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Author Topic: Top 20 Discoveries of 2010  (Read 24386 times)

mañana

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Top 20 Discoveries of 2010
« on: December 17, 2010, 01:41:02 PM »
Start thinking about your 2010 list for best non-Filmspot eligible films!

Link to 2009 discoveries.
Link to 2008 discoveries.
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pixote

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Re: Top 20 Discoveries of 2010
« Reply #1 on: December 17, 2010, 02:07:55 PM »
I've discovered almost nothing this year. Two weeks to change that!

Start thinking about your 2010 list for best non-Filmspot eligible films!

Presumably films that you saw for the first time this year (or didn't fully appreciate prior to that).

pixote
« Last Edit: December 17, 2010, 02:11:37 PM by pixote »
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mañana

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Re: Top 20 Discoveries of 2010
« Reply #2 on: December 17, 2010, 02:17:01 PM »
Yeah, something like that.
There's no deceit in the cauliflower.

GothamCity151

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Re: Top 20 Discoveries of 2010
« Reply #3 on: December 17, 2010, 02:25:11 PM »
I'll try to come up with something. Now I just have to remember what I saw this year.......

Junior

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Re: Top 20 Discoveries of 2010
« Reply #4 on: December 17, 2010, 02:25:43 PM »
BORZAGE!

Also, North by Northwest.
Check out my blog of many topics

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Bondo

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Re: Top 20 Discoveries of 2010
« Reply #5 on: December 17, 2010, 03:24:18 PM »
Top 9 (Thematic) Discoveries
1. Koreeda (After Life, Still Walking): Slow Asian cinema...that works for me.
2. Bollywood: I didn't exactly discover Bollywood, but I discovered it more deeply and solidified my absolute affection for its style. People need to see Swades.
3. Shinkai's Anime: The most beautiful animated films and the most promising anime director.
4. Women Directors: Cheating to include Fish Tank which I saw in Nov. 2009 (and cheating by including 2010 films), I hadn't seen films from Andrea Arnold or Debra Granik, now I've seen two from each and have high hopes. They also were just the tip of a deeper than usual field of female-directed films  and a deeper than usual set of female performances.
5. The Two Kims: Disappointed by a few high profile Korean directors, Ki-Duk and Ji-Woon are bright shining lights.
6. Autism on Film: My Name Is Khan, The Girl With A Dragon Tattoo, A Mother's Courage, Temple Grandin, Ben X, The Devils, Community, these are just the great films/TV shows that prominently featured autism in its many forms. I could also mention Adam, Mozart and The Whale, Autism: The Musical, Parenthood. I guess if 1 in 110 kids are diagnosed autistic, there's gonna be an audience for these characters.
7. The Dekalogue...nuff said.
8. Non-period Kurosawa: High and Low and Ikiru, now this is exciting.
9. 70s Spielberg: Duel, Sugarland Express, Jaws, and Close Encounters (he made just the four films in the 70s, right? ;))...that is a fantastic decade that I hadn't really appreciated from a director I already loved.

MartinTeller

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Re: Top 20 Discoveries of 2010
« Reply #6 on: December 17, 2010, 03:32:49 PM »
1. Odds Against Tomorrow (Robert Wise, 1959)

Quote from: original review, 5/15/10
Ten years after The Set-Up, Robert Wise and Robert Ryan team up for another brilliant noir.  Two down-on-their-luck guys are driven to bank robbery by desperate circumstances.  Complicating matters is that one is a bigot (Ryan) and one is black (Harry Belafonte).  As a late-period noir, there are some apparent differences.  Although the production code is still in effect, you can see it starting to bend, with overt references to rape and orgies, and a blatantly homosexual character (about as blatant as you could be in 1959, anyway).  There also isn't the high-contrast photography characteristic of noir.  Instead, Wise (and cinematographer Joseph C. Brun) beautifully paints the screen in shades of gray, appropriate for the more nuanced aura of the story.  Ryan, one of the most underappreciated actors, is at his very best.  Belafonte is absolutely wonderful, hip and charming but also dark, and with his own set of prejudices.  It seems he was more willing to take chances than his friend and contemporary, Sidney Poitier.  There's also a fine roster of excellent supporting actors, including Ed Begley, Shelley Winters, Gloria Grahame (looking very, um, tempting in her bra), Kim Hamilton and a brief appearance by young Wayne Rogers ("Trapper John" from the M*A*S*H show).  I also have to mention the amazing avant-garde score by Jazz Hall of Famer John Lewis, and the striking use of sound design, often bridging scenes with a particular sound effect.  Another sign of the times: scattered references to atom bombs.  The film's climax even evokes a post-nuclear landscape, and suggests that racism has no place in an atomic age.  The film is grim, claustrophobic, gripping, sharp, and damn near perfectly executed.  I'm trying of think of anything bad to say about it and coming up blank.

2. War and Peace (Sergei Bondarchuk, 1967)

Quote from: original review, 2/19/10
As I popped this in, I was thinking "What the hell am I doing?  I've got a billion other movies to watch.  I don't have the patience now for a 7-hour one.  I should just save this for some other time."  Within about 20 minutes, I was hooked.  I've never read the novel, but of course I'm aware of its status as a massive work of literature.  A big book needs a big movie, and this is the epic to end all epics.  HUGE crowds of people, opulent sets, magnificently choreographed dances, big sweeping camera moves (some of the helicopter and crane shots have to be seen to be believed) and heaps of drama.  There's a lot of rubles on display here, but that's not all that makes this impressive.  Bondarchuk does a terrific job with just about every aspect of it, keeping it compelling for most of the entire length of the picture.  It's poetic and moving and beautiful and horrifying and... well, just damn impressive.  Some of the best, most intricate battle scenes I've ever witnessed.  Glorious music.  The acting is all first-rate, including Bondarchuk himself in one of the central roles.  Despite the epic sweep and gigantic cast, the story stays focused primarily on three characters, which keeps things from ever getting too confusing.  The dialogue and narration is sometimes a bit too on-the-nose, but when you're dealing with such large themes, sometimes a little shorthand is necessary.  It's a very small nitpick for a movie that's so engaging, and so frequently astonishing.

3. The Lineup (Don Siegel, 1958)

Quote from: original review, 2/27/10
The premise is somewhat ludicrous: a drug ring that smuggles their heroin in the luggage of unsuspecting passengers, then hires a hitman to collect the goods.  The story is riddled with plot holes to boot.  And the first 20 minutes are a little slow as we follow the cops around (to help tie the film in to the TV series of the same name).  Despite all this... wow, what an amazing movie.  The hitman (enigmatically named "Dancer") is played by none other than Eli MotherCINECAST!ing Wallach, and he's brilliant as the psychopathic professional.  But that's only the beginning.  His sidekick Julian (Robert Keith) both mentors and worships Dancer in a relationship that's clearly meant to be at least a little bit homosexual ("women have no place in society").  He also collects the last words of Dancer's victims.  Emile Meyer (so memorable in Sweet Smell of Success) and Marshall Reed are also terrific as the detectives, just classic cops.  The film makes fantastic use of its San Francisco locations... the Bay bridge, an aquarium, a maritime museum, and a superb car chase that inspired Bullitt.  Although it takes place entirely in the daytime and thus lacks the shadowy look usually associated with the genre, it's balls-to-the-wall film noir through and through, full of dark themes, tough talk, biting dialogue, fascinating characters, and really, really entertaining murders.  An absolute blast with a hell of a climax.

4. Limite (Mario Peixoto, 1931)

Quote from: original review, 9/15/10
An amazing Brazilian silent, in which a man and two women are (without explanation) adrift at sea in a small boat, and each recalls some scenario from their past.  This is the only film by Mario Peixoto, which is a damn shame because his work has a haunting poetry that immediately sucked me in and wouldn't let go.  Along with cinematographer Edgar Brasil, he crafts shots that feel so intuitive that they seem like the film stock itself suggested them.  I know that's a loopy and vague comment to make, but something about the way this movie was put together just sang to me... this thick air of melancholy and reverie and desperation.  The music selection (Satie, Debussy, Stravisky, and more) was wonderful too.

5. Sita Sings the Blues (Nina Paley, 2008)

Quote from: original review, 8/29/10
Cartoonist Nina Paley creates a magnificent melding of three narrative sources of heartache: the story of Sita from the Hinda text Ramayana, the torch songs of blues singer Annette Hanshaw, and her own autobiographical tale of being dumped.  Each is told in its own distinct style with a distinct method of animation.  It's a wonderful gestalt: fantastically original, very witty, often quite moving, and beautifully rendered.  It's full of delightful little surprises, and is all the more impressive for being essentially Paley's one-woman show.  The only part I didn't care for was the intermission, which seems like a clever idea but should have been just one minute instead of three (wow, I'm bitching about two minutes...that's some hardcore nitpicking).  The rest of it I absolutely adored.  Utterly charming.

6. Dillinger Is Dead (Marco Ferreri, 1969)

Quote from: original review, 7/17/10
See, this is why I love Criterion.  Bless them for releasing the films I already love in pristine, deluxe editions.  But bless them double for introducing me to stuff like this.  Marco Ferreri's deliriously ambiguous, inscrutable treatise on modern ennui, alienation, pop culture and misogyny, it absolutely delighted and intrigued me.  Michel Piccoli turns in a fascinating performance as a gas mask designer who suddenly appears to go off the deep end.  His strange, anarchic actions are amusing and confusing and vaguely (sometimes not so vaguely) threatening, and it's often impossible to tell what is going on in his head or what is driving him.  Ferreri also uses diegetic music (emanating from the ever-present radios) to tremendous effect, sometimes as odd and distanced as Piccoli himself.  The film completely creeps under your skin and defies you to decipher all its meanings, while remaining consistently entertaining.  I immediately ordered the DVD and put all the available Ferreri in my Netflix queue.  Wonderfully enigmatic surrealist social critique that comes off like an oddball combination of Bunuel and Akerman.

7. Beyond the Forest (King Vidor, 1949)

Quote from: original review, 7/4/10
Like an earlier King Vidor film, Duel in the Sun, this has heaps of camp appeal.  The story of a small town femme fatale with big city aspirations.  Bette Davis is a powerhouse, absolutely spellbinding.  Her character is diabolically evil, and yet more than a little sympathetic.  Who wouldn't feel stifled by a life of lumber mills and square dances?  I see a lot of other reviewers describing her performance as "bad"... sure, it's trashy and over the top, but you can't take your eyes off her.  Joseph Cotten has the thankless role of the nice guy, but he's Joseph Cotten so it's cool.  The film sports a number of memorable moments (Davis lamenting "If I don't get out of here I'll die. If I don't get out of here I hope I die and burn!" while the mills shoot flame into the sky in the background is unforgettable), some killer lines, and a hell of an ending.  The "What a dump!" line will be familiar to any fan of Who's Afraid of Virginia Woolf, where Elizabeth Taylor tries to recall the name of this movie.  Max Steiner's score is typically overblown, but for once it seems appropriate.  Davis herself called the movie "terrible", but except for the lousy opening narration, I think it's a knockout.  Apparently caught up in rights issues, hopefully it will come out on DVD (or better yet, Blu-Ray) some day.

8. Murder By Contract (Irving Lerner, 1958)

Quote from: original review, 1/27/10
A spectacular B-movie noir about a hitman with a difficult assignment.  Vince Edwards is glorious as the cold, calculating, philosophical killer.  Watching him coolly go about his work with detachment and precision is gripping.  Director Irving Lerner tells the story with economy and flair, constructing a number of memorable sequences.  The "waiting for the call" montage is a clear influence on Taxi Driver... indeed, Martin Scorsese is a big fan of the film.  One of the most striking elements is the score: jaunty jazz guitar, very reminiscent of (and probably inspired by) The Third Man.  The music builds and takes on a driving rhythm as the narrative becomes more tense.  I got a huge kick out of this unique and compelling film.  A few really shoddy rear projection shots and a somewhat annoying secondary character are the only notable flaws in this otherwise spellbinding treat.  There are times when it seems like a chore going through the TSPDT 1000 list, but movies like this remind me why it's worth the effort.

9. Malcolm X (Spike Lee, 1992)

Quote from: original review, 10/2/10
Stunning work, I really didn't expect to enjoy this as much as I did.  Most biopics tend to feel like a greatest hits parade of anecdotes, but Lee describes X's life as a true journey of discovery: emotional, political and spiritual.  Although I don't agree with all of his preachings (especially the ones he retracted later in life), I don't think Lee does either, although he rarely tells the viewer how to feel.  Only in the final minutes does the film come dangerously close to hagiography.  Needless to say, Denzel Washington is magnificent, the man has a commanding screen presence like few others.  Also noteworthy is Ernest Dickerson's brilliant cinematography, outdoing even his work on Do the Right Thing.  Most importantly, I found the narrative exceedingly compelling, and for the entire 3+ hours I was never bored.  Very engrossing film with terrific camerawork, I might have to buy the Blu-Ray when it comes out in January.

10. Sudden Fear (David Miller, 1952)

Quote from: original review, 4/13/10
Holy shit.  At first this seems very bland and predictable, but around the halfway point is starts getting awesome and just keeps getting awesomer.  A battle of murderous schemes, Joan Crawford vs. Jack Palance and Gloria Grahame.  The tension builds and builds into a fever pitch, culminating in one of the best chase sequences I've ever witnessed.  The last half hour is full of more amazing little moments (who knew a wind-up toy could be so menacing?) than I count, with fantastic chiaroscuro photography and another terrific Elmer Bernstein score.  Palance is menacing, Grahame is her usual wonderful self, and Crawford's at the top of her game.  A perfect ending, too.  This was an unexpected delight.

11. The Phenix City Story (Phil Karlson, 1955)

Quote from: original review, 8/6/10
Based on true events concerning a town in Alabama overrun by vice, corruption and mobs.  This movie is tough, angry and cynical.  It's not unusual for noirs to take on a semi-documentary style, but this one actually begins with 12 minutes of interviews with some of the key players (if you're sensitive about spoilers, it might be best to skip it).  Whether or not this prologue was necessary is debatable, but I found it interesting and it helps the verisimilitude of the film (although no doubt much of it is sensationalized).  Despite being a low-budget production with no-name actors, it has a gritty realism, enhanced by the liberal use of location shooting.  It's a gripping, brutal piece of work, with some of the most shocking violence of its time.

12. Tale of Tales (Yuriy Norshteyn, 1979)

Quote from: original review, 6/17/10
Wow.  I'm a bit at a loss for words to describe the stunning beauty of this film.  The images are so gorgeous and wistful and artful.  The animation is somewhat "crude", but often deceptively so... there's nothing amateur about the brilliant use of mixed media, or the breathtaking lighting effects.  The story is rich with symbolism, much of which I'm sure is deeply rooted in Russian folklore and flew way over my head.  Even without always being able to fully understand the significance of what I was seeing, I could feel the weight of nostalgia and melancholy, the dreamlike atmosphere, the simple poetry of a particular sequence.  Lovely use of Bach and Mozart as well.  What an impressive and touching piece of work.

13. The Burglar (Paul Wendkos, 1957)

Quote from: original review, 11/4/10
Wow, this was fantastic.  A team of thieves pulls off a jewel heist and anxiously awaits their next move.  Paul Wendkos injects his first film with a terrific sense of style and confidence, with loads of eccentric and artsy touches.  The newsreel opening is likely inspired by Citizen Kane (also a portion of the ending is no doubt lifted from The Lady from Shanghai) but there's nothing preceding it... it just starts up, and for a moment I wasn't sure I was watching the right thing.  Then when the credits start with that wild Sol Kaplan score, I knew I was in for something special.  Edits are often done with extreme economy, sometimes even alarming abruptness as a scene shifts right on the end of a sentence.  Kaplan's music is used brilliantly, as when one of the criminals goes into a reverie about escaping to Latin America.  There's a flashback scene that borders on the avant-garde.  The camera angles and compositions are very artful, and the film is packed with intriguing drama and plot turns.  The rhythms are odd and unsettling, and you don't feel like the narrative is being propelled towards some inevitable conclusion, but rather you just go wherever the story happens to take you.  Dan Duryea is perhaps at his very best here, or maybe he's just growing on me more and more.  Jayne Mansfield displays a vulnerability I wouldn't have thought her capable of.  Some of the other actors aren't that hot, but even then their performances lend to the off-kilter aura of the whole film.  There's some interesting noir themes going on, as Duryea portrays a very sympathetic anti-hero struggling with his fate, and the last line really sums it up beautifully.  I loved this one.

14. The Magnificent Seven (John Sturges, 1960)

Quote from: original review, 4/11/10
As a huge fan of Seven Samurai for the past 15 years, I guess it's weird that I didn't get to this sooner.  I'm slightly wary of remakes in general, but this is a prime example of how to do it right.  Sturges brilliantly recontextualizes the story as a Western, keeping certain elements completely intact (some scenes are almost exact duplicates) and rejiggering as he sees fit.  Some of these changes are to the characters.  One is greedy, another is a bit of a coward.  The Daisuke Kato character (the young protege with a romantic outlook) gets completely rolled up into the Toshiro Mifune character.  This is the change I most strongly object to, as I think the naive Kato character is perfectly suited for this setting.  Horst Buchholz makes a rather poor substitute for Mifune, but those are big shoes to fill.  What I really liked was the increased focus on the villain, which not only fits the Western genre more, but gives the delightful Eli Wallach some time to shine.  The most drastic change is in the third act, which puts the heroes in an entirely different situation.  I find this neither better nor worse, but a perfectly valid direction to take.  The widescreen color photography is wonderful, and even with all the big names on display (Brynner, McQueen, Coburn, Bronson, Vaughan) the real star is Elmer Bernstein.  His score is one of the best I've ever heard, and the iconic main theme is unforgettable (it was actually in my head before I even started the movie).  Although the film does feel a bit lighter and more "Hollywoodized" than Kurosawa's masterpiece, I really enjoyed the ways in which Sturges both pays tribute to the original, and the ways he deviates from it.  Far more than I expected to.

15. Force of Evil (Abraham Polonsky, 1948)

Quote from: original review, 6/5/10
Excellent noir with a wonderful aura of gloom to it.  It has a kind of epic, operatic quality, like The Godfather.  The dialogue is poetic and philosophical.  John Garfield is great in the lead, and the supporting performances are even better.  I would have liked a little more Marie Windsor, but I'll take what I can get.  The movie does get slightly confusing towards the end, but that's fairly typical of the genre.  It doesn't really matter, as the nuanced character drama is the real show here.  Very riveting and also nicely shot.  I also learned something around the numbers racket.

16. Cruel Gun Story (Takumi Furukawa, 1964)

Quote from: original review, 2/13/10
A really stunning heist-gone-wrong flick, very much in the vein of The Killing (right down to the racetrack setting) and The Asphalt Jungle.  It's a blast.  Furukawa keeps things cooking the whole time, loading the film with dramatic angles, exciting sequences, and double-crosses galore.  My only beef would be that he's all too eager to blame Japan's problems on others... besides the multiple references to the presence of the American military, it's implied that the protagonist became a bad guy because his parents were killed by the Chinese.  I found this rather distasteful considering what actually happened between China and Japan.  Besides this somewhat xenophobic subtext, however, I really enjoyed it.

17. Le Doulos (Jean-Pierrre Melville, 1962)

Quote from: original review, 4/17/10
My favorite Melville to date.  I'm strict about my definition of noir, and a French movie from 1962 doesn't fit the criteria.  But that doesn't mean I have anything against noir-influenced films, and Melville does American-influenced crime movies as well as anyone.  Wonderfully stylish and dark, with a gripping and beautifully constructed plot.  The characters are well realized and the atmosphere is tantalizingly melancholic.  One might be inclined to single out Belmondo, but I actually think this is one of his less interesting and charismatic performances.  More compelling is co-lead Serge Reggiani.  Also worthy of mention is the sublime score by Paul Mizraki... part smoky jazz, part Herrmann-esque themes.  Excellent film all around.

18. Once (John Carney, 2006)

Quote from: original review, 6/27/10
Lovely and inspirational.  It even inspired me to pull out my long-untouched guitar and start noodling.  The film beautifully captures the spirit of creativity and the joy of collaboration.  Glen Hansard and Marketa Irglova make a fantastic pairing, and though the movie never once reaches for grand, romantic moments, they have a charming and genuine chemistry together.  The cinema verité style gives the proceedings an immediacy that puts your right inside their hearts (gee that sounds corny, but CINECAST! it, I was moved).  There are no huge reveals, no big surprises, no shocking twists or triumphant clapping scenes.  Just a simple and understated but highly lovable piece of work, with terrific music as well.  And I too have worked with a producer who firmly believed in the "car test".

19. Gold Diggers of 1933 (Mervyn LeRoy, 1933)

Quote from: original review, 7/8/10
A return to the formula of 42nd Street, with smashing success.  Sharp screwball comedy mixed with dazzling musical numbers.  Again, Busby Berkeley exploits the medium to the fullest, transforming the stage productions to cinematic wonders.  The songs and choreography are terrific.  All the players are marvelous as well, and I was particularly fond of funny gal Aline MacMahon.  This movie is sassy, sexy, witty, and full of smiles.  The only thing I would change would be to swap the last two numbers.  "Forgotten Man" may have resonated more with a Depression era audience, but it's quite a downer after so much fun.  "Shadow Waltz" would have been a much better closer, especially with that perfect final image.  Other than that, I loved it.

20. The Ox-Bow Incident (William Wellman, 1943)

Quote from: original review, 5/14/10
Without knowing anything about this film, I figured I was in for a standard western.  What I got was a chilling tale of mob rule and miscarriage of justice.  Wellman directs with a minimum of fuss, relying mainly on a fine -- often brilliant -- sense of composition.  The ensemble cast leaves little room for complaint.  Henry Fonda and Harry Morgan serve as surrogates for the audience, mostly observing, wanting to interfere but unable to.  Dana Andrews also stands out... known primarily to me as a noir icon, he fits in beautifully in this noir-ish story.  The one major misstep is a romantic subplot that seems to serve little narrative or symbolic purpose.  Fortunately, it's only a minor diversion and takes just a few minutes.


Honorable mentions: The Saga of Gosta Berling, Cry of the City, Dames, The Lodger (1944), Human Desire, The Set-Up, Blast of Silence, They Made Me a Fugitive, The Big Parade, Naked Island, Cape Fear, The Docks of New York, Criss Cross, The Hitch-Hiker, Carnival in Flanders, La Grande Bouffe, Journey Into Fear, Edge of Doom, The Last Command, Boats Out of Watermelon Rinds, The Crimson Kimono, Mon Oncle d'Amerique, Placido, Kes, Leave Her to Heaven, Three Resurrected Drunkards, Act of Violence, The Strange Love of Martha Ivers, No Way Out, A Colt Is My Passport, Quince Tree of the Sun

Sorry this is so noir-heavy, but I spent a lot of time in 2010 watching film noir.

« Last Edit: January 01, 2020, 08:55:42 PM by 1SO »

pixote

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Re: Top 20 Discoveries of 2010
« Reply #7 on: December 17, 2010, 03:40:28 PM »
1. Odds Against Tomorrow (Robert Wise, 1959)
8. Murder By Contract (Irving Lerner, 1958)
9. Malcolm X (Spike Lee, 1992)
15. Force of Evil (Abraham Polonsky, 1948)
18. Once (John Carney, 2006)
19. Gold Diggers of 1933 (Mervyn LeRoy, 1933)
20. The Ox-Bow Incident (William Wellman, 1943)

Honorable mentions: The Big Parade, The Hitch-Hiker

Yay! Favorites all.

pixote
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Sam the Cinema Snob

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Re: Top 20 Discoveries of 2010
« Reply #8 on: December 17, 2010, 04:47:00 PM »
2010 isn't over yet, people. Still time to discover!

Bondo

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Re: Top 20 Discoveries of 2010
« Reply #9 on: December 17, 2010, 04:57:57 PM »
That's why there are only 9 items on my list right now :)

 

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