Overall, 2008 was a noticeable comedown in overall quality of movies. 2007, as it was with everything else, was by far the strongest year for film thus far this millennium. 2008 wasn't bad, per ce, but it was certainly lackluster by comparison. As usual, it was notably bottom heavy: 8 of the 10 films on the list were released more than halfway through the year, with an extra-large influx of goodness having come just in the last few weeks. With only a couple exceptions (you'll be able to tell what they are real fast), my list looks like everyone else's. So it goes. I guess that's the mark of a great film, eh? Onward.
Best Performances of the Year:
Much like the Academy Awards, I've gone ahead and broken this down into the four main categories. If you read this entire entry carefully, it's not too hard to surmise what my pick for the absolute best performance is. In any case, I expect all four of these individuals to be nominated for Oscars in their respective categories, and all but one (Anne Hathaway) to win.
Best Actor: Frank Langella in Frost/Nixon
Best Actress: Anne Hathaway in Rachel Getting Married
Best Supporting Actor: Heath Ledger in The Dark Knight
Best Supporting Actress: Penelope Cruz in Vicky Cristina Barcelona
Best Pre-2008 Movie Seen: Fernando Meirelles' brutal but brilliant City of God, as stylish and intriguing a trip through hell as you're ever likely to take. It's not an easy film, and it is -- in the words of my old roommate -- "messed up," but it's also very powerful and strangely hopeful. Required viewing, to be sure.
10. Vicky Cristina Barcelona
Or, Woody Allen realizes for the second time (Match Point was the first) that the secret to making a good film at this point in his career is to be as un-Woody Allen as possible. I think (I hope) he realizes the neurotic, whiny Woody Allen schtick is just worn out. It was brilliant 30 years ago; Annie Hall and Manhattan are fine movies. But not now. Woody's recent output has been rrrrreally scattershot. I still try to see them all, but I'm never quite sure what I'm getting into, and more often than not I end up disappointed. And that's why Vicky Cristina Barcelona is a breath of fresh air. It's actually a very good movie and, believe it or not, it seems like Old Man Woody actually has something to say on the subject of relationships. And he says it well. For once, Allen doesn't go for the jugular -- this is a very quiet, understated film, and it works all the better for it. The film's melancholy tone is given time to seep out and do its work on the viewer, making its final destination all the more affecting. Plus, most importantly, Woody keeps himself behind the camera and lets his cast of young, attractive people pull the weight for him. Javier Bardem, all charm and charisma, is about a million miles away from his sinister turn in No Country; Rebecca Hall and Scarlett Johansson are very strong in the titular roles; and Penelope Cruz, for what little screen time she has, gives a dynamically forceful turn as Bardem's unstable ex. No, Vicky Cristina Barcelona is not Allen's best (or even close), and no, it's not going to change the world or anything. But it's a surprise. It's a smart, thoughtful, meditative film that goes in unexpected directions and satisfies at every turn. The individual's mileage may vary, but I enjoyed it quite a bit.
9. WALL-E
In which Pixar continues to be god among animated features. This write-up is probably going to be pretty brief, though, just because I don't have anything especially insightful to say about it. It's a simple story very well-told, it's absolutely beautiful to look at (Blu-Ray and other such formats I'm not rich enough to invest in were made for this kind of thing), and it really is the kind of film everyone can enjoy. The G-rating usually causes me to cringe, to want to take an insulin shot (and several shots of other things) before even showing up. But WALL-E proves it's possible to make excellent entertainment without sugar-coating everything, and the result is by far the best family film of the year (except maybe Funny Games). Though, to be perfectly honest, I do prefer last year's Ratatouille. But that's nothing against this film. It's great. You should see it. Or have it on a double feature with that rat-chef flick. That's even better.
8. Burn After Reading
Is there anyone at this point who would doubt the Coen Brothers' very even-handed versatility? Just look at what they've accomplished just in the last ten years or so: wry police procedural (Fargo), absurdist comedy (The Big Lebowski), straight-up film noir (The Man Who Wasn't There), and suspense-soaked crime thriller (No Country for Old Men), among others. And all of these have worked extraordinarily well. So leave it to these chameleons to follow up their multiple Oscar-winning 2007 flick with another peculiar change in direction. Burn After Reading is, for lack of a better classification, political slapstick. It's very odd, but it's also kind of awesome. The film has a manic energy all its own, covering a wide range of often flat-out hilarious material in a surprisingly short amount of time. And while it does possess a preposterousness similar to that of The Big Lebowski, somehow it just feels different. And while I do prefer that film, Burn After Reading still has a higher laughs-per-minute ratio than just about anything else this year. And look at that cast, for god's sake: Clooney? Malkovich? Swinton? McDormand? Great. The real scene-stealer, though, is Brad Pitt, who's in full doofus mode and clearly enjoying every minute of it. And why wouldn't he? This is a highly entertaining film, very smartly scripted, with great performances and an overall tone quite unlike anything else you're likely to stumble across anytime soon. So chalk up another point for the Coens. Right about now, their resume is looking quite impressive indeed.
7. Choke
I ... I have no idea. I am by no means what you would call a Chuck Palahniuk fan. I didn't like Survivor or Diary, the two of his novels I actually managed to get through, and I take the unpopular stance that Fight Club is one of the best-directed bad movies in recent memory. Needless to say, I went into Choke not expecting much at all. To say I was surprised would be an understatement. This is a depraved, raunchy, wickedly funny movie that successfully held me captive for its entire runtime; I enjoyed every lurid minute of it. I can't even begin to guess why this worked so well for me. Certainly, I'm in the minority. The film received lukewarm reviews, failed to make a splash, and more or less disappeared without a sound. Maybe this is Palahniuk's best work, and the film just did a very good job of adapting it. Who knows? All I know is that I laughed, I was impressed by the actors (Sam Rockwell just looks sleazy, which is exactly that the role calls for, and Anjelica Huston -- who is always good -- continues her trend of, well, always being good), and I had a very good time. If that's what the film is going for, what else matters, really?
6. Frost/Nixon
This is a movie about an interview. That's all it's about. An interview. An ambitious British talk show host struggles for finances, then interviews an ex-president. That's your movie. It sounds like the most treacherously dull piece of crap you could ever imagine, doesn't it? While I don't doubt it very easily could've been, director Ron Howard -- in cahoots with the Almighty Himself or something -- actually manages to make this gripping as hell. I don't know how he did it. He doesn't do anything especially different or audacious; he shows us the events leading up to the interview, then shows us the main event. The end. This is why I'm convinced he's consorting with God. This should not work. It should put me to sleep. It's talky and political and leisurely paced, and Jesus H. Christ is it a fine movie. A lot of the magic is attributable to the two leads: first and foremost, Frank Langella is off the charts as Richard Nixon. While he doesn't bear much physical resemblance, his voice and mannerisms brilliantly remove the actor from the man onscreen; you look at him and you could swear you're watching Nixon himself. It's a hell of a fine job. The thing is, Michael Sheen is almost as good as the cocky, womanizing David Frost. It's his character, not Nixon, that the movie revolves around, and he does a commendable job of holding his own. In much the same way, the movie does a commendable job of holding its own against the backdrop of U.S. history. So urgently does it present its events, and with such import, that you immediately forget that the Frost/Nixon interviews are amusingly inconsequential. The movie treats them like they're going to change the course of America forever; of course they didn't, nor were they ever expected to, but what does it matter? It's exactly this approach that makes Frost/Nixon a great way to spend two hours.
5. Milk
Yeah it's a gay movie blah blah blah, and if that's all that concerns you, you've already missed the boat and started to piss me off. Where Milk truly excels is as an inspirational biopic about one man who was willing to fight for what he believed in. It's a strikingly universal idea, and Gus Van Sant (an interesting man with an even more interesting filmography; IMDb him sometime -- he's one of the very few staunchly art-house directors who has the power to go mainstream at will, and it's had curious results) manages to keep that scope whilst simultaneously making this into a deeply personal and involving affair. Of course, many accolades must go in Sean Penn's direction for his exuberant leading performance. Penn plays Harvey Milk as a cheerful but determined man, and it's easy to see how so many people would have supported him. And while anyone with even a passing knowledge of Harvey Milk's life knows the trajectory the movie must take, the film still manages to handle the events in ways that are fresh, honest, and emotional. And while the film is concerned with events that are over 30 years old, it's distressingly easy to connect it with things that are happening right now. If anything, this fact alone also makes Milk the proverbial "message movie." Here's a man who did what he thought was right and made great progress in doing it; he's a testament to our country's capacity to change and a sobering reminder of how much further we have to go. Is that such a weak message to "have" to sit through a so-called "gay movie" to get to? I sure as hell don't think so.
4. The Curious Case of Benjamin Button
Roger Ebert, the man who -- since his health problems in 2006 -- has liked every movie that has been released, did not like The Curious Case of Benjamin Button. He said it wasn't realistic. Well, no shit, Sherlock. It's a fairy tale. That's like saying you don't like Citizen Kane because the character's an asshole. You're missing the point. What I'm trying to say is, the success of Benjamin Button seems to rest entirely on the shoulders of whether or not you're willing to play along with the central plot device. For me, this was one of the easiest and most welcome things to buy into; I'm all for creativity, and how many movies about a man who ages backwards can you think of? It was this concept that made me want to see the movie so badly in the first place. And guess what? It delivers on its promise and then some. Overall, this is the best film David Fincher has made in over a decade (since The Game, I'd say). I'm not the sort to get all emotional at movies, but the ending to this deeply touched me in a way I can scarcely put my finger on. Perhaps it's just the fact that, by looking at life through a very different lens than what we are used to, the film manages to reveal more truths about it than any of us care to admit. Or perhaps it's the collective forces of Brad Pitt and Cate Blanchett (previously seen together in Babel), two of the best working actors, who both turn in nomination-worthy performances. Or maybe it's even Fincher's perfectionist sense of eye-popping visuals, which transforms the ordeal into just about the best-looking movie of the year. Most likely, though, it's the combination of all of these things that makes this film so great. Lengthy, yes, but awe-inspiring in almost every way, Benjamin Button is the kind of film I wish I could see every time I go to the movies.
3. Funny Games
Without question, the biggest love-it-or-hate-it affair of the year. And it certainly goes out of its way to make the former option extremely difficult. In order to love it, you have to get it. In order to get it, you have to first be aware that there's something to get. And then you have to convince yourself that what you're getting is actually worth it. These are the not-so-fine lines that determine whether Funny Games is seen as the ugliest, most pointless film of the year, or one of the most trenchant commentaries on the mass media to come out in ages. From my experience, it seems to split people -- critics and viewers alike -- right down the middle. It's my #3 film of the year, so you know what I'm going to say about it. I think it's genius. So often what we get these days are half-baked, spineless indictments that think they're making a point but don't even come close. Funny Games, by contrast, has teeth. It draws blood and enjoys it. That it has the seemingly-forgotten sense to realize you can't make an omelette without breaking a few eggs (pun intended) is praiseworthy in and of itself. That it chooses to attack one of my most-hated film subgenres ("torture porn") is even moreso. Its secret is devilish and most effective: it not only wants to torture you as punishment for thinking you could enjoy this, but it makes you an accomplice to what's happening to the poor family onscreen. It intentionally makes the two sociopaths the most interesting and likable characters. It intentionally stacks the deck (sometimes really obviously) so that they always have the upper hand. It's not nice, it's not fair, it actively tries to piss you off, and it ultimately goes precisely where you always kinda figured it would. And like I said, this will infuriate lots and lots of people. Me? I think it's just about perfect. Maybe Michael Haneke is preaching to the choir: it certainly qualifies far more as "academic treatise" than "filmic entertainment," and it gave a ridiculously poor show at the box office (when I saw it during its one-week run, I was the only person who hadn't walked out by the end), but that doesn't really faze me. Just the fact that he had the insight and balls to put it out there is good enough for me. It's one for the ages.
2. Slumdog Millionaire
Sometimes it's hard not to be impressed by just how good a movie is. Slumdog Millionaire caught me completely by surprise. It's had strong buzz for a while now and I expected it to be good, but I wasn't anticipating how thoroughly it would transport me. It is a very, very likable film. And, unlike plenty of other titles on this list, it's also a legitimate feel-good movie. There's never really any question about how the story's going to turn out; for me, at least, it was obvious from the very beginning. The film's success is in the brilliant, captivating way it carries us to that ultimate destination. It sports a framing device unlike any other this year: our hero Jamal, an ordinary kid from the Mumbai slums, has made it onto the Indian version of Who Wants to Be a Millionaire?, and -- against all odds -- has made it all the way to the final round. The questions he is asked are intercut with flashbacks to his past, explaining both how he knows the answers and how he has come to be on the game show. It's a device that has potential to be horrendously contrived, but luckily the film never plays out that way. The questions simply feel like a natural extension of Jamal's life story, and as the game progresses, the further we are drawn into his past experiences. By the time the final question is rolls around, the film has engulfed its viewer so completely that one can't help but crack a big, dumb smile at how perfect that question is. Slumdog Millionaire is yet another radical change in direction for Danny Boyle, whose past successes include 28 Days Later and Trainspotting. If I may be so bold, this is handily his best work yet. Uplifting in ways that must be seen to be described, and thoroughly engaging in ways very few other films managed in 2008, this is an amazing film. In fact, it would've been an easy #1 if it hadn't been for, well ...
1. The Dark Knight
I try to give my due to the smaller indie films. Maybe you've heard of this one? It did decently well at the box office. And who would I be kidding if I didn't put this at #1? This is, without any hesitation whatsoever, the best film of the year. Perhaps the biggest compliment I can throw its way is that I have never thought of it as a "superhero movie" (a pejorative among movie snobs, for not entirely unjustified reasons). It is, inherently, but it doesn't stop there. More than anything else, The Dark Knight is a gritty, unforgiving crime drama. In most superhero films, there's always an underlying safety net; a feeling that, come what may, the stalwart hero will always energe on top. Not so here. Writer/director Christopher Nolan fills every frame with a liberal dose of moody, foreboding atmosphere, and by finally pitting his hero against a genuine villain, he creates a lingering sense of dread. And the film thrives on this dread, racheting the tension more and more until the stakes become higher and reside in a place more frighteningly human than most comic book movies would even dare to touch (compare this to Iron Man; see what I mean?). Truly, it would not be an exaggeration to call this the best superhero movie of all-time, or one of the very best sequels, or among the greatest of all summer blockbusters. Many have already, and I can only nod in agreement. There is also no doubt in my mind that Nolan is our greatest working filmmaker: Memento and The Prestige were already two of my all-time favorites; The Dark Knight, equipped with his ambitiously complex script (both in terms of story and emotion), makes three.
And where would any discussion of this film be without a nod to the actors? No film this year boasted more full-on star power, and the sum total of the ensemble's performances is nothing less than earth-shattering. However, I must give credit where credit is due. Maybe no one else has wants to fess up to it at this point, but when I first heard they had cast Heath Ledger as the Joker, I was like, "What? What are they thinking?" I thought he was a good actor, sure, but it did not seem like the right role for him. And I know I was not alone in this sentiment. Well, truly the last laugh was his. What the late, great Mr. Ledger has created is one of the most frightening villains in film history (the magic trick scene has become somewhat iconic). When he's onscreen, the movie's his. And indeed, more than anything else, his work is the reason why this film will go down in the history books. Very few actors have the luck (if it can be called such) to bow out with their best performance; Ledger has done so, and with gusto. His Joker is one of the all-time great performances, and even though he has moved on, I fully expect him to win an Academy Award for it. Not that everyone else isn't great, too. And not that everything about this movie, right down to the minor details, doesn't just work. Really, there's very little I can say about this that hasn't been said already. The Dark Knight is a tremendous achievement in every way, an instant classic, and certainly the most fully-realized mainstream film in a very, very long time. You can never tell when the zeitgeist is going to hit, when a film is actually going to threaten to dethrone the highest-grossing movie of all-time (theatrical re-release in January; it could happen). Well, ladies and gentle-men, we have a winner. And, for once, I can't think of a better candidate. But of course, you knew all this already.
The 5 Worst Films of 2008:
As always, I continue my tradition of equal opportunity single-out-ment. If I'm going to highlight the best, damned if I'm not going to give the flipside the same treatment.
5. Harold and Kumar Escape from Guantanamo Bay
Look, I really liked White Castle. For what it was, it was great. What a buzzkill this was. In trying to do almost exactly the same thing as the first one, it becomes all the more noticeable that it misses each and every one of its targets. It's not funny, it's not entertaining, it's not redeeming in any appreciable way. It's just an embarrassment. Let's hope its creators, in all their infinite wisdom, have the good sense to let these characters go. I can't see a potential Harold and Kumar 3 as anything less than a travesty.
4. The Day the Earth Stood Still
Yeah, the earth and everything else. This is a stultifying bore of a movie. Recommended only for fans of badly-paced movies with terrible acting where nothing happens and there are no resolutions. Underwhelming special effects should also be included in there somewhere. Everyone else should probably stay away. Even you, John Cleese. Yes, you. What are you doing here? Get out.
3. The Happening
It's not a legitimate worst list without M. Night Shyamalan. No really, when he releases a film, I look forward to it because I know I no longer have to worry about filling a spot on this list. The good news? The Happening isn't as soul-suckingly atrocious as Lady in the Water. The bad news? It still fucking blows. Or, more to the point, Shyamalan does. I can't think of any other way the man still manages to get his projects financed.
2. Pineapple Express
How the hell did the Apatow powerhouse responsible for such hilarious comedies like Superbad and The 40-Year-Old Virgin fall this far so quickly? I thought their early-'08 offering Forgetting Sarah Marshall was merely okayish, but this was just plain terrible. And I know I'm in a minority. A lot of people I know really liked this, but honestly I cannot see why. It tries and fails at two different things: it wants to be a Harold and Kumar-esque stoner buddy movie, and it wants to be a Pulp Fiction-style gangster black comedy. Apparently these two are like oil and water. At least, the way this film handles them. Meanspiritedly violent in ways that'd make Quentin Tarantino blush, over-the-top for no apparent reason, completely lacking in anything that made me laugh or even chuckle, and completely devoid of any sort of purpose or entertainment value, I really despised this film. Maybe someone can offer me an explanation for why this works, 'cause I'm completely at a loss.
1. The X-Files: I Want to Believe
The question of "why?" was never better placed. And if I ever meet Chris Carter, that's what I'll ask him. I won't shake his hand. I won't commend him for creating the second-best TV show of the 90s (second only to Twin Peaks, naturally). I'll just ask him why. Why go through all the trouble of "resurrecting" such a fine show if you're not going to do anything with it? The worst thing about I Want to Believe is that it doesn't go anywhere. It's dull as dishwater. I never thought I could get so bored watching The X-Files, but here's proof it's entirely and utterly possible. It's not supernatural (which, gee, is kinda the point, wouldn't you say?), the central mystery isn't creative or captivating in the least, every aspect seems phoned-in or half-assed, and the entire production is just pointless. Maybe there were worse films this year. Maybe I even saw a few of them. But this is the one that offended me the most. Never invoke the name of one of the best TV series of all-time if you don't have something to prove. This has nothing to prove whatsoever, it takes its jolly time doing so, and it's a tedious chore to sit through. I want to believe Carter has enough sense to call it quits for good now. We'll see.
Last Year's List:
Again, this is very strong. While I still agree with pretty much all of the films present, I'd probably do some re-ordering. The top three are still secure, but Jesse James would get moved up to #4, The Lookout might get moved closer to the less-excellent end of the list, and so on. But these are still great, great films. I'd still heartily recommend checking all of them out.
10. Gone Baby Gone
9. Curse of the Golden Flower
8. Knocked Up and Superbad
7. The Lookout
6. The Assassination of Jesse James by the Coward Robert Ford
5. Juno
4. Sweeney Todd: The Demon Barber of Fleet Street
3. The Lives of Others
2. No Country for Old Men
1. Pan's Labyrinth
And that's it! I'm done counting things down! Bring on 2009! I'm ready for it.
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