BAM Best Picture Profile: Mean Creek (2004)

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM Nominee and winner lists (Any omissions will be fixed this year). However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

Mean Creek (2004)

There are a few things that can be said concerning the viewing of this film, considering what the IMDb cites as its release date, and the fact that I know I saw it at the Landmark Sunshine Cinema in New York upon its release; I can fairly guess that this was what is as close to a birthday movie as I had in 2004.

As opposed to some prior titles, this is not one that I had anticipated for a very long time, but one that I ad heard of in indie film previews of the coming summer slate.

In casting terms there are a few things of note in this film: One of the more notable appearances in the film is that or Rory Culkin. Aside from his participation in Signs there was not really a very noteworthy credit on his resume yet. Certainly nothing with the teeth this film has.

And teeth, in a figurative sense, is what this film comes down to. In a prescient plot Mean Creek deals with a group of kids who trick a bully into going on a boat ride, the situation and the fallout thereof allows each of the characters to show their true colors and different reactions to the moral dilemmas faced.

The film also deals enigmatically with the bully, in perhaps one of the strongest demonstrations of just how hard it is to get inside someone’s head. The bully in this case played by Josh Peck. This a departure for him at the time as he had just finished up his time on The Amanda Show and was about to being Drake & Josh; and it remains his best work to date.

Not only amongst these kids do you have one actor playing completely against his type but you also have a revelatory kind of performance and a mind-changing one: The revelation in this film is the work of Ryan Kelley, he playing one of the characters on the more sensitive side of the spectrum (in another great tough he’s the adopted child of a same sex couple, while that it not the focus of the film). This was the first in a string of a few great performances from him. The mind-changer being the performance of Carly Schroeder. Who at this point I only knew from her work on Lizzie Maguire. Her character on that show was supposed to be on the annoying side, but it was not standout work she did there.

Jacob Aaron Estes

Jacob Aaron Estes

These casting choices and performances owe a lot to writer/director Jacob Aaron Estes who not only imbues this film with a great situation rife with dramatic possibility and ripe for the character development that ensues, who placed his trust in this young cast and they delivered in spades. Had I had parity in my award categories at this time Mean Creek definitely would’ve taken the Youth Ensemble prize as I’m not even done enumerating the great performances within it.

Then you also have the foils, Marty and Rocky. They seem similar enough but do have a split. Scott Mechlowicz is a assured and spot on as the calculated type; I saw him in a lot of indie work around this time and this is I believe the best and most widely available of those films. Then with Rocky, played by the always great and frequently under-appreciated Trevor Morgan, you have a seeming tough guy who does have a conscience and and empathy as events escalate.

Mean Creek is perhaps one of the best most recent examples of how you needn’t have a high concept to be highly engaged in a narrative.

BAM Award Winners: Best Director

So both here and in Best Cast there was some revisionism over the years, however, rather than try and readjust things I’ll just let things stand where they are at current.

The Best Director category is an interesting one because it is usually, in the mind of many, inextricably tied to the Best Picture winner. There is a certain logic to that, however, they are two rather different awards when you boil it down. In Best Picture you pick the story and the production. In Best Director you are picking a visionary and the architect of a production. There are times when the direction of a film will outshine its narrative or overall impact or a story that is wonderful but handled with a rather invisible hand that allows splits to occur.

I have six such splits in 1997, 1998, 20052012, 2015, 2020 and 2022 none of which I was hesitant at all about.

2022 Steven Spielberg The Fabelmans

2021 Jason Reitman Ghostbusters: Afterlife

2020 Sam Mendes 1917

2019 Jordan Peele Us

2018 Bo Burnham Eighth Grade

2017 Andy Muschietti It 

2016 Gareth Edwards Rogue One: A Star Wars Story


2015 George Miller Mad Max: Fury Road


2014 Daniel Ribeiro The Way He Looks

The Way He Looks (2014, Strand Releasing)

2013 Gavin Hood Ender’s Game

Ender's Game (2013, Summit)

2012 Bela Tarr The Turin Horse

Bela Tarr

2011 Martin Scorsese Hugo

2010 Christopher Nolan Inception


2009 Spike Jonze Where the Wild Things Are

Where the Wild Things Are (2009, Warner Bros.)

2008 Tomas Alfredson Let the Right One In

Thomas Alfredson

2007 Timur Bekmambetov Day Watch (Dnevoy bazar)

Timur Bekmambetov

2006 Richard E. Grant Wah-Wah

2005 Ingmar Bergman Saraband

Ingmar Bergman on the set of Saraband (Sony Pictures Classics)

2004 Jacob Aaron Estes Mean Creek

Jacob Aaron Estes

2003 PJ Hogan Peter Pan

Peter Pan (2003, Universal)

2002 George Lucas Star Wars: Episode II: Attack of the Clones

George Lucas (2002, Lucasfilm)

2001 Steven Spielberg Artificial Intelligence: A.I.

Steven Spielberg (DreamWorks)

2000 Julie Taymor Titus


1999 M. Night Shyamalan The Sixth Sense

M. Night Shyamalan on the set of The Sixth Sense (Hollywood Pictures)

1998 Steven Spielberg Saving Private Ryan


1997 Neil Mandt Hijacking Hollywood

1996 Lee Tamahori Mulholland Falls

Birthday Movies

As someone who is fanatical about films what better way to celebrate one’s birthday than by taking in a film. I have been doing so for quite some time watching a film on or near my birthday and while some have been better than others many stayed memorable because they became one of my birthday films. Below are some which I have seen. I suggest that if you have not started this tradition you should do so now. With each of these films I seem to remember something about the viewing experience because the screening was on or near a momentous date and thus made the experience somewhat elevated. Some films did turn out to be favorites and as always for an indication as to the significance of the scores check My Rating Scale.

2017 Wind River

Gil Birmingham and Jeremy Renner in Wind River (2017) CR


2016 Don’t Breathe 

Jane Levy;Dylan Minnette;Daniel Zovatto

2015 Sinister 2

Sinister 2 (2015, Universal)

NOTE: Was viewed on 8/28 as I couldn’t get to the movies on 8/27.

2013 Blue Jasmine and Twixt

Blue Jasmine (2013, Sony Pictures Classics)

Twixt (2011, American Zoetrope)

2012 The Apparition

The Apparition (2012, Warner Bros.)

I could’ve had an honorary selection, but then I saw this on the actual day of my birth, and it’s the worst thing I’ve had the displeasure of seeing on this day.


2010 Nanny McPhee Returns

Nanny McPhee Returns (2010)

This is yet another one of the rare sequels that is more enjoyable than the original, a fact I elaborated on in my initial review. This was a film that also made a dent in my annual BAM Awards. It continued my tradition of strong films on my birthday.


2009 Inglourious Basterds

Inglourious Basterds (2009, The Weinstein Company)

This is without question the best film of the bunch and went on to quite a few BAM wins including Best Supporting Actor. It is a throughly enjoyable moviegoing experience made more special by knowing the time and place where I saw it.


2007 Mr. Bean’s Holiday

Mr. Bean's Holiday (2007, Universal)

It seems as if Rowan Atkinson is being true to his word and that this was, and is, Mr. Bean’s swansong and if that is so what a way to go. This movie absolutely cracks me up and not only is everything that Bean should be but also has some cinematic commentary to it. Fantastic stuff and still vastly underrated I feel.


2006 How to Eat Fried Worms

How to Eat Fried Worms (2006, New Line Cinema)

How To Eat Fried Worms is another one I’d put in the underrated category. It embraces a child’s love of the grotesque with unbridled glee yet also tells what could be a very trite tale with enough sincerity to escape the commonplace and be something a bit more.


2005 The 40 Year Old Virgin

The 40 Year Old Virgin (2005, Universal)

The 40 Year Old Virgin is one of those movie whose reputation preceeds it when it shouldn’t. It’s not a bad film, it’s not a great film. It’s just fine but is often touted as being much more. While not the prime example it’s in the Judd Apatow mold of not knowing when enough’s enough and it’s also not Carell at his best and I am a big fan.


2004 Mean Creek

Mean Creek (2004, Paramount Classics)

This is a film I included in my favorite films of the decade and clearly it was a BAM winner as Best Picture. It’s a film that not only treats its young cast as real people but also isn’t afraid to make them imperfect in an unsensationalistic way. It’s also a film that with its conclusion is unafraid of embracing ambivalence making the one villainous character more gray than black in the end.


2003 Jeepers Creepers II

Jeepers Creepers II (2003, MGM)

Jeepers Creepers is a horror phenomenon I never quite understood. I appreciate what made the original work for people on an intellectual level but did not enjoy it and this one is worse still. It was slim pickings this year and I was better off skipping the cinema.


1999 The Muse

The Muse (1999, October Films)

It’s most definitely not Albert Brooks at his best it almost seems like a riff on Woody Allen that loses steam but it’s not nearly as bad as the IMDb would have you believe. There was a time where Sharon Stone had a string of tremendous roles. Considering what a minor note it was, you can still get a taste of what she was like at her peak.


1996 A Very Brady Sequel

A Very Brady Sequel (1996, Paramount)

This is lovingly satirical adaptation at its finest. It set a precedent that other films have tried to emulate but failed in doing so quite badly. It’s a sequel head-and-shoulders better than its predecessor, compulsively watchable and hilarious stuff.