The Best Movies of 2008
2008 was a year more memorable for those who died as opposed to the movies which were released. We lost Heath Ledger, Brad Renfro, George Carlin, and Paul Newman among many others, and their individual deaths spread through the news like an uncontrollable wildfire. Their passing left a big mark on us all. When we look back at this year, I think people will remember where they were upon learning of their deaths more than anything else. Many of us will remember where we were when we got the news that Ledger died, but they will not remember how much money they wasted on “Righteous Kill,” the second movie featuring Al Pacino and Robert De Niro sharing the screen at the same time.
2008 did pale in comparison to 2007 which saw a wealth of great movies released. Many said this was a horrible year for movies as high expectations ruined some of the big summer tent pole franchises, and that there were too many remakes being made. The way I see it, 2008 had a lot of really good movies, but not a lot of great ones. There was a big drought of good ones worth seeing at one point in this year, and I started to wonder if I would have enough of them to create a top ten list. If it were not for all those Oscar hopefuls released towards the year’s end, I am certain I would have come up short.
So, let us commence with this fine list, if I do say so myself, of the ten best movies of 2008:
I had to put these two together for various reasons. Of course, the most obvious being Kate Winslet starred in both movies and was brilliant and devastating in her separate roles. Also, these were movies with stories about relationships laden with secrets, unbearable pressures, and deeply wounded feelings. Both were devoid of happy endings and of stories which were designed to be neatly wrapped up. Each one also dealt with the passing of time and how it destroys the characters’ hopes and dreams.
“The Reader” looked at the secret relationship between Winslet’s character and a young man, and of the repercussions from it which end up lasting a lifetime. There is so much they want to say to one another but can’t, as it will doom them to punishments they cannot bear to endure.
Speaking of escape, it is what the characters in “Revolutionary Road” end up yearning for, and the movie is brilliant in how it shows us characters who think they know what they want but have no realistic way of getting it. Each movie deals with characters who are trapped in situations they want to be free from but can never be, and of feelings just beneath the surface but never verbalized until too late.
Both Stephen Daldry and Sam Mendes direct their films with great confidence, and they don’t just get great performances from their entire cast, but they also capture the look and setting of the era their stories take place in perfectly. All the elements come together so strongly to where we are completely drawn in to the emotional state of each film, and we cannot leave either of them without being totally shaken at what we just witnessed.
Looking back, I wondered if I was actually reviewing the play more than I was John Patrick Shanley’s movie of his Pulitzer Prize winning work. But the fact is Shanley brilliantly captures the mood and feel of the time this movie takes place in, and it contains one great performance after another. Meryl Streep personifies the teacher you hated so much in elementary school, Philip Seymour Hoffman perfectly captures the friendly priest we want to trust but are not sure we can, and Amy Adams illustrates the anxiety and confusion of the one person caught in the middle of everything. Don’t forget Viola Davis who, in less than 20 minutes, gives a galvanizing performance as a woman more worried about what her husband will do to their child more than the possibility of her child being molested by a priest who has been so kind to him. Long after its Broadway debut, “Doubt” still proves to be one of the most thought provoking plays ever, and it lost none of its power in its adaptation to the silver screen.
This is the best Woody Allen movie I have seen in a LONG time. Woody’s meditation on the ways of love could have gone over subjects he has long since pondered over to an exhausting extent, but this is not the case here. “Vicky Cristina Barcelona” is a lovely and wonderfully character driven piece filled with many great performances, the best being Penelope Cruz’s as Javier Bardem’s ex-wife. Cruz is a firecracker every time she appears on screen, and she gives one of the most unpredictable performances I have seen in a while. Just when I was ready to write Allen off completely, he comes back to surprise me with something funny, lovely and deeply moving.
One day, I will be as sexy as Javier Bardem. Just you wait!
Danny Boyle, one of the most versatile film directors working today, gave us a most exhilarating movie which dealt with lives rooted in crime, poverty and desperation, and yet he made it all so uplifting. It is a love story like many we have seen before, but this one is done with such freshness and vitality to where I felt like I was seeing something new and utterly original. Boyle also reminds us of how “Who Wants to Be A Millionaire” was so exciting before ABC pimped it out excessively on their prime-time schedule. “Slumdog Millionaire” was pure excitement from beginning to end, and it was a movie with a lot of heart.
Ron Howard turns in one of the best directorial efforts of his career with this adaptation of Peter Morgan’s acclaimed stage play, “Frost/Nixon,” which dealt with the infamous interview between former President Richard Nixon and TV personality David Frost. Despite us all knowing the outcome of this interview, Howard still sustains a genuine tension between these two personalities, one being larger than life. Howard also has the fortune of working with the same two actors from the original stage production, Frank Langella and Michael Sheen. Langella’s performance is utterly riveting in how he gets to the heart of Nixon without descending into some form of mimicry or impersonation. You may think a movie dealing with two people having an interview would be anything but exciting, but when Langella and Sheen are staring each other down, they both give us one of the most exciting moments to be found in any film in 2008. Just as he did with “Apollo 13,” Howard amazes you in how he can make something so familiar seem so incredibly exciting and intense.
Jonathan Demme’s “Rachel Getting Married” had a huge effect on me with its raw emotion, and I loved how he made us feel like we were in the same room with all these characters. When the movie ended, it felt like we had shared some time with great friends, and Demme, from a screenplay written by Jenny Lumet, gives us a wealth of characters who are anything but typical clichés. Anne Hathaway is a revelation here as Kym, the problem child of the family who is taking a break from rehab to attend her sister’s wedding. Kym is not the easiest person to like or trust, but Hathaway makes us completely empathize with her as she tries to move on from a tragic past which has long since defined her in the eyes of everyone. Great performances also come from Bill Irwin who is so wonderful as Kym’s father, Rosemarie DeWitt, and the seldom seen Debra Winger who shares a very intense scene with Hathaway towards the movie’s end. I really liked this one a lot, and it almost moved me to tears.
Darren Aronofsky’s “The Wrestler” has grown on me so much since I saw it. While it may be best known as the movie in which Mickey Rourke gave one hell of a comeback performance, this movie works brilliantly on so many levels. To limit its success to just Rourke’s performance would not be fair to what Aronofsky has accomplished as he surrounds all the characters in the bleakness of the urban environment they are stuck in, and he makes you feel their endless struggles to keep a roof over their heads and food on the table. “The Wrestler” succeeds because Aronofsky’s vision in making it was so precise and focused, and he never sugarcoats the realities of its desperate characters. Rourke more than deserved the Oscar for Best Actor, which in the end went to Sean Penn for “Milk.” Furthermore, the movie has great performances from Marisa Tomei and Evan Rachel Wood as those closest to Rourke’s character, and who look past his faded fame to see the wounded man underneath. The more I look at “The Wrestler,” the more amazed and thrilled I am by it.
Tomas Alfredson’s film of a friendship between a lonely boy and a vampire was so absorbing on an atmospheric level, and it surprised me to no end. What looks like an average horror movie turns out to actually be a sweet love story with a good deal of blood in it. Widely described as the “anti-Twilight,” “Let the Right One In” gives a strong sense of freshness to the vampire genre which back in the early 2000’s was overflowing with too many movies. The performances given by Kåre Hedebrant as Oskar and Lina Leandersson as Eli are pitch perfect, and despite the circumstances surrounding their improbable relationship, I found myself not wanting to see them separated from one another.
Pixar does it once again and makes another cinematic masterpiece which puts so many other movies to shame. With “Wall-E,” director Andrew Stanton took some big risks by leaving a good portion of the movie free of dialogue, and this allowed us to take in the amazing visuals of planet Earth which has long since become completely inhospitable. Plus, it is also one of the best romantic movies to come out of Hollywood in ages. The relationship between Wall-E and his iPod-like crush Eve is so much fun to watch, and the two of them coming together gives the movie a strong sense of feeling which really draws us into the story. The fact these two are machines quickly becomes irrelevant, especially when you compare them to the humans they meet in a spaceship who have long since become imprisoned by their laziness and gluttony.
I gave the DVD of this movie to my mom as a Christmas present, and she said you could do an entire thesis on it. Nothing could be truer as it is such a brilliant achievement which dazzles us not just on a visual level, but also with its story which is the basis from which all Pixar movies originate. “Wall-E” is the kind of movie I want to see more often, a film which appeals equally to kids and adults as this is not always what Hollywood is quick to put out.
The biggest movie of 2008 was also its best. I was blown away with not just what Christopher Nolan accomplished, but of what he got away with in a big budget Hollywood blockbuster. “The Dark Knight” is not just an action movie, but a tragedy on such an epic scale. Many call it the “Empire Strikes Back” of the Batman series, and this is a very apt description. Many will point to this movie’s amazing success as the result of the untimely death of Heath Ledger whose performance as the Joker all but blows away what Jack Nicholson accomplished in Tim Burton’s “Batman,” but the sheer brilliance of the movie is not limited to the late actor’s insanely brilliant work. Each performance in the movie is excellent, and Christian Bale now effectively owns the role of the Caped Crusader in a way no one has before.
Aaron Eckhart also gives a great performance as Harvey “Two-Face” Dent, one which threatened to be the most underrated of 2008. The “white knight” becomes such a tragic figure of revenge, and we come to pity him more than we despise him. The movie is also aided greatly by the always reliable Michael Caine and Morgan Freeman. Everyone does excellent work here, and there is not a single weak performance to be found.
Whereas the other “Batman” movies, the Joel Schumacher ones in particular, were stories about the good guys against the bad guys, “The Dark Knight” is a fascinating look at how the line between right and wrong can be easily blurred. Harvey’s line of how you either die a hero or you live long enough to see yourself become the villain perfectly personifies the dilemmas for every character here. To capture the Joker, Bruce Wayne may end up becoming the very thing he is fighting against. I can’t think of many other summer blockbusters which would ask such questions or be as dark. “The Dark Knight” took a lot of risks, and it more than deserved its huge success. It set the bar very high for future comic book movies, and they will need all the luck they can get to top this one.