocre thrillers. Instead, he's done his own thing so far, and although his three films haven't won him a mass audience like Tarantino, he's remained an interesting filmmaker in his own right, and We Own the Night is his best film to date.
Little Anton Ego, Ratatouille
By now most of us expect greatness from Pixar, especially when Brad Bird is directing, but like any truly great filmmaker, Bird is still capable of surprising us with his talent. Nowhere in Ratatouille is this more true than a scene near the end of the film where the dreaded food critic Anton Ego (the inimitable Peter O'Toole) drops in at Gusteau's to review the food prepared by its celebrated new chef, Remy, a rat voiced by Patton Oswalt. Counter to popular logic, Remy serves him the relatively low-class dish ratatouille, the quality of which blindsides Ego so much that he briefly flashes back to the meals of his childhood. The beauty of the moment owes largely to its brevity, as Bird executes the flashback so suddenly and in so few brush strokes that it blindsided me with its simple perfection. Rather than coming off like a cheap Freudian reading of Ego's character, this scene speaks to something more universal, and it's Ratatouille's most vivid illustration of the idea that great food truly belongs to us all.
