Top Ten of 2008

Another 11 months past the expiration date, another venerable top ten of the year list from yours truly. I'm starting to think that this may be the best way to compile these lists because they are created so long after the fact that it gives each film a chance to settle in my mind and pretty much be on equal footing with each other. There are no emotional/instantaneous reactions that could make the list tainted for future generations. We all damn well know we wouldn't want that now would we? Or maybe I'm just trying to make myself feel better. Probably the latter.

Anyway, what a craptastic year. The Oscars were so fucking boring and if that happens, then you KNOW something is rotten in the state of Denmark. At the time, I chalked it up to not really having a horse in the race, but as I glean all 114 movies from 2008 I watched, I realize that aside from maybe the top 5, the best of the rest would struggle to make top tens in most other years. But 2008, I don't blame you! It's not your fault, you play the hand your dealt.

10) 4 Months, 3 Weeks, and 2 Days - What's that you say? A tale of two girls getting a black market abortion in 1980s Romania? Sounds about as fun as sitting in bumper-to-bumper traffic with the radio stuck on Ja'Rule's greatest hits. But if fun is what you're looking for, you've gone down the wrong path my friend, but I do believe there's still room for you in the theater showing G.I. Joe, so if you hurry, you can still make it. Instead, what we have is a harrowing, uncompromising look at the oppression these women and many others were/are forced to suffer through for their basic human rights. Winner of the 2007 Golden Palm at Cannes and with good reason. The images and performances haunt you long after the credits have rolled.

9) The Curious Case of Benjamin Button - And so the evolution of David Fincher continues. This is not to say that Curious Case is his best film yet, but rather, the sphere of his storytelling/directing talents keeps expanding. You'd be hard-pressed to find a more talented director on the planet. Where once we had a kinetic, primarily style-based director, we now have someone who is learning to funnel his best assets into good, solid narratives and a greater emphasis on not only the thematic content of his films, but also the emotional quotient. And while the first half is significantly stronger than the second, the end result is still a film that manages to be compelling while striking the proper emotional balance between cloying and detached.

8) Taxi to the Dark Side - It's ironic that in the same year that acclaimed, superhero documentary filmmaker Errol Morris releases a documentary on Guantanamo, Alex Gibney releases this film. The irony is that between his work on this film and Enron: The Smartest Guys in the Room, Gibney could very well be the new Errol Morris. I'm not ready to write off Morris yet by any means, but hey, Steve Young eventually replaced Montana...I'm just sayin'. The brilliance in Taxi... is that the film explores all aspects of not only Guantanamo, but the mentality/philosophy our government has towards torture. Guantanamo is merely an example used to illustrate this mindset and while it's clearly not unbiased, it's hard to ignore the issues the film raises even if you beg to differ.

7) In Bruges -Probably one of the most hilariously entertaining films of the year. And when Colin Farrell takes time off from acting like a deuche and mugging for the camera in garbage like Alexander, he's not half bad as an actor. And where can I score invites to that sweet midget/strippers/cocaine party?

6) Frost/Nixon - When Ron Howard isn't busy adapting Dan Brown/Dr. Seuss books and telling Mel Gibson to scream, "GIMME BACK MY SON!!!", he can be a pretty damn compelling filmmaker. Take for instance a film like Frost/Nixon, which is ostensibly one long glorified boxing match of an interview, yet it is about as engaging and fascinating a film you could find in 2008. It helps that the picture is greatly augmented by the work of the two leads in Frank Langella and Michael Sheen, both of whom turn in superlative work. I know that Langella got all of the accolades (and rightfully so), but Sheen's work shouldn't be dismissed here either because for all of the internal struggle that Langella's Nixon experiences throughout the film, he is matched by the evolutionary character arc of Sheen's Frost. I guess the only battle here wasn't just between Frost and Nixon, how meta!

5) Iron Man - Since comic book movies have just been stacking the deck against each other for the past 8-9 years, it wouldn't be accurate to call Iron Man the best comic book movie (more on that later) ever made, but best first comic book movie in a franchise? Up until this point, that honor belonged to the first Spider-Man, but now I feel comfortable passing that baton to IM. Then again, it probably wouldn't exist in its present day form without a film like Raimi's to pave the way, but that's irrelevant now. The point is, Jon Favreau and co. made an addictively entertaining and relevant film based on a third rate superhero (in the pantheon of comic book superheroes that is) with as charismatic a lead as you'll ever find in Robert Downey Jr.

4) Forgetting Sarah Marshall - The best romantic comedy in god knows how long. I could try to figure out the last "rom-com" that even approached FSM's level of comic aptitude and pathos, but what's the point? A preview for the latest Kate Hudson atrocity is enough to make me wanna gouge my eyes out, no point in sifting through all the garbage just to make a minor point. The thing that grabs me about FSM is aside from it being a very funny film, the soul and the truthfulness in the story are what stand out to me the most. You can tell this is written from the point of view of a guy who has had his heartbroken and been through all the emotional turmoil that everyone else has in that situation. It's one thing to say everyone has experienced something similar (what's unique about that?) and it's another to put it on film in a manner that is simultaneously poignant and hilarious. I mean, isn't what makes movies/music/art/etc. so influential and important in our lives? Feeling that connection is the ultimate reward.

3) The Wrestler - In one of the eeriest examples of art imitating life (or is it vice versa?), Mickey Rourke plays a burnt out wrestler taking one last shot at glory. While it's still a crock of shit that Rourke did not win the Best Actor Oscar for his work here, he still carries this film every step of the way. He is a huge part of its greatness and when you see someone bare their soul the way he does, it's hard to really care about outside accolades, just enjoy the experience for what it is. I was literally sad for him after walking out of the theater.

2) Synecdoche, NY - Speaking of devastating, if I've ever seen an example of a writer/director swinging for the fucking fences, it's the brilliant Charlie Kaufman in Synecdoche, NY. While certainly not for everyone as it has no discernible narrative to speak of, this meditation on life/death and the value of art is one of the most thought-provoking films you'll ever come across. I've watched it a few times already and I could watch it 1,000 more times and still walk away with something new or a new angle on it altogether every time. To say more would be to launch into a 10,000 word rambling, stream-of-consciousness essay on our existence and the ephemeral footprint we leave through our experiences and through artistic expression...always changing, always shifting, a constant work in progress...yeah, that kinda describes the film too.

1) The Dark Knight - Similar to last year, this is more of a co-number one and two ranking and perhaps time will sort all of that out, but for now, this is how it looks. Remember when I mentioned something before about the best comic book movie ever made? Well, THIS is the best comic book movie ever made. An honor previously held by Spider-Man 2 and not to disparage that film, but while SP2 was the more emotionally resonant film, TDK is a more realistic examination of what it means to be a hero in our times, in our world where evil truly exists and the eternal struggle isn't some cut and dry/point A to B resolution, but rather a series of compromises and ugly nuances of "morality". Explosions and chase sequences and Heath Ledger's brilliantly maniacal turn as the Joker are all lots of fun, but what makes TDK a cut above the rest is how it is so unafraid to confront the realities of crime and punishment. This isn't Bush's Amurica where you can tell whoever to nuke dem sonsofbitches. The idea of a third one terrifies me...how the fuck is Christopher Nolan gonna top this?

Runners-Up: Cloverfield, Wall-E, The Edge of Heaven, Chop Shop, Snow Angels

Individual Awards:
Best Actor: Mickey Rourke - The Wrestler: Good competition this year, but aside from how much Rourke bared his soul so emphatically, what puts this over the top is he probably meant more to his film than any other actor did to their respective films this year.
Runners-Up: Richard Jenkins - The Visitor, Sean Penn - Milk, Phillip Seymour Hoffman - Synecdoche, NY, Robert Downey Jr. - Iron Man, Frank Langella - Frost/Nixon

Best Actress: Sally Hawkins - Happy-Go-Lucky: Bravely bizarre performance in a film that isn't shy about making you feel uncomfortable. Hawkins' performance wore me out just watching it, but I'd be lying if I wasn't blown away by how she was able to glide up and down the emotional spectrum so gracefully and naturally.
Runners-Up: Anne Hathaway - Rachel Getting Married, Meryl Streep - Doubt, Kristin Scott Thomas - I've Loved You So Long, Angelina Jolie - Changeling, Anamaria Marinca - 4 Months, 3 Weeks, and 2 Days

Best Supporting Actor: Heath Ledger - The Dark Knight: Duh.
Runners-Up: Robert Downey Jr. - Tropic Thunder, Michael Shannon - Revolutionary Road, Russell Brand - Forgetting Sarah Marshall, David Strathairn- My Blueberry Nights, Brendan Gleeson - In Bruges

Best Supporting Actress: Penelope Cruz - Elegy and Vicky Cristina Barcelona: Maybe it's cheating to reward someone for their work in two movies, but I can do what I want, so fuck off. For a time, it was hard to believe that Cruz was the same actress in her original Spanish films and in American films since she was so good in the former and less than impressive in the latter. That no longer seems to be the case as evidenced in these two films alone (amongst others), she really shows her range.
Runners-Up: Rosemarie Dewitt - Rachel Getting Married, Kate Winslet - The Reader, Marisa Tomei - The Wrestler, Elsa Zylberstein - I've Loved You So Long, Viola Davis - Doubt

Other Miscellaneous Awards (or lack thereof):
Worst Film of the Year: Always one of my favorite categories as the competition is always stiff. The funny thing about the worst films of the year is that they are like ninjas, they can strike at any moment, when you least expect them or when you most expect them, and even then, you're powerless to stop them. You think you can beat Michael Bay or Joel Schumacher? No way, jose. They're still making movies and getting rich off of you! Uh, scoreboard. Anyway, my point is the best films are generally concentrated at the end of the year (fall/winter movie season), while the worst films could strike in the doldrums of January & February, they could sneak by with their "award-season" street cred in the fall/winter movie season or you could just go to the theater in July, put on a blindfold and walk into any of the 24 theaters at your local AMC and soak up the genius that is the latest animated film involving penguins in some form or fashion or maybe even be treated to the latest Twilight opus, the possibilities are endless! Anyway, less talk more rock, here are some films that despite my best quality screening efforts, somehow slipped past the metal detectors:

- Shamalamadingdong decided to team up with botany nerds and Mark Walhberg's voice to attack your senses in The Happening. I knew it would be bad, I just had to see it with my own eyes. I have no one to blame, but myself.

- I thought the first Chronicles of Narnia was decent. I never read the books, so I guess I watched the first one out of some misguided attempt at trying to retroactively fit in with the cool C.S. Lewis crowd. I don't even remember the name of the second one, but I'm pretty sure the title is about as long as the movie, which I think clocked in right around 5 hours and 32 minutes. I'm all for suspension of disbelief, but when I see 8 year old kids wielding swords and kicking the shit out of monsters and soldiers who looked like they trained with the Spartans, I just can't take it. I think I got a lot of ironing done while this was on, so there's always that.

- Oh Spike, it's on again off again with you isn't it? Spike Lee is one of our best modern day American filmmakers, but let's look at what he's done since 2002. 25th Hour (great film), She Hate Me (I think I gave it worst film of the year in 2004), Inside Man (solid, genre film), When the Levees Broke (best film of 2006), and now, Miracle at St. Anna. You see a pattern here? How one man can go from making some of the best films of the last 30 years to making some of the worst just blows my mind, but it is what it is. Still got lots of love for ol' Spike. I look forward to his next documentary, Matt Schaub Doing Work, it's gonna be epic.

- Australia. Yeah, didn't see this one coming. Wolverine stars in an 8 hour epic set in the outback with Nicole Kidman, lots of singing and dancing ensues. You have been warned.

- Lost Boys 2: The Tribe was horrible, but that went straight to DVD and had parts where Corey Feldman would show up in a headband and camouflage uttering lines like, "Did somebody order the stake?!". It's kinda not fair. Hey, I don't show up at dad's pitch games trying to knock one out of the park. Respect the game.

- But enough foreplay, we may not have had Michael Bay in 2008, but we did have Adam Sandler! Can someone remind me when this guy was last funny? I think at the time the Fresh Prince of Bel-Air was one of the higher rated sitcoms on television. You Don't Mess With Zohan is one of those comedies that makes you actively angry with how not funny it is. Oh look, Sandler is having sex with old Jewish women in the bathroom, OH! MY! GOD! My sides, stop stop! Every summer, you can count on the weather warming up, the Mets to fall apart, and Adam Sandler to unleash yet another hopelessly unfunny and out of touch "comedy".

Most Underrated/Underappreciated Film of the Year:
No clear cut winner this year as I'm inclined to mention films like Hellboy 2, which was pretty damn good especially when compared to its completely inferior predecessor or Zack and Miri Make a Porno, which was way funnier than Kevin Smith had any right for it to be considering...well, it's a Kevin Smith film that wasn't made in the 90s. All that being said, I think a film that deserved to be seen more was Tom McCarthy's The Visitor. Richard Jenkins did get love from the Academy for his work and rightfully so, but much like McCarthy's previous film (the masterpiece that is The Station Agent), the name of the game here is restraint and honesty in filmmaking. Nothing ever feels forced or artificial, which makes the more intense moments that more emotionally resonant and potent.

My Cheesy, "Power of the Movies" Moment Award:
Be Kind, Rewind. The part when they screen their homemade epic involving the whole neighborhood on the wall of the video store. I have no idea why, I just found it to be very moving. Have any of us ever done anything like that? Of course not, but I'm sure everyone can remember the experience of watching a great movie in a theater when all of the outside factors were perfectly conducive to the best cinematic experience possible. Or maybe that's just me.

Better Than Most Horror Films You'll See In a Given Year Award:
The Signal. Not a masterpiece, but a good solid piece of intense filmmaking.



The "Damn, the first half was so much better than the second half" Award:
Hancock. What a crock to have a very funny, entertaining film turn into the most serious thing you've ever seen (okay, I'm just exaggerating for effect) for its final 40 minutes. Wrong time, wrong film. Pick a tone and stick with it, geez.

Don't You Fuckin' Forget, Brilliant Comedic Acting Is Not Easy Award:
Steve Coogan for his brilliant work in Hamlet 2. Steve Coogan is usually pretty great, but his hilariously manic performance in Hamlet 2 is a prime example of a comedic lead taking a role to new heights. The film seems like it'd be mildly funny as is, but Coogan's performance elevates the entire film. He is to Hamlet 2 what Mickey Rourke is to The Wrestler and he deserves to be recognized for it.

The Makes Me Wanna Take a Long Hot Shower After Watching It Award:
Blindness. Good film and unafraid to show the base ugliness of human nature. Uplifting stuff.

Best Ending to an Otherwise Merely Decent Film Award:
Let the Right One In. Perfect in terms of theme, tone, and execution. Too bad the rest of the film is unworthy of it.

Evidence That Emo/Indie Kids Are Getting Old Enough to Make Films Award:
Nick and Nora's Infinite Playlist. Kat Dennings deserves better than this.

The Great Concept, but Should Have Been a Much Better Film Award:
JCVD. Shot in a part documentary/part action film style with the man, the legend, Van Damme playing himself as a character who gets stuck in a hostage situation and needs to fight his way out Bloodsport-style. Only problem is the film is light on the action and narrative momentum and heavy on strange filters/lighting and de-mythologizing action stars. Normally, I'm all for stuff like that, but in this case, maybe I just wanted to see some sweet roundhouses one more time. I wonder what Michael Dudikoff is doing these days.

Best Supporting Actor Award:
Clint Eastwood's persistent growling in Gran Torino. *rimshot* Heyoooo!

Guilty Pleasure Award:
Definitely, Maybe. It's no secret that I have a soft spot for Ryan Reynolds, I can't help it. But I didn't expect this. A very solid and surprisingly moving romance. It'll still be one of those movies where if someone is like "Have you ever seen this movie?". I'll just say, "uh...no, what is that?".