Another Year In The Can

And there you have it, the most predictable Oscar ceremony in memory. I'm happy that the best film of the five won, although my passion for Slumdog Millionaire is dwindling. Eight Oscars seems excessive, but it's nice to see a film rise above the four or less win streak we've had for half a decade. I was sad to see Mickey Rourke lose, but Sean Penn was not as annoying of a winner as I expected. And congrats to Kate Winslet on her win; it's a performance I was not impressed by, but it's about time she won one of these. Ultimately, I am glad to finally call it quits on 2008 once and for all. With the Oscars handed out, I can finally move on to a hopefully more exciting 2009.

• The show was not the disaster I was kind of expecting. Hugh Jackman did a nice enough job hosting, although his presence was at times nonexistent. His musical number at the start was alternately funny and grating, but at least he said what everyone was thinking about The Reader.
  
• The one thing I feel was undeniably bad was the presentation of the acting awards. It just went on and on with the gushing and the backslapping, to the point of utter smugness. And to top it off, we got no acting clips for the performances. That's usually one of the highlights, seeing which clips they would pick, and I was especially curious to see how they'd present Robert Downey Jr and Heath Ledger.
• Loved Jack Black's comment about doing the Dreamworks film so that he could take all his money earned and bet it on the Pixar film at the Oscars. Very funny stuff, and I'm glad to see someone call Dreamworks out on their sub par films.
• Anyone else think it would have been awesome to ditch that one note Ben Stiller presentation for Cinematography and instead get Christian Bale to present? Now that would have been hilarious!
• I can see why Peter Gabriel wanted nothing to do with the ridiculous Best Song medley. Singing "Down to Earth" and "Jai Ho" at the same time was awful.

So that's a wrap. I did pretty well on my predictions. I believe the only category in which both my prediction and backup failed was in foreign film, but with the announcement yesterday that both Waltz and The Class were forcibly inserted into the nominees after not receiving enough votes, I made a personal last minute guess for Departures. I really hope that next year we get a genuine race for Best Picture. I'd rather be wrong and surprised than right. It's just more fun that way!

2008: Top 10

These end of the year lists are both a blessing and a curse. It's fun to reflect back on the year in cinema and remember the best the year had to offer. Sometimes you get a year like 2007 where you have an abundance of riches to choose from. And then there are years like 2008. 2008 was not a great year for movies. I know last year I said I should refrain from making that kind of sweeping generalization as it will come back to bite me. That said, it's undeniable that my top 10 this year did not excite me the way my top 10 did last year. That is not meant to be an insult to the films listed below - far from it. I've been spoiled the last two years by having a number one film that I was in love with. That didn't happen this year. I love my number one, but that's not quite the same thing. I think having the kind of anchor in my top 10 list that both Once and Children of Men provided in the past would help me to feel more comfortable with the rest of my list.

A few notes before we get things started. I tried to see everything I could, but a few films got past me. Timecrimes, Dear Zachary, Che, The Reader, Valkyrie, and City of Ember are films I hope to catch in the near future. The first two in particular are unfortunate in that they really sound like my kind of films. I also want to point out how frustrating the release system was this year. I felt like I was scrambling to see far too many movies at the very end of the year. It's really disappointing that studios feel the need to hold so much back until December. Not only does this mean some films won't make my list because I didn't see them, but others don't have the proper time to sit with me. I saw Benjamin Button only this morning, and while it probably wouldn't make my top 10, I feel like it's too big to digest this quickly. Some films in my top 10 are likely to fluctuate big time in the coming month as I get time to think about them, namely The Wrestler, which could rise even higher if given the time. In short, this is a top 10 in flux. Not as complete as last year's, but with about 60 films screened it's a pretty good approximation of what I liked about 2008.

10. The Visitor

As film after film fell by the wayside in the last month, I began to look back on some of the smaller films of 2008 to fill out this list. The Visitor, from writer/director Thomas McCarthy, proved to be the true keeper. I loved his last film, The Station Agent, and here he touches on many of the same themes - namely loneliness and how people discover themselves through their relationships with others. It's delightful to see Richard Jenkins get such a great lead role for once, and he does a perfect job with the part. Really, the whole cast is a delight, working well off of each other to give you a warm feeling, even as things don't go so well for the characters. You know that in spite of what happens to them, everyone will be better off for having known each other.

9. Pineapple Express

I'll admit, I wasn't expecting much from this film after the opening scene. Stoner comedies are among the least funny films out there. They always go for the easiest jokes, and this starts off doing just that. Thankfully, this rose above that to deliver both a very funny film and a great examination of friendships. That last scene where the three heroes are reminiscing about what they'd just been through is perhaps the highlight of the whole thing. These guys are like kids who just had a fun adventure, and they even get a ride home with one character's grandmother. Brilliant. Special notice should go to James Franco, who gives such a fully realized performance that goes beyond just being funny. Oscars, please take note.

8. Frost/Nixon

I'm surprised Ron Howard had such a strong film in him. Usually he's content to go the bland, easy route (The Da Vinci Code), but here he takes two great actors and a strong script and lets that carry the film. Both Frank Langella as Nixon and Michael Sheen as Frost give career best performances, which should be no surprise given that they've had time to perfect them on stage. Perhaps the most unexpected delight of this film is how funny it is. It could easily have been a quiet drama, but the writing allows for some very funny moments. Nixon's reaction to having to film a segment called Nixon: The Man is hilarious. This is the kind of movie that I could see myself watching any time it pops on TV, which goes a long way when you really think about it.

7. Rachel Getting Married

This is, to me, the biggest surprise of the year. Everything else in my top 10 had something going for it prior to watching it. This was a film I was dragged to against my will, and indeed, resisted for half the run time. But slowly I allowed it to wash over me, and I found such a warm, wondrous delight of a film inhabited by so many great characters. The key to this film is that it's presented as simply a fly on the wall look at this wedding. No pretense, no narrative, just a family getting together to celebrate one daughter's wedding. The performances are great across the board, but the one person who has been overlooked this year is Bill Irwin. His performance really made me think hard about whether or not Heath Ledger is the best supporting actor of 2008. He felt so real to me, so honest, that I felt his every emotion. His reaction to learning he is going to be a grandparent is a moment to cherish in 2008.

6. The Wrestler

Darren Aronofsky is really proving to be a versatile director. Who'd have guessed he could turn out a film like this just two years after The Fountain? Mickey Rourke is the heart of this story, and you you come to feel for him in ways you wouldn't expect. I wouldn't have thought a film about wrestling could ever provide such depth, but these are people with a fascinating and largely untold story. Seeing the way they plan out their fights before hand, the genuine camaraderie between fighters, and the way they turn out washed up and alone at the end of their careers is unexpectedly riveting stuff.

5. Slumdog Millionaire

The great achievement of this film is how is really takes us right into the world of Indian slums. It opened my eyes to a people I knew little about. It's also a fun, inventive, and charming film. It's going to be interesting to see if this really can take Best Picture this year, and right now I suspect it will. Kudos to Danny Boyle for taking what could have been a schmaltzy story and injecting it with real emotion, jubilation, struggles, and hardships. And that final dance number really hits home how uplifting the story ultimately is.

4. In Bruges

Martin McDonagh made his first feature length film here, and it is an unexpected emotional roller coaster. In Bruges is both darkly hilarious and quietly sobering. I won't give away its secrets, but the film takes some dark and surprising turns as it tells its story. I love films that can make you laugh out loud at one moment, then have you get a bit teary eyed the next. Colin Farrell gives easily his best performance as a hitman who made one horrible mistake. Watching him cope with his grief is unexpectedly moving. The film's real secret, though, is Brendan Gleeson as Farrell's partner. Faced with a moral crisis of his own, he drives this great film home.

3. WALL·E

I knew this was going to be something special when I first heard about it, and sure enough, it stands high atop a mountain of Pixar films to be their best yet. I love that Pixar is willing to take such risks with their films, not going for the easy sell. Who else would have the guts to make an animated kids' film that has no real dialogue to speak of for most of the run time? The animation is truly stunning, leaps and bounds beyond what anyone else is doing these days. It's going to be hard for Pixar to top this one, but if anyone can do it, it's these guys.

2. Let The Right One In

This came so close to number one that I may still switch it. Time will tell. I mentioned earlier that there are films I am in love with and films I love. My number one film is not an easy one to be in love with, but this one is. Which is kind of weird considering this is a Swedish film about a child vampire forging a relationship with a school recluse. But it's so damn moving. The child performances are spot on, especially Lina Leandersson as the vampire. I know not many people have seen this one yet, nor will they considering what it is. But if you ever come across this one, please give it a shot. You've never seen something quite like this, and it has the most unexpectedly satisfying, thrilling, and deeply moving ending for any film this year.

1. The Dark Knight

After 4 viewings, I simply can't deny this is the strongest film of the year. The Dark Knight was my most anticipated film of the year, and miraculously it lived up to and exceeded those expectations. Batman has long been my favorite comic book character, and it has been a delight to see him get such a fine treatment in cinema. I never in my life would have dreamed that people would be talking about a Batman film being a serious contender for a Best Picture Oscar, but here we are. Obviously, at the center of this epic masterpiece is Heath Ledger. That final line of his, "I think we're destined to do this forever," just hits so painfully hard knowing that we'll never see him do this again. Far too long we've seen comic book characters treated in a jokey manor (Sam Raimi, I'm looking at you). It feels validating to see someone treat these kinds of stories seriously for a change and reap such huge rewards as a result.

Slumdog Millionaire

A great film can do more than just tell a wonderful story: it can take you to another world, let you see life through a different set of eyes. Slumdog Millionaire may not have the most original story, but damn does it transport you. Shot on location in Mumbai, India, we are able to witness the harsh realities and stunning perseverance of a people and place we most likely would never otherwise visit. It's not always the most pretty experience, but it is an enveloping and enlightening one.

I fear that people are going to go to see this expecting one thing while getting another, and being put off because of it. The premise is that Jamal (Dev Patel), a young man who grew up in the slums with no real education, has found himself on Who Wants to be a Millionaire, within grasp of winning the top prize. When the show breaks for the night, he is snatched by the authorities and tortured, under the assumption that a guy like him could never possibly know all these answers. From there we learn that each question on the show has a connection to a major point in his life, told through extensive flashbacks. I fear people are going to be more interested in the present day game show aspect of the movie - which is the more immediately thrilling aspect of the film - and less so in the back story. That is a huge mistake. The game show is simply a way to frame Jamal's life story, which is the true heart of the film. Remember that a picture frame is vital to the painting, but no matter how great a frame it is, it's not the reason you look at the painting. And it is through Jamal's life that we begin to grasp what an awesome achievement this film really is.

The mere fact that a film like this exists and stands a good chance of major Oscar consideration come year's end is a miracle in itself. Director Danny Boyle, a filmmaker I've admired but never loved, shot much of the film undercover on location in the slums. As a result, what we see surrounding the story is almost a documentary of the real Mumbai. Those are real slums, real starving people - an honest-to-God living and breathing world in every frame. I think that this film works in a more powerful way than a documentary would simply because it uses the fictional story of Jamal as a way to give us an entry point to this world.

I mentioned before that the story itself is not especially inventive or original. The characters are fairly archetypal, but they all feel so fully lived in that you completely forgive the film that transgression. I honestly felt like I'd experienced Jamal's life by the end of the film. So many movies these days feel rushed, unexplored, not totally realized. Not here. Slumdog has this quality about it that makes you feel like you've been enveloped, and by the end you are completely satisfied. Not enough films get credit for taking an idea or a world and exploring it to the last detail. Charlie Kaufman is one of those few who get that concept, and while I would not compare Slumdog Millionaire to any of Kaufman's narratives, they both do share this idea of a world fully realized.

At times this film can get quite dark, which may come as a shock at first. It opens with our hero being brutally tortured. The majority of his life leading up to the game show is dreary and gritty. But at the same time, it is filled with moments of great hope and honesty, and those moments of triumph are made all the more powerful for having been rooted in such a murky world. Boyle aids these moments with some great visual flairs and musical cues. Perhaps the most inspiring moment comes during the credits, of all times, as the cast breaks out into a Bollywood style song and dance number. It's like the visual embodiment of the happiness Jamal feels by the film's end, also reflecting how you will likely feel as you leave this deeply affecting film.