CS Weekly Archive > The Big Picture > 1/12/07

The Best Films of 2006

edited By david michael wharton

Writers, editors, and staff from Creative Screenwriting Magazine and CS Weekly pitch in to give you our picks for the best scripts of the year.

There's only one way to properly ring in the new year: alcohol. But we already did that, so now we of the CS family have moved on to a New Year's tradition nearly as time-honored: making up lists about stuff we liked.

These are our picks for 2006's finest examples of screenwriting, as selected by the Creative Screenwriting family: writers from Creative Screenwriting Magazine and CS Weekly, as well as the folks behind the scenes at Screenwriting Expo and the Expo Seminar DVDs. These are the people without whom neither publication nor Expo nor DVDs would ever see the light of day.

Erik Bauer, publisher, Creative Screenwriting Magazine
1) Children of Men
Screenplay by Alfonso Cuarón & Timothy J. Sexton and David Arata and Mark Fergus & Hawk Ostby
Based on the novel by P.D. James
2) Blood Diamond
Screenplay by Charles Leavitt
Story by Charles Leavitt and C. Gaby Mitchell
3) Dreamgirls
Written by Bill Condon (also directed)
4) The Prestige
Written by Jonathan Nolan and Christopher Nolan; based on the novel by Christopher Priest
5) Casino Royale
Screenplay by Neal Purvis & Robert Wade and Paul Haggis
Based on the novel by Ian Fleming

Peter Clines, writer, CS and CSW
1) The Prestige
Christopher Nolan's amazing adaptation of Priest's story of two rival stage magicians takes misdirection to an all-new level, allowing him to use one of the most overused, clichéd endings in the history of storytelling…and still leave audiences breathless and amazed.
2) The Pursuit of Happyness
Written by Steve Conrad
Inspired by the true story of Chris Gardner, a man who went from being homeless to becoming a millionaire stockbroker, Steve Conrad's script is one of those rarest of things, a feel-good movie that actually makes the audience feel good even as it wrenches their minds and hearts with his everyday struggle against poverty.
3) The World's Fastest Indian
Written by Roger Donaldson; based on the life of Burt Munro
Almost no one saw it, but Roger Donaldson's simple, underdog tale of a New Zealander's quest to push his motorcycle as fast as it can go is fun, charming, and surprising because of it. If you're jaded by Hollywood movies, this will remind you films can be entertaining and uplifting at the same time.
4) V for Vendetta
Written by Andy Wachowski & Larry Wachowski; based on the award-winning graphic novel by Alan Moore
A stark tale of revolution and symbols that strikes eerily close to home, this excellent take on Moore's work may not be a word-for-word adaptation, but the Wachowski brothers strike all the right points and actually make you forget you never see the lead actor's face. Some folks simplistically see its message as merely, "Fascists are bad," rather than its true focus on just how fascists gain power in the first place.

Jason Davis, DVD Manager, CSW; writer, CS
1) Clerks II
Written by Kevin Smith (also directed)
Kevin Smith combines his funniest material with the poignancy he mastered in Chasing Amy to create a film that is everything he hoped Jersey Girl would be, but wasn't.
2) Casino Royale
After two decades in the wilderness, 007 returns to his roots in an adaptation of Fleming's first novel that pairs a more human Bond with a multidimensional femme fatale.
3) The Queen
Written by Peter Morgan
Stiff-upper-lip values come into conflict with New Labour liberalism in this account of the week following Princess Diana's death. Writer Peter Morgan marvelously imagines what went on behind the closed doors of the royal residence and Downing Street.
4) The Last King of Scotland
Written by Peter Morgan and Jeremy Brock
Based on the novel by Giles Foden
Paranoia reigns in this up-close-and-personal exploration of life with the bloodthirsty Ugandan dictator Idi Amin. You know it can't end well, but you just can't look away.
5) Thank You for Smoking
Written by Jason Reitman (also directed)
Based on the novel by Christopher Buckley
Jason Reitman's script inhales the best elements of Christopher Buckley's novel to present a barbed exploration of American consumer culture and the spin doctors who sell death in the supermarket.

Jeff Goldsmith, senior editor, CS; CS Screening Series; CS Podcast
1) The Science of Sleep
Written by Michel Gondry (also directed)
By far one of the most original scripts of 2006 and a triumph of the creative spirit as director Michel Gondry brought his first completed screenplay to the screen. The childlike nature of his character's imaginations as they grapple with adult issues elevates the film beyond the intended art house genre, while Gondry's characters' dreamlike consciousness reflect what Gondry's characters are facing in their waking lives.
2) Brick
Written by Rian Johnson (also directed)
Not since A Clockwork Orange has slang and imaginative dialogue been such a driving force in a film. Here first-time writer-director Rian Johnson expertly uses dialogue to create a unique and rich film-noir world inhabited by teenagers. The film is worth watching for any writer looking to see the power of how slang and dialogue can not only inform the narrative but also influence the setting and mood.
3) Little Miss Sunshine
Written by Michael Arndt
Arndt's mastery of ensemble writing is proven throughout this thoughtful comedy, as each character speaks in their own unique voice and follows their own mantra—leading toward a collusion of ideas and personalities that is both funny and, yes, even heartwarming. Sunshine sold for $10.5 million at the 2006 Sundance film festival and has since grossed over $86 million worldwide. So, take note, studio suits: audiences actually do care about well-written material!
4) The Prestige
The Nolan brothers have presented one of the most serious dramas concerning rivalry since Michael Mann's Heat or the Ridley Scott's The Duelists. By the time the story takes on its true magical elements the Nolan's have once again proven just how astute they are as screenwriters to deliver something so vicious, but at the same time so entertaining.
5) Pan's Labyrinth
Written by Guillermo del Toro (also directed)
When you think of a writer sitting down versus a blank computer screen and coming up with a fantasy-based view into the Spanish Civil War through the eyes of a child watching her world crumble around her, you can't help but admire Guillermo del Toro's artistry in taking a thematic concept—the horrors of war—and viewing it through the prism of the fantastic. The film is poignant, entertaining, completely original, and should be viewed by any screenwriter looking to dabble in either sci-fi or fantasy-based screenwriting.

Danny Munso, marketing manager, CS Publications
1) The Prestige
No film kept its audience guessing more. Be prepared to think about this film for days after the lights come up.
2) The Departed
Written by William Monahan
Based on film Infernal Affairs by Siu Fai Mak and Felix Chong
One day Martin Scorsese will realize not every film needs to top 150 minutes, but until he does, this may be his best work in over 15 years (and possibly beyond) thanks to a script that keeps upping the ante for its hero, and ends in a way no one would think possible.
3) Cars
Screenplay by Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, Jorgen Klubien
Story by John Lasseter, Joe Ranft, Jorgen Klubien (Lasseter directed and Ranft co-directed)
Pixar's latest classic is an ode to life in the slow lane. Decelerating never felt so good.
4) Casino Royale
Not only the best action film of the year, but upon further viewing and research, it leaves little doubt that this was, in fact, the best Bond movie of all time.
5) The Pursuit of Happyness
With apologies to Shut Up & Sing and Blood Diamond, this one gets the nod for getting me to tear up at the end, and for endlessly entertaining me for two hours before that.

James Napoli, writer, CSW
1) The Aura
Written by Fabián Bielinsky (also directed)
Superb existential noir that manages to tell a tale of sadness and longing in the middle of a heist film. A hypnotic and hard-to-forget film from the now-sadly-late director Fabian Bielinsky (Nine Queens).
2) The Queen
What could have been a bland biopic is transformed not only by terrific acting, but by a smart narrowing of the timeline to the events around Princess Diana's death, allowing the exploration of rich thematic stuff about royalty, the media, and the passing of an age.
3) Conversations with Other Women
Written by Gabrielle Zevin
Underseen and underrated, this smart relationship indie is one of the sharper explorations of regret and desire to come along in a while, and its split-screen gimmick soon becomes an indispensable part of the storytelling.

Dennis Sampson, writer, CSW
1) Little Miss Sunshine
Family dysfunction blended perfectly with a social commentary on American beauty pageants. The writing is dark without ever going totally black and yet still remains completely endearing.
2) The Departed
With its constant near-misses and double-crosses, at times the movie feels more like a novel (considering we're able to follow the psychology of the players involved, that's a good thing). A pressure-cooker of a thriller wrought with complex characters, real emotion and some of the best set pieces Scorcese's directed since Goodfellas.
3) Casino Royale
Finally, a kick-ass Bond film that actually feels new. Sure, the movie's a bit too long, but the action and energy outmatches the franchise's recent installments. Resetting the series was the way to go, and Daniel Craig proves to be the best Bond since Connery (having us believe this spy actually could beat the crap out of people). The film also contains the greatest foot chase ever depicted on film.

Den Shewman, editor-in-chief, CS and CSW
1) Dreamgirls
Written by Bill Condon (also directed); based on the Broadway play by Tom Leyen (book and lyrics) and Henry Krieger (music)
Never seen the Broadway show, never had any interest until I saw this most excellent work by writer-director Bill Condon. The astonishing filmmaking is anchored in powerful characters and great dialogue, plus the integration of songs as part of the story engine. A joy to the eye and the heart to behold.
2) The Fountain
Written by Darren Aronofsky (also directed); based on a story by Aronofsky & Ari Handel
Darren Aronofsky and Ari Handel's story is a wonderful merging of the sweeping-epic mainstream and the art-house personal, all wrapped up in a personal impetus (both his parents were diagnosed with cancer around Aronofsky's 30th birthday) and a little creative use of story threads.
3) Stranger Than Fiction
Written by Zach Helm
This metafictional script is original, funny, thoughtful, and always keeps its focus on the (sometimes literal) characters. And who's to say Zach Helm's not right? Think about that the next time you sit down to write.
4) Casino Royale
Proving once again that story comes from character, and a great story comes from a great character. Thank you, Neal Purvis, Robert Wade, and Paul Haggis.
5) Unknown White Male
Documentary directed by Rupert Murray; based on the life of Doug Bruce
This docu about a man who woke up one day with no memory of his previous life—and, two years later, still had not recovered those memories—is frightening and moving while also very illuminating about the human condition. A way to examine your life and point of view of the world through another's eyes.
Special mention:
This Film Is Not Yet Rated
Documentary written by Kirby Dick & Eddie Schmidt and Matt Patterson (former also directed)
This exposé on how the MPAA rating board comes to its decisions, and who is behind those decisions, is both eye opening and depressing. A must-view for anyone interested in how Hollywood works (or doesn't).

Sean Siska, writer, CSW
1) Imagine Me & You
Written by Ol Parker (also directed)
An intelligent, heartfelt British romcom about a bride who discovers love at first sight when she locks eyes with a female florist.
2) Borat: Cultural Learings of America for Make Benefit Glorious Nation of Kazakhstan
3) Talladega Nights: The Ballad of Ricky Bobby
Written by Will Ferrell & Adam McKay (latter also directed)
Two very funny films that also serve as stark cultural snapshots of America, circa 2006.
4) United 93
Written by Paul Greengrass (also directed)
The smartest thing Paul Greengrass' script did was to get out of the way and let the inherently dramatic and emotional events of 9/11 play out as realistically as possible.
4) Little Miss Sunshine
Many movies aim for the head, heart, and funny bone; almost none of them strike each target. This one does.

David Wharton, managing editor, CSW
1) Clerks II
After spending several films wandering in Askewniverse excess and unremarkable sentiment, Kevin Smith proves that, once in a great while, you can go home again…and more importantly, that you can have something new to say. Also, sometimes you can say it with a donkey show.
2) Brick
It's been a good year for high-school-set proto-noirs (see next week's Best TV of 2006 picks). Brick showcases a brilliant transplantation of hard-boiled traditions, a wonderfully bleak sense of humor, and toothy dialogue that would make Chandler and Hammett proud. And seriously, who knew the Third Rock from the Sun kid was such a hardass?
3) United 93
No film this year has affected me more. Harrowing, heartbreaking, propulsive, stirring, and—most importantly—entirely respectful. Not a film I'm sure I'll ever be able to bring myself to watch again, but one I'm very glad I watched once.
4) The Prestige
Showcases a labyrinthine structure that expands even as it folds in on itself, and which in lesser hands could easily have become impenetrable. Manages to sell not one, but two third-act twists in a post-Shyamalan age when the mandatory third-act thriller twist has become something to dread. Like all great magic tricks, The Prestige transfixes you, amazes you, and leaves you wondering for weeks about just what it is you think you saw.
5) Casino Royale
Bond is dead, long live James Bond. Shoving a Walther PPK down the piehole of every naysayer who ate up bandwidth screaming that Bond isn't blonde, the script by Purvis, Wade, and Haggis brilliantly strips away the bloated cartoon that Bond had become down to his human essence and begins again. Casino Royale gives us a novice Bond who is as cocky as his legendary self, but who hasn't yet earned that arrogance, and then proceeds to punish him brutally for his sins of ego. What we're left with is purely, simply Bond, and far too long a wait till the next installment.

The Best of the Worst

Not every movie can be a winner. Here are some comments from the CS braintrust on those films that made us—some of us, anyway—want our eight bucks back.

The Black Dahlia
Screenplay by Josh Friedman
Based on the novel by James Ellroy
"For a story so fascinating and rich in history, this clunker came across as a comatose bore. Scenes unfold sluggishly without any sense of direction. Waiting an hour before discovering the Dahlia's body was no smart choice, either."

Crank
Written by Mark Neveldine & Brian Taylor (also co-directors)
"I got suckered into this film because of the great premise and the fact that Jason Statham can do good work. But this film quickly turns into over-directed, empty-story junk that even Amy Smart's two great attributes can't help."

The Departed
"Funny thing is, I looked up 'overrated' in the dictionary, and lo and behold, there was this bloated, nonsensical, full-of-holes, so-called return-to-form for Martin Scorsese, which trotted out every corrupt cop convention in the book and owed its very existence to the cell phone as plot device."

Freedomland
Written by Richard Price
Based on his novel
"Truly an awful film, and the only reason I saw it: because I was paid to write a review on it. It still wasn't worth my time. Absolute dreck."

Lady in the Water
Written by M. Night Shyamalan (also directed)
"Every big summer movie this year was a wash—Poseidon, Superman Returns, Monster House, Pirates 2, Miami Vice, X-3—but the list is topped by Lady in the Water. The worst movie of the year, if not recent years, was self-indulgent, incoherent, meandering and absolutely lifeless. Who knew a Disney exec could be so savvy?"

Little Miss Sunshine
"Precious, clichéd characters, inane comedic situations that just aren't funny (Greg Kinnear on a moped, anyone?), plot threads that you can predict an hour away, and a climax that wouldn't work in an old UPN sitcom—what's not to like?"

David Michael Wharton is managing editor of CS Weekly and a contributing editor for Creative Screenwriting Magazine. He's recently into the whole brevity thing.

The Black Dahlia, Brick courtesy Universal Home Entertainment

Casino Royale courtesy Sony Pictures
The Prestige courtesy Buena Vista Home Entertainment

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