Honorable Mentions:
Choke
Burn After Reading…This and Choke were pleasant surprises in a time when our comedies are seemingly predominantly intended for audiences of between 13-20. I enjoy the Judd Apatow realm of films almost as much as the next guy, but at 30 I get a bit tired of the suspended adolescence. So, it was great to see at least a pair of comedies for adults. That’s not to say that they’re Billy Wilder level in their wit….no….their filled with swearing and sex just the same.
Zack & Miri Make a Porno…I really admired the fact that this was a comedy whose protagonists were poor. Too often film seems to only focus on the perfect looking people who hold the perfect jobs. This was a nice change.
Gonzo: The Life and Work of Dr. Hunter S. Thompson
The Curious Case of Benjamin Button
Frost/Nixon
Slumdog Millionaire
Bigger, Stronger, Faster
Recount
Hard Times at Douglas High: A No Child Left Behind Report Card
At the Death House Door
Standard Operating Procedure
Che
Calzaghe/Jones 24/7 and Pacquiao/De La Hoya 24/7…This is the documentary/infomercial series done on HBO to hype boxing events. I’m a bit uncomfortable acknowledging something that is purely meant to sell PPVs. However, these 3-4 part 30-minute documentaries done by HBO are always among the most riveting television of the year. And if Live Schreiber was narrating an infomercial there’s a good chance I’d end up buying whatever they were selling.
Funny Games and The Strangers…So I cheated here and listed 2 films. Funny Games is a bastard of a film that turns the horror genre on its head. Meanwhile, The Strangers is completely a genre pick and suffers from some of the genre’s common pitfalls such as several nearly unbelievable plot points as well as unabashed manipulation of the viewers senses – going even so far as to lie about it being based upon a true story. However, the result is the same as both films are absolutely terrifying. Funny Games is an easy honorable mention, however I can’t, in good conscious, not recognize in The Strangers a film that scarred me so much that I simply turned to my laptop and wouldn’t watch many moments.
Saturday Night Live (seasons 33 & 34)…SNL returned to the forefront of American Pop Culture with their parodies of the 2008 Presidential Election.
The Wire (season 5)…I’m growing tired of being another of the many voices trumpeting that this was the greatest television series in history. That’s really downplaying it. It’s the greatest achievement of American television whether fiction or non-fiction. I recently heard Bill Moyers equate this show and its take on America to Charles Dickens and his England. Season 5 was the final season and while it wasn’t my favorite, it was worthy of the series.
Mad Men (season 2)
And here’s my ‘Top 11’ as I couldn’t pick 1 to move down to honorable mentions:
11. Roman Polanski: Wanted and Desired
Perhaps the greatest compliment that can be bestowed upon a documentary that seeks to enter the realm of investigative journalism is that it actually makes a constructive impact on the subject matter that it covers such as Errol Morris’s 1988 classic ‘The Thin Blue Line’. ‘Roman Polanski: Wanted and Desired’ will likely not lead to Polanski being acquitted for the unlawful sexual intercourse of a 13-year old girl, but that’s only because he seemingly has no interest in returning to the U.S. for the hearing. However, the documentary reportedly succeeded in convincing a Los Angeles County Superior Court Justice that Polanski was likely treated unfairly in his trial and therefore deserves a hearing that would likely result in the case being thrown out.
This documentary doesn’t excuse Polanski’s despicable act. The focus here is to examine the trial not the act, and the ridiculous media circus that surrounded it. The contributions by the victim, as well as the lawyers involved make for a truly captivating experience.
10. Let the Right One In
This Swedish vampire film completely dumps the genre on its head and delivers an original take. While mainstream American audiences were captivated by some adaptation of a young adult book, or immersing themselves in HBO’s attempt to regain some of their edginess…most of them missed this real gem of a film.
9. Boogie Man: The Lee Atwater Story
On documentary film in 2008, I think Man on Wire reaches greater heights as a documentary film, and I think Roman Polanski: Wanted and Desired was better executed. However, I think the stakes are much higher here. It is much easier to properly understand the state of partisan politics in this country during my lifetime if you understand the Lee Atwater Story. As far as filmmaking goes, I think, being a news show, that PBS’s Frontline is rarely considered when discussing the best documentary film of a given year. Nevertheless, they deliver the finest in investigative journalism for the screen, and do so almost weekly. In addition to the high stakes, I single out Boogie Man as it’s a feature length episode that tells a more linear story and is therefore more accessible than many of the programs other films. Do you have an opinion one way or the other about Karl Rove and his effect on American Politics? If you answered ‘yes’ and don’t know much about Lee Atwater, I highly recommend….
8. In Bruges
Thanks to a series of poor films, most seem to have forgotten that Colin Farrell can act. Just check out Tigerland for a refresher course. This film, the debut feature from very promising Irish playwright turned filmmaker Martin McDonagh, features two spectacular performances by Farrell and the always-great Brendan Gleeson. The film is not for everyone as it’s extremely violent, very offensive, and delightfully vulgar. But, if you’re not put off by those things, and maybe even turned on by them….then you’ll enjoy the ride In fucking Bruges. And how can you not love a film that uses the Pixies in its trailer:
7. The Wrestler
I make no apology for the fact that I LOVE pro wrestling. I often feel that I have to due to the fact that its fan base – at least in this country – is often associated with the lowest common denominator; somewhere beneath your stereotypical NASCAR fan. To me, it is the height of entertainment. Sport, story, athleticism, and improvisational acting all in one. My Grandfather was a wrestler and I was raised on stories of a time prior to when it was turned into an extremely lowbrow soap opera. So, I hold a particular attachment to a film that treats the subject seriously and without the same comic book like ridiculousness that it is if you watch it on North American television (I prefer pro wrestling from Japan, or independent, niche, wrestling neither of which you will find on TV.) Anyhow, Darren Aronosfky’s brilliant and tragic story is neither as brilliant nor as tragic as his masterpiece, Requiem for a Dream. However, it’s not very far behind and at its core is the most hyped, and deservedly so, performance of the year. Mickey Rourke’s performance is truth, plain and simple. There isn’t an ounce of acting going on there; even when uttering preposterous lines like, ‘Doc, I’m a professional wrestler’. Take the same film and have David Mamet write the script and this would move up 5 spots on this list.
6. Man on Wire
I think that Roman Polanski: Wanted and Desired is the best documentary that I saw from 2008, and I think Boogie Man: The Lee Atwater Story is probably second. However, Man on Wire is likely the most inspiring film of the year. Examining a real person and event, it has advantages that other inspirational films like Redbelt and Benjamin Button don’t. And by being a documentary, it has the advantages of being raw and not needing the melodrama of films inspired by true events, such as Milk or Che. Man on Wire ascends, literally and figuratively, to a level of inspiration we don’t even manage to dream about. It’s accomplishments as a film as well as a story, exceed our expectations. It’s a documentary that is also an extremely effective caper film – besting another very good 2008 film The Bank Job. The climax of the film is the most awe-inspiring sequence put to film for 2008. And you will come away from it convinced that the film’s subject, Philippe Petit, has this life figured out far beyond you and your heroes did.
5. Milk
No film from 2008 meant more to me. I’m not even going to address the timing of its release with the prop. 8 debate here in California. No, this film meant so much to me before it was even released, a whole year earlier when I had heard about its being green lit. And it’s worth a few self-indulging lines to fully explain. Harvey Milk was assassinated on November 27, 1978 as I was jockeying for position in a crib at 5 months old – and while my love, Jessica, was less than 10 days old. My parents had lived in San Francisco during many of the years addressed in the films, from the late 1960s-to the early 1970s. A time when San Francisco really established much of its modern persona. By the mid-1970s my parents had moved to an East Bay suburb to raise a family, but this did not mean that they had forsaken the city in any way. In fact, my Mother was hell bent on my being born in S.F. And on the early morning that she went into labor, despite the pain, she demanded that my father make the 40-mile drive. I was born in San Francisco and raised on many tales about the city, including Harvey Milk, and the ensuing ‘Twinkie defense’. I was raised to embrace that very thing that much of the rest of the country is frightened by, San Francisco culture. I love San Francisco.
All of that back story aside, this film was one of the rare times that I went into a movie knowing that I didn’t want to see the end. I’m not too macho to admit that I was muttering ‘god damn it’ because I knew that I was choking up and fighting back tears from the opening credits until about 20 minutes after the film ended while I was walking it off in a Borders book store. It was melodramatic, but it was suppose to be as it is a bio-pic. Personally, I’ve grown to dislike bio-pics and particularly grown tired of critics and awards constant preference for the work by actors in bio-pics. However, Sean Penn was remarkabl and every bit as good as Mickey Rourke’s perfect turn in a completely different kind of role in ‘The Wrestler’. Furthermore, much of the supporting cast was truly memorable; particularly James Franco – whom between this and Pineapple Express I have renewed faith in. I have a couple nitpicking complaints about the film, but nothing could keep it from being among my years favorite film experiences.
4. Wall-E
Any of you whom I’ve had lengthy conversations with about film probably know that I don’t care for animated films or children’s films. I’m 30 years old and don’t have kids yet. I have no interest in these films, plain and simple. Much of the 3 years that I’ve spent living here in Riverside has seen my film going experiences often flanked by Jessica and/or my brother David. Not surprisingly, I’m often trying to convince them that we must see the latest critically acclaimed, serious, and often depressing film about the plight and the struggle of…whoever. Meanwhile, they are often more interested in seeing more mainstream fair. Such was the case when I begrudgingly capitulated to them to go see Wall-E fully expecting that I would get a good nap out of it. That didn’t happen. I was never bored, never felt my intelligence insulted, and never felt that the film took to many of the common cheats that films of this nature often do in order to attract adult audiences. This was brilliant filmmaking and I couldn’t ignore that. It gave me hope that years from now, when Jessica and our children are excited to go see the latest animated film, that I may just tag along without complaint. I’m not making any promises, but there’s hope.
3. Rachel Getting Married
I’m sure some will find this a bit boring for their tastes. It’s essentially a kitchen sink movie so if the complexity of human relationships in our current culture doesn’t interest you…then fine, go watch Fast & Furious. I can also understand if someone was turned off by a bunch of middle class white folk and their seemingly petty problems. Trust me I can relate to that one, as that is often my reaction to this type of stuff. However, if you come to this without prejudice then you may be more engrossed than almost any other film from 2008. Anne Hathaway got all of the attention for her turn as the quintessential black sheep – and she deserved the accolades as she’s great – but it’s Rosemarie DeWitt’s turn as Rachel that is much more difficult and she nails it. Kudos as well to Bill Irwin with the remarkably difficult role as the sisters’ father. As a bonus, we get TV on the Radio’s front man Tunde Adebimpe as the husband to be. This is a kitchen sink movie done right. It’s never boring and always engrossing. You’ll likely have genuine reactions to all of the principle characters. Complex, multi-layered characters with which you’ll experience a tapestry of emotional reactions. No caricatures here.
2. Redbelt
Surely a film that will surprise some with its high placement; well, all 3 of you I’m guessing. However, this list is not about what I think were the best films of 2008. This is about my favorites. The films that affected me the most and that I’m most likely to go out of my way to revisit in the future. I enjoy David Mamet’s work more and more with each passing year. And this film exemplifies his best and worst qualities. On the negative side, the plot is overly creative and many little filmmaking cheats are made here and there – especially during the climax – in a willingness to sacrifice realism in exchange for an emotional reaction. (I hate that shit, and there are a few complaints that are so insignificant as to not alter my appreciation of the film, but are so easily rectified that they frustrate me.) On the positive side, it’s like the best of all Mamet films as it explores masculinity and simultaneously examines it at its best and worst. It’s funny, that in an industry (Hollywood) that is so skewed toward male-centric stories, masculinity is rarely examined maturely. Perhaps, the abundance of films centered on male characters is exactly why. We don’t feel the need to examine masculinity. Whereas Hollywood only green lights a handful of decent female centered films so there’s a higher likelihood that the whole point of the film will be an examination of feminism in a still male-centric world.
Anyhow, back to Mamet. To know just a little about Mamet is to know that he’s a throwback to a time when writing was perceived to be among the more masculine occupations. Before we were duped by pure capitalism into thinking that such acts as negotiating and competing over money were the epitomes of masculinity. Mamet is among the most successful playwrights of the past 35 years and he can surely outthink, out philosophize, and mop the floor with most of the country’s executive class. With that in mind, this is a fight film - which is not to say it’s akin to a Jean-Claude-Van-Dam film as there’s very little fighting. At the heart of the story is the soul of Mike Terry. Played by Chiwetel Ejiofor in an astonishing performance. The character, and the performance explore purity and truth in ways that can only be compared to what is – in my opinion- the greatest film of all time, John Ford’s The Grapes of Wrath and Henry Fonda’s performance as Tom Joad. And comparing a performance to Henry Fonda’s in anything is the highest praise that I can ever bestow upon a performance. It is not a performance; it is living, breathing, truth. Redbelt is nowhere near as good as The Grapes of Wrath. That’s not the argument, as it never tries to be. However, it garners a similar reaction from me. It makes me feel better about myself. It motivates and inspires me. Mike Terry’s perspective is much closer to what I think is my worldview than any other piece of art that I’ve seen recently.
Some common themes came out of the criticism of the film. From the position that there’s nothing here other than a great performance by Ejiofor; understandable. To the suggestion that the film was great until a convoluted final act; equally understandable. I would challenge that the final act requires a great test on the part of the viewer. If you understand the final frames (the choices that Mike Terry is making), then you understand the film and may in fact love it as I do. If you don’t get the final frames, then you may be missing what’s at stake here in terms of the soul. The final 30 seconds – as preposterous as they may have been – was the highest moment for me in cinema in 2008.
1. The Dark Knight
This was the most satisfying experience I had watching a film in 2008. That’s why it’s #1 for me. One of the unfortunate side effects of the analytical mind and wisdom that comes with a little age and some education is that you often lose that sheer joy and glee of a child sitting in the theater, jaw on the floor, in awe. From Return of the Jedi to Jurassic Park I sat in awe at what the great creative minds of my youth had in store for me. Today, at 30, I sleep through The Lord of the Rings Trilogy, shout angrily out of frustration at the screen during the 2 sequels to The Matrix, cross my arms in boredom during Transformers or the Spider Man films, and feel betrayed after some diamonds in the rough like the 1st two X-Men films are followed by the dreadful X-Men: The Last Stand. I would love to enjoy these films. I just can’t ignore boredom, the blatant insulting of intelligence, and the obvious presentation of a film solely as a marketing tool to sell all of the merchandising tie-ins.
The Dark Knight entertained me beyond anything since childhood, rarely tried my intelligence, and never bored me. I was riveted the whole way. To begin with, Nolan abandoned the heavy CGI route in favor of good old-fashioned stunts. This was a huge plus for me as films that are unnecessarily CGI heavy often come across as so soulless to me that they lose me as a viewer. Furthermore, too much CGI (I believe) can inhibit the shelf life of a film. Remember how amazing everybody thought ‘Terminator 2’ was when it came out? That was thanks in no small part to how impressive the ground breaking CGI was at the time. Well, it’s been around 15 years and the film has faded quite a bit because when you revisit it it’s not as impressive anymore. ‘The Dark Knight’, on the other hand, relies on storytelling, a quality that doesn’t fade with time. Another upside to the film was the grit of Christopher Nolan to present a ‘comic book movie’ not through the suspended disbelief of the graphic images from the page, but instead as though it was Michael Mann’s answer to ‘what if the drug war we gave Mexico was taking place on the streets of Chicago?’ Of course, there’s Heath Ledger’s performance. A man I thought deserved an Oscar a few years prior for Brokeback Mountain – of course I often encourage giving awards to anybody who has to share the bulk of their scenes with Jake Gyllenhaal (that boy can’t act for shit.) Point is, my greatest reaction to a film all year was the stupid grin on my face throughout the whole film, and for days afterward. A grin that just attempted to say, “I can’t believe that not only they didn’t mess up 1 of these movies, but they actually exceeded all expectations.’ Bravo.
