Flashback: The Reader

I was up early in the morning a few days ago and The Reader was on, I tuned in at that specific scene where Hana and Michael are in the bedroom. Though, in all honesty they do spend half their time there, but I digress. It’s Michael’s birthday and he’s annoyed that Hana doesn’t even seem interested. “You looking for a fight kid?” No, I didn’t get some massive epiphany about how this scene was some sort of metaphor for the general reaction to The Reader back in 2008, and its eventual Oscar glory. It’s even less a summation of the gravity of the film, but watching it – yes, I did end up watching the entire thing from there – I wondered why The Reader is called a pretentious Holocaust flick. Your guess is as good as mine to whether or not it’s pretentious, but Holocaust? That seems like a stretch. I saw The Reader for the first time back in 2008 the same day that I saw Revolutionary Road which culminated in a one-two punch of complete depression. I liked them both, and I’ve seen the latter countless times even if it’s not the easiest film to sit through but for some reason I haven’t seen The Reader since. It’s odd, I bought the DVD – I still have it, but I’ve never watched it. It’s not meant to be a slight to the film, because it still is as good as I thought it was – better even, but I’m not sure what it was that stopped me from seeing it again.

 What struck me most upon rewatching it was how quickly the first act goes. It’s the most generic portion of the film, but it also seems in many ways to be the strongest. I’m a big fan of Ralph Fiennes but he’s not as essential to the film’s plot as the poster would have you believe and even Kate who appears in the past and present is not as irreplaceable to the narrative. Sure, she gives the strongest performance but it’s up to David Kross as young Michael to ensure that first half (and more) of The Reader. I’ve gleaned from IMDB that he has a number of upcoming projects and his performance here ranks among my favourites of 08 even if he was virtually ignored. What I appreciate most about the narrative is its slowness to cast judgement on either Hana or Michael. Depending on who you speak to, both of them are being morally reprehensible – and I’m not talking about the court case in the middle of the film. The thing is, I could care less about the legality of their affair and Daldry and Hare manage to make it work, romantic even. It’s an odd partnership but it really is brilliant watching Kross and Winslet together.

It seems unfair that somewhere along the line The Reader is given the moniker of “holocaust film”, anyone who leaves the film with the trial in the middle as the most significant plot point doesn’t seem like someone who paid keen attention to it. True, the trial is an important arc and that potential dissonance that occurs when considering whether or not Hana should be guilty so many years after the fact is probably the point – but the point of the film is more than just that. Calling it a character study isn’t a copout – that’s the bare essentials of what it’s about really. Stephen Daldry is lucky to have such a successful streak, Oscar-wise, but he’s even more lucky to have directed three successful films each of which is starkly different from the others. True, The Reader doesn’t resonate as much as The Hours or Billy Elliot but I still say it’s one well worth watching.

            

Where do you stand on The Reader?

Movie Meme, Day 11: A Movie That Disappointed

One good thing about the meme is how cathartic it is. I’ve been wanting to write about some films for some time, but I’m not sure how to get the ball rolling. Biting the bullet; for today: Rachel Getting Married. I never reviewed Rachel Getting Married, since I wasn’t blogging around the time of its release. It’s often touted as one of the strongest independent flicks of 2008 and Anne Hathaway’s performance continues to be hailed as a tour-de-force. I saw it in the wake of the buzz it was getting. While recapping 2008 I mentioned that I was no fan of the film (my initial grade was a C+) and last week when I caught it on I decided to watch (E/N: this post was written weeks ago). I hadn’t seen it since 2008 and I wanted to see how it aged.

I know I praised Rosemarie DeWitt in my Encore Awards, but I was unprepared for how excellent she was here. I know that lovers of the film applaud her performance but there’s a reason that the film is called Rachel Getting Married and it’s just not because of her wedding. I’ve never liked Anne Hathaway, from her days of being a Disney princess to her newfound status as a rising star I still don’t like her. If pushed I’d identify her performance in The Devil Wears Prada as my favourite, and that doesn’t say much when I think she’s the weakest of the film’s four stars (Blunt, Streep, Tucci in that order). Hathaway grates on me so much I’m unsure if her acting is the issue or her natural personality and my unprofessionalism. Kym, the recovering addict, is the perfect type of role for an actress trying to break out of a rut but Demme’s Rachel Getting Married biggest problem is that it already thinks it doing something seismic. I recall someone saying that if some new director had helmed this, whose name was not Demme, the response would have been muted. I believe that. The film is not a bad one by any stretch of the imagination, but despite all the rote examples of honesty it’s not as sincere as it’s pretending which is the feeling I get from Hathaway. Yes, Kym is just a large mix of neuroses and Hathaway is obviously trying hard, but she strikes me as a young actress trying to act than a real character which is the opposite feeling I get from DeWitt. It’s no surprise, then, that Hathaway does best when paired with DeWitt. It’s almost as if the older sister is willing the younger one to step up to the plate, and it’s the dynamic of the film that rings out as most sincere.

Bill Irwin, I admit, puts up a valiant effort and his response to a certain dishwasher scene is well played. But I can’t take it at face value because it seems oddly truncated, not as truncated as Debra Winger who does well with a nothing role, but truncated nonetheless. I can’t be expected to value these characters because there’s little there that urges me to get invested in them. Yet, I admire Rachel Getting Married for its good intentions. Demme falters, oh yes I believe he does, but his attempt to craft an adult drama that’s not overly adult or that has too much “drama” is impressive. I laud its ability to have an interracial marriage without turning it into something of huge proportions. I laud the fact that it doesn’t try to play for sympathy too much, though it does aim for empathy that I can’t always give. Despite its best intentions Rachel Getting Married does little to move. I’ll show up for the bride, but I’m neither here nor there on the rest of the bridal party. (Upgraded to a B-).

What do you think of Rachel Getting Married?

     

All for the MEME.           

Scene On A Sunday: Changeling

I’m still not sure why I appreciated Eastwood’s Changeling so much. I’m not too fond of the man as it were, and the film was rather poorly received. Still, I was impressed with it (it was my second review on the blog). I felt Jolie was deserving of the accolades she received, but if there was one part of the film I could have singled out alone it would have been Jason Butler Harner’s work as serial murderer Gordon Stewart Northcott. Everyone went wild in 2008 for dual villains in Milk and The Dark Knight and Harner’s Northcott would make it all a good threesome. It’s a slight performance, but one that haunts; and none more than his final scene – the hanging.

It begins with the shot from above as he descends.

I’ll admit, it looks generic enough as Northcott is led into the execution chamber by rhe officers.

But it’s the awareness on Harner’s face that always gets me.

The man has a way with expressions that’s most chilling. He’s a murderer, and yet he looks like a naughty schoolboy read to receive his punishment - one that you could feel sorry for.

Warden reads the charges, and really can we get any more clichéd than a hideous warden? The Grim Reaper I presume – but, alas, Eastwood never was one for subtlety.

             

But, back to Harner. I’m always moved to wonder just what the motive was behind his characterisation. It’s almost sad when he turns to the chaplain:

I kept clean after I confessed, Reverend…just like I said I would.

I think even the chaplain is a bit disconcerted, even if he nods resolutely. I wonder how Sarandon’s Helen Prejean would have dealt with this murderer.

Will it…will it hurt?

Harner delivers the line so randomly I always feel as if he’s adlibbing, which is a good thing. We don’t get a studied portrayal of a dying man, but an almost organic degradation.

Please…not so fast…don’t make me walk so fast.

It’s here that I really have to champion Eastwood. His penchant for overemphasis works brilliantly as we get that sense of foreboding. The walk up the steps (if you can call it a walk) is just so tense….and that shot of the rope…

Just seeing it gives me chills.

Thirteen steps…thirteen steps…but I didn’t touch all of ‘em, you bastards…I didn’t touch all of ‘em.

I always like to think that Northcott is getting delusional and is thinking of the steps as the murdered boys, but I’m always looking for subtext even when it’s not there. Still I start feeling a little bit sorry for him, I can’t explain what Nortchott’s motives were, but with Harner he manages to seem more than just a murderer.

He does look rather deranged, though.

…but still, ridiculous and pathetic.

A prayer! Please, somebody, say a prayer for me!

This shot is just chilling.

The executioner approaches the handle of the trapdoor as Northcott continues in what has to be the eeriest rendition of a Christmas tune.

Silent night…holy night…all is calm…all is bright…round yon virgin mother and child…holy infant so tender and mild…

Just what is Christine thinking?

Though I love her throughout, Jolie is at her lowest when dealing directly with Northcott. She’s unsure what to make of Christine’s reactions towards him (the script doesn’t help her any). I like the look there, though, what is she thinking? It's the sort of unreadable look that seems real.

We pause, and then the Grim Reaper decides to look at his watch.

What exactly is up with timing executions to the second? Will they be sued for digressions? And just then the trap door opens and the deed is done.

Few execution scenes manage to be so grisly and it depends mainly on the excellence of Harner. I cannot overemphasise how much this performance impresses me. I’d have given a nomination based on this scene only. What skill.

Forgotten Characters 2:10

Due to a post to boost my memory compliments of Marshall my mind turned to this film recently. There’s so much about this film that’s forgotten, some of them understandable, like this performance. It wasn’t a poor one, by any means, but in an already long film it didn’t take up much time…hence its forgotten status.

           

Amy Ryan in Changeling

 As Carol Dxter

            

We meet Carol a good way in Changeling. Jolie’s Christine has been cast into a mental institution via the Police Force. Amy grabs my attention from the inception, without being too obvious. Her first words are sage, “You should eat. Eating is normal. You got to do everything you can to look normal.” Both Christine and the audience are startled by the composure coming from someone in a place like this. As she gives Christine the “inside scoop” on their situation it’s a good moment for the film, and Clint knows that. I liked Changeling quite much, but even I’ll admit it could get oppressive at times with all the information, but Clint holds back here and Ryan (along with Jolie) work well. Even in the nondescript moments like Ryan’s line reading of, “I work nights.” Jolie’s Christine is nonplussed, and then she enunciates “I work nights.” It’s some slight irony that coming from the stage (and being known for her loud – but excellent – performance in Gone Baby Gone) Amy has such a knack for subtlety. Eastwood knows she’s a gem and she gets those poignant lines, “If we’re insane, nobody has to listen to us. I mean, who are you going to believe, some crazy woman trying to destroy the force of the, or a police officer? ”

             

We don’t have any time to see the relationship grown between the two; perhaps it’s just their commonality that fosters that tenuous bond. Like her brave – but misguided – punch to the doctor to “save” Christine. It’s an iffy moment, story wise, but it works precisely because Amy Ryan is able to convey that this woman is at the end of the rope. There’s nowhere left to go. Her confession in the hospital room is slight but effective, “I lost…two babies…to back alley doctors…no choice…Never had the chance…to fight for them. You do. Don’t stop.” It’s moment like these that define a character that could have turned into little more than vignette. Her final moment is wordless, a newly rejuvenated Christine returns to get all the Code Twelve patients out. The silent exchange between Jolie and Ryan is a quiet tender moment and just with her eyes Amy says so much. As the saying goes, there are no small roles only small actors and Amy Ryan is definitely not a small actor – her work in Changeling is special.

                   
Do you remember Carol Dexter of “f**k-you-and-the-horse-you-rode-in-on” fame? Or did you forget Changeling and all that comes with it?

Flashback: The Curious Case of Benjamin Button

It’s a weird thing when something seems both subtle and obvious at the same time, but paradoxes are everywhere in the world – especially film. There’s a scene in The Curious Case of Benjamin Button that I’m particularly fond of that could very well act as an illustration of the entire film. As Benjamin narrates piece, through (seemingly trivial) piece of unrelated events we lead up to the fateful accident of Daisy. The message pounded home is not subtle – every action has its consequence. Yet, I never think of this scene as heavy-handed. It’s the same with Benjamin Button. At my most understanding, I’m well aware of what could turn persons off from it – but each time I return to it I’m impressed, enthralled even. It’s just that special for me. I like how Cate and Brad manage to convince us of their youth as much as their age. Makeup can only do so much, and Cate especially is particularly vivacious as the young dancer.

I’d be at a lost to categorise The Curious Case of Benjamin Button to anyone who asked me. It’s not a fantasy, though its logic is something fantastical. It’s dramatic but it’s too humorous to be a drama, focusing too much on an ensemble to be a romance and as expansive as it is, too personal to be considered an epic. I’m still often in wonder that this was what Eric Roth decided to write from Fitzgerald’s not so short story. I’m a tempered fan of Fitzgerald, but for all its irreverence I never become completely sold on his narrative in Benjamin Button until the very end of the piece. I recall the immediate accusation of Roth’s regurgitation of his Forrest Gump plot for this venture, and I’m always at a loss. Surely, there are more films than these two that feature men in love meeting interesting characters along the way. But if Benjamin Button represents reaching the top without actually going over the top, Forrest Gump represents its antithesis. Not that I’m a hater of the 1994 piece, but whereas Forrest Gump reaches its zenith in its moments of delicious schmaltz Benjamin Button is most honest when it gets most simplistic. A simple conversation in a dance studio seems so lovely as Cate and Brad “meet in the middle” or Tilda Swinton’s unremarkable Elizabeth Abbot, becomes more than just the archetypical “older woman”.

But, it’s not that Benjamin Button is without its moment of ridiculous conviviality. Ben’s moment of healing in the church surrounded by the Pentecostal church (and it’s not a stereotype) is wrong on so many levels and yet absolutely hilarious. Taraji P. Henson’s Queenie is a breathing woman under her ostensible stereotypes. It seems easy, but Taraji decides to breathe life into Queenie when we least expect it, and continues to “act” even when it doesn’t seem as necessary. I love her first scene on the landing with her ever faithful Mr. Weathers. Her discovery of Benjamin is the strongest part of her performance and I’m always moved to believe in the honesty of her claiming of this grotesque child. The bit players move through the narrative, each giving their bit to the film, from Jason Flemyng's tortured father to Julia Ormond's sorrowful daughter.

These early moments, though, seem so far removed from the other sections of the film. In its own way, The Curious Case of Benjamin Button is a bit like many films in one. It’s seems discordant, but it’s still melodic in its own special way. It’s this same ostensible discordance that makes it what it is. As the final narration begins and we see the people in Benjamin’s love we come once again to the unsubtle subtlety, its intentions don't become twdry by its obviousness though. If had included films from 2008 and later in my list of favourites; The Curious Case of Benjamin Button would be somewhere. Its scope is formidable, it’s technical achievements are flawless, the acting is excellent and the story though unusual is still real. Yet, it’s all so personal…and exquisite.I never expected to love it as much, but "You never knows what's coming to you."

Performances of the Decade (Male)

I’m breathing sigh of release in a way as I come to the final two entries in this long feature. Surely, it’s all subjective because we all have different thoughts. The aughts have been regarded as the decade where many actors burst on to the scene – Depp, Hoffman, Ledger but for me the aughts were all about one man. If I decided to do a list of the greatest actors last decade he’s top it easily. It’s a performance that has not been celebrated enough as it should have been. But that’s what I’m here for, to remember the greatest male performance of the last ten years. This was an easy choice.

        

#1 Leonardo DiCaprio in Revolutionary Road (2008)

Revolutionary Road is difficult to watch as it is to pull off. It seems to begin at the crescendo and the actors need to harbour the interest of the audience for the next two hours. But it’s a trick really. Sure, Leo is good in those first few scenes but it’s nothing compared to what is to come as he gives the best performance of his career. The clichéd feeling of the fifties man dissatisfied with his life probably does not resonate as much as it did when the novel premiered, but Leo breathes new life into the cliché. It works because of the familiarity with him. We’ve watched him grow and that irrepressibility is still there in him even as we watch the life – literally – being sucked out of him. He manages to keep us feeling for him even as he cheats on his wife. His guilt is palpable, like in the shower was we can see him trying to scrub off the traces of the sordid affair.

                   

Like with his last performance cited what makes Leo’s Frank so memorable is the bits of vulnerability he is so willing to disclose. He tries to hide is fair and immaturity behind his audaciousness; but like his wife’s coldness it’s simply a mask that we can watch crumbling if we look closely at him. From the final appearance of John until the film’s end Leo is in excellent form. I cannot help but cringe as he confesses his affair to April. It’s the sort of impish, pathetic thing we expect from him. It is sad to see his reaction as he realises her (assumed) apathetic stance. The growing panic on his face is difficult to watch as you can see him literally clutching at straws. It’s a panic that turns Shanley’s visit into a disaster. It would seem over-the-top as Frank gets physical with his guest, but we need look closer. This is a man at breaking point.

That final dispute with April belongs to DiCaprio completely as he crumbles before our eyes and we see him for the child that he is. His reaction the next morning to April is excellent, his hesitance and uncertainty. I love his reading of the line “You don’t hate me; or anything…” Of course that final reaction to April’s death is a classic. The run through the streets – with no destination –it’s perhaps a theme of his life. It’s strange that the tagline for Mendes’ debut was ‘look closer’. We should probably do the same with DiCaprio’s work as Frank Wheeler.

      

I suppose this is a surprising pick, but Leo has never impressed me more. What are your thoughts on him in Revolutionary Road?

Forgotten Characters 2:5

It's been quite some time since I've done one of these - over a month actually, so here goes.

          

2009’s Revolutionary Road was one of my favourite films of that year. For me it was a perfect blend of good writing, good acting and good direction featuring two outstanding performances from the two leads. The film was unfairly ignored by a majority of the Award ceremonies. So I’d like to shine a light on

     

Kathy Bates in Revolutionary

As Mrs. Givings

As Mrs. Givings, Kathy Bates gives what is arguably my favourite supporting performance from her. As a duplicitous realtor her thoughts are enigmatic at best, until the very end. We meet her right at the beginning after April’s travesty of a play. It doesn’t take a genius to realise that it wasn’t a hit. Her first few words to Frank are "I can’t tell you how much we enjoyed it. You have a very talented wife." It seems like just a few kind words, but Mrs. Givings profuse praise is just a tad bit unnerving, only setting the tone for what her character is like. Even when we feel something near sadness for her situation it’s never sympathy. When her son John makes his appearance and she is on the receiving end of his caustic words we never can feel sorry for her. It’s a good acting choice on Kathy’s part playing Mrs. Givings as a sort of Stepford Wife.

         

My favourite moment from her comes during John’s second visit to the Wheelers. There’s that moment when John hits at the core of the Wheeler’s façade and Frank picks up the chair in anger, the look of terror on Kathy’s face is so controlled and so real at the same time. It’s a good acting moment and I always remember that look on her face. Of course the revelation of her character in the final minutes of the film is proverbial punch in the gut. It severs any chance we had of liking this fickle woman. And it is that moment that we truly realise that she is as inconstant as the wind. As the film ends with her droning voice and her husband attempts to block out her voice, we too are only happy to be rid of her. Never before has Kathy Bates been so disagreeable.

     

Did Kathy have any effect on you?

Performances of the Decade (Female)

There’s a slight conceit that occurs where certain actors are concerned. They become perceived as so important that any role they take on that’s features in a particularly solid film is seen as Oscar begging. On a conscious level I suppose every actor would like an Oscar, but I sincerely doubt that actors spend their waking moments plotting how to get one. It’s simply an occupational hazard when X role seems “made for Oscars” and even though they don’t all succeed in their ostensible quest – that doesn’t make them any less valuable. The initial backlash against this film was harsh, but hopefully in years to come it will be remembered more fondly.

                 

#3 Kate Winslet in Revolutionary Road (2008)

The first time I saw Revolutionary Road I was floored. I will continue to maintain that it was one of the most brilliant relationship dramas of the last decade. Winslet stars as April Wheeler. It’s somewhere in the fifties and the bleak mundanely of the surroundings are stifling this woman who once upon a time dreamed of being bohemia and becoming an actress. The film forces her to start out on a high as she exchanges tense words with her husband Frank (an excellent Leonardo DiCaprio). I suppose a simplistic way to describe April would be frigid and if we watch Kate in those first few moments we’d agree. Her line readings are so caustic and there’s an impenetrable (almost inhuman) expression on her face as she rebuffs the advances of her husband. But it’s upon closer expression that we realise just how much of a mask this cold exterior. April is just as immature and emotionally regressive as her husband. She just has a different way of coping. It’s something Kate understands and elucidates cleverly.

                                 

A particular scene that sticks out for me is the one where April breaks her fresh idea to Frank – the trip to Paris. As Frank comes home tired and almost gaunt and April (ignorant of it all) is so delighted, so ready to forget the past and celebrate his birthday the eagerness on her face is sad, pathetic almost. As she reassures Frank of his importance in the world we hear the unsaid words too. She’s really telling him that if he’s not important then she’s not important either, for what is it to be the wife of an unimportant slob? It’s an earnestness that is striking, an earnestness that makes the harshness of Revolutionary Road even more disheartening. Kate is careful to define her character as time goes by, but never overdoes it. April is not exactly a reactive character, but isn’t all acting reacting? It’s interesting to watch Kate as she reacts to the odd one out in the cast. Notice how Kate defines her character in those two pivotal visits of John. In the first April is still under the delusion of breaking free and even as she is repulsed by this man, she’s still strangely fascinated. But it’s the second moment which thrills me. It’s more of a moment for DiCaprio, but there’s a long take where Kate has no lines but just sits with a cigarette between her fingers – silent. It’s a chilling moment, and so controlled. You can’t take your eyes off her.

But at the end of the day, Revolutionary Road is a story about the Wheelers and Kate thrives opposite Leo. The final argument between the two is the one of the most piercing exchanges I can recall in recent cinema. Cold April is at her peak here as she savours the quotable lines: "I loathe the sight of you. You’re just a boy who made me laugh at a party once…”. Her hysteria is unsettling, but it’s the morning after that breaks your heart. As she prepares her deathly deed and reaches out – for the final time – to her husband the skill of Kate is unquestionable. I can almost see her trying to tell him goodbye. The final call she places to her children is so poignant but Kate never goes for the obvious and plays it just right. She finds the humanity in her flawed character and turns it into brilliance.

          

Unfortunately Kate’s work in Revolutionary Road was ignored by Oscar, but do you think it’s worthy?

2008: Wrapping Up

So the week has passed I’ve assessed the year 2008 more or less, and here are my winners in all the categories I felt I could assess properly with the runners up in parentheses.

    

Costume Design

The Other Boleyn Girl [The Curious Case of Benjamin Button; Australia]

                        

Art Direction

The Curious Case of Benjamin Button [Australia; Changeling]

            

Makeup

The Curious Case of Benjamin Button [Hellboy; The Reader]

            

Editing

The Curious Case of Benjamin Button [Revolutionary Road; Burn After Reading]

          

Cinematography

The Curious Case of Benjamin Button [Australia; The Dark Knight]

            

Score

The Curious Case of Benjamin Button [The Reader; Australia]

              

Original Song

Cadillac Records “Once in a Lifetime” [The Wrestler “The Wrestler”; WALL-E “Down to Earth”]

               

Sound Mixing

The Curious Case of Benjamin Button [The Dark Knight; WALL-E]

           

Sound Editing

The Curious Case of Benjamin Button [Wanted; Slumdog Millionaire]

             

Original Screenplay

In Bruges [Vicky Cristina Barcelona; Burn After Reading]

"My date involved two instances of 

extreme violence, one instance was

her hand on my cock and my finger

up her thing which lasted all too

briefly, and then I was away..."

Adapted Screenplay

Revolutionary Road [The Curious Case of Benjamin Button; Doubt]

            

Supporting Actress

Amy Adams in Doubt [Kate Winslet in The Reader; Rosemarie DeWitt in Rachel Getting Married]

             

Supporting Actor

Brad Pitt in Burn After Reading [Jason Butler Harner in Changeling; Philip Seymour Hoffman in Doubt]

          

Lead Actress

Kate Winslet in Revolutionary Road [Kristin Scott Thomas in I’ve Loved You So Long; Cate Blanchett in The Curious Case of Benjamin Button]

    

Lead Actor

Leonardo DiCaprio in Revolutionary Road [Collin Farrell in In Bruges; Frank Langella in Frost/Nixon]

           

Director

David Fincher in The Curious Case of Benjamin Button [Sam Mendes for Revolutionary Road; Stephen Daldry for The Reader]

           

Picture

The Curious Case of Benjamin Button [Revolutionary Road; The Reader]

Yes, I was going crazy for Benjamin B. I confess. But what can I say I really liked the movie. Fincher, Pitt, Blanchett. They know my weakness. I'm looking forward to 2007 next week. 72 films I saw that year.

2008: The Pictures

So here’s the category that you’ve probably been waiting for – I’ll assume anxiously. I really don’t think that I saw enough films of 2008. I think I’ve heard more than a few persons say that 2008 was a horrible year for film. And although I don’t know how anything can combat 2005, it was pretty bleak. There were good films [in my opinion] but there weren’t many of them. So here’s a look at the forty five films I saw. Yeah, it wasn’t much at all. But here they are in ascending order.

                

F

Marley & Me [#45]

I don’t know what prompted me to watch this. Jennifer Aniston has not impressed me since she was surrounded by those five talented friends and Owen Wilson has impressed me since – ever. So it was not in good hands. And I didn’t like it. Hence the F.

             

Swing Vote [#44]

Does this film even deserve to be talked about? Just bad, bad, bad.

                

D-

Mad Money [#43]

When you can’t find anything to like about Diane Keaton, you know that there’s a problem. And yeah, there were problems. Many.

                

D

Seven Pounds [#42]

This movie just annoyed me. After all those persons I met gushing that they cried their eyes out I just wanted to slap them. Hard.

          

D+

The Secret Life of Bees [#41]

This movie just didn’t hit it for me. Enough said.

           

Mamma Mia! [#40]

It’s the first time I’ve been embarassed that I like ABBA music.

          

Twilight [#39]

Yeah, Univarn [among others] have all taken a metaphorical piss on this. It’ not good but oh well. Whatever the tweens want.

                  

Definitely, Maybe [#38]

I may be alone on this, but I just despised this movie. And I have nothing against Ryan Reynolds or Derek Luke, I think Elizabeth Banks and Abigal Breslin have potential. And I love Rachel Weisz.

                     

The Women [#37]

There were slight moments, but overall it just was abysmal and Meg Ryan didn’t help it any. If Julia Roberts and Kerry Washington had replaced her and Mendes respectively, even with the horrible script it could at least have been a C.

                       

C-

The Other Boleyn Girl [#36]

The atrocious novel never deserved to be adapted. Scarlett tried, and Natalie tried. Kristin tried but it was not good. Not good.

         

Indiana Jones [#35]

It was passable, but still bad.

         

Sex & the City [#34]

It didn’t do the series justice. It was a trifle and it hardly had any redeeming qualities.

         

Meet the Browns [#33]

I do want to see Angela back on screen, but not like this. Not like this at all.

           

C

Hancock [#32]

Why did this make so much money?

            

Frozen River [#31]

I can see why it appealed to so many but I was never drawn in. Other than the valiant effort of Leo [who I hope gets more work] it was just okay.

           

C+

The Family that Preys [#30]

It was the better of the two films he released that year and Alfre Woodard tried hard but the characters were generally so one note. And that dialogue!

                 

Body of Lies [#29]

Ridley. Leo. Russell. And this is what they make? THIS?

             

Happy-Go-Lucky [#28]

Believe it or not, it was only on a second viewing it moved up to C+. I really didn’t respond well to this film. I expected so much more from Leigh.

          

Wanted [#27]

It’s a jolly good romp even as ridiculous as it is. But it’s not really that good a movie if you look closer. Hopefully the sequel tightens the loose ends.

           

Cadillac Records [#26]

It was a valiant first attempt, but there was too much going on.

         

Be Kind, Rewind [#25]

It’s worth a watch, and for the most part they do sell the ridiculous premise.

              

Tropic Thunder [#24]

Just okay for me.

           

Pineapple Express [#23]

I enjoyed the short film at the Oscars more than the movie.

    

B-

Defiance [#22]

It’s not a perfect film, and we’ve seen war done better. But I at least appreciated Craig and really the movie deserved better. But that release date. Tsk. Tsk.

               

Kung Fu Panda [#21]

It’s such a silly movie, but yet there’s something appealing about it. The voice work is fine and in a silly way it’s quite endearing.

               

The Duchess [#20]

Sometime it worked, and sometimes it didn’t. Keira tried as did the cast but it just seemed a bit too tame at the end of the day.

          

Rachel Getting Married [#19]

Like Rachel Getting Married it was only until multiple viewings that this reached its current grade. If this was not done by Jonathan Demme I don’t think that there would have been such a love for it.

            

Australia [#18]

The movie was definitely a bit schizophrenic and it seemed to be going on forever. But at the end of it all I found it oddly – charming.

           

The Wrestler [#17]

The sum of parts are better than the whole. The script is fine, the directing is good, the acting is goof but when you add it all up something is missing. What is it? A beating heart, perhaps?

            

Last Chance Harvey [#16]

This should have been released in the summer – it could have done fairly well at the boxoffice. It’s cliched, but it’s also quite enjoyable. And though Emma and Dustin are phoning it in, it’s still better work than many of the actors today.

                

B

WALL-E [#15]

I don’t worship at Pixar’s feet. I thought it was fine. Even good, but I thought the deafening praise was a bit unnerving. But it’s all subjective.

                

Milk [#14]

This ended up feeling a bit too sunny for me.

The Dark Knight [#13]

Well this shouldn’t come as a surprise or anything. You probably know that I didn’t love this. It was a good movie, and at the end of the day, that’s all it was for me. Good. Ish.

                                   

Slumdog Millionaire [#12]

It was fine. That's all I'll say.

   

Iron Man [#11]

Come on. This was good!

       

Frost/Nixon [#10]

I reckon most thought that it was the worst of the Best Picture nominees, but I actually don’t hold any malice towards it.

           

Doubt [#9]

Looking at Doubt it’s a bit faulty, and imagine only a B and it’s my number nine. It’s not a bad movie though. It’s tight, most of the time and the cast was top notch.

                   

B+

I’ve Loved You So Long [#8]

I have my own love affair with the French, and then Kristin Scott Thomas. I won’t even pretend to understand the politics of the Oscars’ foreign language submissions, but it’s sad so few have seen or know of this.

              

In Bruges [#7]

Certainly the first part of this subtle comedy, but it’s the fact that the first part is so good that we can let any idiosyncrasies of the second part go. Gleason and Farrell are two actors who’ve never taken off as they should have, and they weren’t regarded enough because no one really saw this. But it’s a good film nevertheless.

              

Burn After Reading [#6]

As someone who has never been a big fan of the Coen Brothers, this is my favourite comedy of theirs. Not Fargo, not O Brother Where Art Thou; this. It’s outlandish, but still subtly true but it doesn’t take itself too seriously. It’s just fun and funny all at the same time.

                       

Vicky Cristina Barcelona [#5]

Woody’s best of the decade has been Matchpoint. I don’t think any of his recent films has reached that level of sensibility for me. But Vicky Cristina Barcelona was a good film. The cast does a good job, and certainly the machinations of Marie Elena and Juan Antonio is a bit more interesting than our tourists, but it’s still a good film.

              

A-

Changeling [#4]

Well, click on the link to the right and you’ll see my review. I know not many liked this. But that’s how it goes.

       

The Reader [#3]

Yes I liked this. Another film that’s been somewhat maligned. Although I had predicted a nod for it I was still shocked when it got nominated. Well deserved in my humble opinion. I think this is quite a good film. Hence the A-.

             

A

Revolutionary Road [#2]

I was very impressed with this divisive film. For a film with such a striking theme and premise the ending is so irreverent and shows that it's almost as if doesn't take itself as gospel. It's a smart move.

The Curious Case of Benjamin Button [#1]

Maybe I’ll post my initial review of this film someday. But yeah...ummm...I LOVED IT!

                       

So there you have it. Are you surprised? What's your list look like? Did you see many 2008 films? Was it the worst year of the decade?

2008: The Directors

Sometimes I can see some films that just had that air of being directed really well, and then some times I’m just wholly stumped and end up mirroring my best picture line. Oh well, here’s the list.

          

The Finalists

Woody Allen for Vicky Cristina Barcelona

For some reason I rarely think that Woody Allen films are palpably well directed. It’s a complex I suppose. I mean you know that he pours it all into the scripts so I don’t really see any big direction.

                    

Clint Eastwood for Changeling

I liked this movie more than I liked Clint directing it, it did meander a little and I think he could have done a better job of reconciling all the elements. Over all though, I though it came of god despite him.

                

Ron Howard for Frost/Nixon

Very tautly directed. I wouldn’t fault his nomination, he gave a valiant effort.

              

Christopher Nolan for The Dark Knight
He did the best he could but a middling script prevented him from doing anything truly outstanding. Still, he has lots of potential. I'll see what happens with Inception.

                                  

Martin McDonagh for In Bruges

What an underrated piece. It was just a wicked romp and though the last bit does get a bit clichéd he pulls it off well.

                           

The Nominees

Darren Aronofsky for The Wrestler

The sum of the parts didn’t make a good movie, but his direction was good. It’s not hard to see why he didn’t pick up traction, but he would have been ideal for the lone director spot. But then he’d have had to knock out Van Sant or Boyle, and that wasn’t going to happen.

               

Coen Brothers for Burn After Reading

Every shot of this hilarious romp is crisp. It’s done so directly which only adds to the hilarity and ludicrousness of the whole.

                

Stephen Daldry for The Reader

I suppose I’m biased towards him, and yeah I was glad to have predicted his film making it all the way but the middle section of the film particularly comes to mind as being well directed.

              

David Fincher for The Curious Case of Benjamin Button

He’s a diverse director, that much is obvious; and more power to him. All the ostensibly incongruent parts of the story blend together to create a beautiful picture. It seems so effortless.

                   

Sam Mendes for Revolutionary Road

Mendes is smart enough to avoid cheap tricks. It’s arguably the most economically edited and directed film of the year. There’s never a superfluous moment or shot, it’s just always precise. Underrated.

2008: The Leading Gents

I wasn’t too on point with the Oscar nominations in this category as per usual. But here’s a looksee at who were turning up at precursors and who should have been. It was quite a strong year for men. I didn't see The Visitor, so no word on Jenkins.

                 

The Semi Finalists

Adrien Brodey in Cadillac Records

The movie kind of sunk him, and he’s not the most talented actor; but at least he’s doing work and broadening his range.

                

Robert Downey Jr. in Iron Man

He was something special here, and I’m anxiously awaiting the sequel and Sherlock Holmes.

              

Brendan Gleason in In Bruges

I’m sure I’ve seen him more, but the last potent memory I have of him was as Renee Zellweger’s father in Cold Mountain, where he was not half bad. I can’t see him becoming a big thing, his time is already gone. But he was good in this.

              

Dustin Hoffman in Last Chance Harvey

Generally he was upstaged by Emma but it was a nice and easy performance, showing that he still has a modicum of talent left. It would have been nice to see him win the Golden Globe, even if it would not have been deserved.

                  

James McAvoy in Wanted

As a non American I will say that his accent convinced me. Sure, Wanted was not exactly an actors’ flick but he did a good job holding his own and he was especially believable as an average joe. Kind of.

              

The Finalists

Javier Bardem in Vicky Cristina Barcelona

This was probably more of a strong supporting, but oh well. Yeah he does have some wicked chemistry with Penelope Cruz, but he’s pretty good throughout the movie and seeing that Woody’s male roles are usually underwritten he does a good job.

                     

George Clooney in  Burn After Reading

This is my favourite George Clooney performance. As someone who cannot stand this guy, the Coen’s did something special making me believe him in this ridiculous role.

              

Sean Penn in Milk

Love him or hate him, the man can act. I didn’t mind the win. In fact I was happy, I pretended it was comeuppance for Dead Man Walking. But I don’t feel it was anything particularly special. He could have done this role in his sleep.

         

Brad Pitt in The Curious Case of Benjamin Button

I wouldn’t have nominated him either, but I was glad to see him there. He’ll never get nominated for stuff like Fight Club, Se7en or Burn After Reading or even more baity stuff like Babel, so let him take the nods wherever he gets them. And it’s not like he was bad or anything; at least I didn’t think so. Competition was just tough.

                 

Mickey Rourke in The Wrestler

It was gut wrenching and heart wrenching. It’s like watching a horrible smash up or a train wreck…but oh what a train wreak!

                          
The Nominees

Leonardo DiCaprio in Revolutionary Road
Forget him being overdue and all that. What matters is that one of the best male performances was ignored by the majority of award ceremonies. I get it, Oscar gets it wrong but SAG, BAFTA, NBR, Satellite, FFC, Critics Circle…what the f***?
                   
Collin Farrell in In Bruges
Confession: I like Phone Booth, and I thought Collin Farrell was excellent in it. Moving on, the Golden Globe win made me particularly happy; especially since I knew it was the only place he’d ever get any recognition. I hope this marks the end of him doing crap like SWAT and Daredevil [vomit].
             
David Kross in The Reader
I hope he becomes the next big thing or whatever you call it, because this guy can act. Maybe hatred of The Reader blinded everyone to it, or maybe me liking the reader disillusioned me but I sincerely believed he deserved a much more substantial amount of attention than he received.
                    
Frank Langella in Frost/Nixon
I thought, or rather I was hoping that he’d pull an upset. Look where that got me. Sure I’ll always be a little partial to Hopkins’ Nixon [flaws and all] but this was exceptional.
           
Michael Sheen in Frost/Nixon
Did they even try to campaign for this guy? Even if they had put him in supporting or something. If I hadn’t seen the movie I’d have thought that Frost/Nixon was just one long monologue from Langella because there was no buzz for anyone else in the cast. Even for this good performance.