With that being said, this year had a number of good films that deserve some attention to varying degrees. Although a big problem I had with the release schedule was that it was incredibly back loaded. This is something of a trend that seems to be taking root as I noticed it last year too. The major films will be released around the middle of May (and not before) until early August. Then there’ll be a lull from September to October (there were some real dregs that came out during this time, I mean, just horrible pieces of crap that never should’ve seen the light of day), until November when the studios role out what they think are the films with major Oscar potential. Of course it coincides with when the studios think people are more willing to see films, but still doesn’t it hurt the overall industry to produce a schedule like this?
Anyway, I’ll proceed with the best films of the years. Like I said above, there were a number good, if not spectacular films released this year, so I feel like a number of them deserve some mention and these are the films that just missed the list for me. Some of these are notable because they’re most likely going to show up the nominations list for the Academy Awards.
Milk – I wrote a review about this earlier and it was excellent for Sean Penn’s performances but some glaring holes about the explanations of the other characters really hurt it for me.
Doubt – The other film I wrote a review for. This also had some great acting in it but bare bones plot forced me to leave it short.
Frozen River – I have a feeling this would’ve made the top ten, but I unfortunately haven’t had the chance to see it yet. If I do see it I might make a note about it.
Frost/Nixon – I can’t quite put my finger on why this film didn’t completely connect with me, but I have this problem with all Ron Howard’s film. While they’re technically very good films, they lack a personal touch that really makes a film great.
Iron Man – I thought this deserved mentioned. For the majority of the film it was looking like an excellent character study with a superhero back drop, but its major fault is what sinks a lot of superhero films.
W. – I saw this and even thinking back on it, I have absolutely no idea where to put this movie or really what to think of it. What exactly was Oliver Stone shooting for with this?
Australia – I am a huge fan of Baz Luhrmann, but this attempted to be a little less whimsical than his previous films and attempted to be more of a straight historical drama (while still trying to keep some of the aspects of his previous films) and it hurt the film to a fair extent.
The Top Ten (in descending order):
10.) Boy A – This is a bit of a copout considering the film wasn’t technically released in 2008, but it didn’t get it’s US release until 2008, so I’m going to count it (it made an appearance in Canada and the UK before hand). This film explores the nature of one’s past. To be more specific what is one’s true nature and can you ever truly escape your past. The film is ultimately heartbreaking and leaves you a little mad at the world. It works well because the ending is so bitterly obvious but watching it you hope that it doesn’t turn out the way that you know it will. This is helped by excellent performance by lead actor Andrew Garfield who plays Jack, the Boy in question, who really pulls at the heart strings due to the innocence of Jack’s character.
9.) Happy-Go-Lucky – If you don’t like this movie then you’re obviously too cynical and I suggest you find some things to be happier about. Just a wonderful movie, that’s along the same line of Boy A (but in the exact opposite direction). It’s a character of study of Poppy, a British teacher who goes about doing her own thing despite everyone’s belief otherwise. The plot is a bit meandering but it doesn’t really matter as Sally Hawkins turn as Poppy is really what the film is all about. Director Mike Leigh never betrays the overall feel of the film even though most creators would send Poppy into somewhat darker territory, if given the chance. It shows a good bit of resolve to stay the course and the film is much better off for it.
8.) Slumdog Millionaire – This was the feel good movie of the year. Everyone loved it from average moviegoers to the critics. And there’s a very solid reason for this, it’s an excellent film in the mold of film that Frank Capra helped popularize. It’s a bit of a throwback film where the plucky underdog makes good and despite everything fails to go his way, he doesn’t give up on his ultimate goal (not once, the kid has amazing fortitude). This type of film has a tendency to be overly schmaltzy which can turn the viewer against it fairly quickly, but due to a great cast of unknowns (an all Indian cast adding to the atmosphere) and a director in Danny Boyle who was clearly on his game. While not the artistic accomplishment that some movies boast, there’s a lot to be said for a movie that shoots for its mark and hits it dead on.
7.) Redbelt – This will go down as the most underrated movie of 2008 (as I know absolutely no one who has seen it or has even heard of it). It had unfortunate timing of coming out right before the Summer push and to apparently not be marketed at all (as far as I can tell, I saw it on a whim after only vaguely being familiar with it). Of course that plays into the overall theme of the film, oddly enough. This film delves into the theme of how long before you’re willing to sell your most artistic notions. Chiwetel Ejiofor plays Terry; a Brazilian Jujitsu Master who is being pressured due to financial restraint to compete in a UFC like competition, an act which he thinks goes against the purity of his Martial Art. The film is directed by the always solid David Mamet.
6.) The Curious Case of Benjamin Button – The story of a man who is born as someone in their late 80s and then proceeds to age backwards. Visually it’s the most beautiful film to watch in the past year as David Fincher’s films tend to be. Unlike Fincher’s other films, which tend to end either on downers or morally ambiguous terms (Se7en, Fight Club, Zodiac). Benjamin Button on the other hand has a fairly uplifting message (which one can interpret as growth from Fincher I suppose). The film itself hinges for the most part on the roles Benjamin and Daisy and the two of them relate to each other as they grow older. In that respect the film is at its most successful with the chemistry between Brad Pitt and Cate Blanchett is stellar at every point. It’s easy to feel every moment of excitement and disappoint between the two characters throughout their entire lives and carries the film.
5.) Rachel Getting Married – If Anne Hathaway ever becomes the critically acclaimed actress that most every thinks she has the ability to be, this film will be the start off it (although being in Bride Wars certainly seems like a step back). Hathaway plays Kym, who is recently released from rehab to attend her sister’s wedding (the titular character Rachel played by Rosemarie Dewitt in a somewhat thankless role). Partially because of Kym, the family has become the quintessential dysfunctional family, and needless to say sparks fly. Aside from Hathaway’s turn that should net her an Oscar, it’s also the return of Jonathan Demme to the ranks of elite directors. Demme does his best to film the movie in a style best associated with Robert Altman, with the camera effortlessly weaving in and out of the house where the wedding is taking place giving an almost voyeuristic feel to film making it seem more like a slice of life more than anything.
4.) Revolutionary Road – Sam Mendes is one the better directors to come along in the last decade, but what seems to be his bread and butter is suburban misery. The film draws a number of parallels to his first directorial effort, American Beauty. Like Kevin Spacey in American Beauty, Kate Winslet’s April is trying to find where she exists in a world where she doesn’t really belong but was told she would. Winslet and Leonardo Dicaprio are so perfect in their roles and their chemistry is so absolute that’s hard to figure out why exactly their marriage is failing. It becomes increasingly frustrating for them, knowing this that they can’t fix things. The film plays off on the chemistry that made them work in Titanic so well, that you don’t need to see the years leading up to the film’s start because it makes perfect sense that the two would be married and it’s practically mesmerizing seeing the marriage disintegrate.
3.) The Wrestler – This film begins and ends with the performance of Mickey Rourke. This is a role that seems to be tailor made for the actor. It is impossible to see anyone else besides Mickey Rourke playing Randy “the Ram” Robinson, the broken down wrestler for which the film revolves around. Rourke makes every nuance believable from his ease out in the ring and connection with every fan he encounters to the pain he goes through to connect with his estranged daughter (played by Evan Rachel Wood) or the stripper he wants to settle down with (played by Marisa Tomei). Framing the ups and downs of the Ram’s later life is director Darren Aronofsky. He’s always been a talented director but this is the first film that he hasn’t written himself and it shows by his most consistent work to date.
2.) Wall-E – The second best film of the year, is also the best animated feature as well. What makes this film even more impressive is total lack of dialogue through the first half of the film. Wall-E is about the last active robot on the planet Earth after it was abandon by humans a few hundred years earlier. Director Andrew Stanton (who also directed Finding Nemo) does a fantastic job of showing Wall-E’s curiosity as explores and collects knick-knacks on Earth and discovers human life off world. Another that makes the film succeed is the connection between Wall-E and Eve which, despite no dialogue between the two other than their names, might have been the most believable romance caught on screen all year.
1.) The Dark Knight – The second installment of Christopher Nolan’s reimagining of the Batman franchise is the best the film of the year. This might seem a little biased on my part seeing as how devoted I am to comics, but in almost every case, films based on comic books leaves me a good bit disappointed. There are a number of reasons for it, the two biggest ones are that the films are never really allowed make their natural progression and the endings are usually so convoluted that it would never even work inside an actual comic book. Batman Begins suffered from the last problem but it was changed in the sequel. Everything about the film occurs naturally (within its own given universe of course), which something that has been absent among comic book films and also doesn’t rely on a hokey ending that struggles to not deny rational thinking. Not only has Nolan given us the best comic book film ever but he’s also crafted the best crime film in quite some time. The film also delves into themes of what makes a hero and how one comes about what is right and wrong (and how easily the line can be skewered). I would be remiss to mention the great casting, which is lead by the wonderful performance of the late Heath Ledger as the Joker. Not only is it the best film of the year but it might very well prove to be the most influential film of this year.
