I guess it's my fault. I set my hopes so high that, given the overwhelming strength of the 2007 movie year, I was certain 2008 was going to follow closely in its footsteps. But as we've seen in the past, enthusiasm for a new movie year is extremely wishful thinking. Last time I got pumped up was after 1999, and 2000, despite some strong entries, didn't even come close to measuring up. Unless 2008 fires out a mind blowing fall lineup, this could end up being like many of the years this decade: a handful of impressive movies mixed into with a whole lotta garbage.
I've seen 24 movies so far this year; that doesn't seem like a lot at all when I scan my list. This time last year, I was ahead of that, because Hollywood was somehow managing to release one noteworthy movie after another. Don't get me wrong, the summer season has been better than I expected, but the first part of the year was the worst in recent memory. So, to try to put myself in a more positive state of mind for the rest of the movie year, here are my top five choices for the Best of 2008 up to the end of June.
5) The Strangers dir. Bryan Bertino
First time director Bryan Bertino proves he means business with this lean and mean home invasion thriller. He thoughtfully establishes his two main characters (Liv Tyler and Scott Speedman) before putting them in peril - a wise decision so we can sympathize with them when they start making bad choices. What makes it easy to overlook the characters' obvious mistakes is Bertino's natural ability to build tension, thanks to some amazing framing and hair raising editing. He's one of those rare filmmakers who is able to get effective mileage out of a limited setting. Throw in a thoroughly chilling conclusion and what we're left with is a surprising new talent whose career should be worth following.
4) Wall-E dir. Andrew Stanton
Part melancholy love story and part social critique, Andrew Stanton's latest animated feature is a work of heartbreaking genius. It's a visual achievement of considerable grace and features a romance between two robots who cannot say anything to each other besides their names. Despite this, the movie is stunningly romantic, mostly because of the level of sadness these metal characters are able to express on their faces (it's all in the eyes). The first half is almost dialogue free, creating a true sense of isolation and loneliness. Stanton is a splendid storyteller, though, and is able to keep us engrossed until the action moves to space and the movie becomes, for lack of a better word, busier. While the second half does bite off more than it can chew and has a bit too much slapstick, Wall-E nevertheless shines since it is able to show that humans aren't the only ones who can convincingly fall in love. The level of sacrifice on display between Wall-E and his lover Eve is as significant as any I've seen in quite sometime.
3) Be Kind Rewind dir. Michel Gondry
Michel Gondry continues his streak of movies about art as personal expression with a funny and touching tale of two friends (Jack Black and Mos Def) who become neighborhood celebrities when they start making their own versions of the movies at a lower end video store (all the tapes accidentally get erased). The picture shows that it's OK to take something you love and make it your own, and it's at its best when this idea is used to try and bring a dying community together. Combining elements of science fiction, comedy and historical fiction, Be Kind Rewind is a tribute to people who care about the movies, mainly when it comes to sharing them with others.
2) Hancock dir. Peter Berg
SPOILER WARNING! I don't know how Peter Berg does it. On the surface, his projects look like big budget spectacles for high profile stars. Peek under the lid, though, and what you'll find is thoughtful and, dare I say it, profound. In Hancock, Berg casts Will Smith as a drunken superhero who busts shit up whenever he comes to the rescue. While this set up provides plenty of big laughs, there are other themes brewing in the pot. Berg is a big fan of throwing social commentary into his pictures, and in Hancock, the themes revolve around the idea of having the world accept a black savior. If that weren't fascinating enough, the movie has the balls to name him John Hancock and to make a white woman, whom he loves, his kryptonite. Some have called the last half far fetched, but I don't think that's the point. Instead, look at what it's saying about the way the United States views it's heroes and what would be considered an "acceptable" relationship. Will Smith is the best he's ever been and Jason Bateman gets some nice supporting work as a PR man convinced he can save Hancock's negative image. Color me shocked to say that Hancock is the best surprise I've had so far this year.
1) Shotgun Stories dir. Jeff Nichols
Shot around his hometown of Little Rock, Arkansas, writer/director Jeff Nichols' debut feature invokes the same intimate feel of the early works of David Gordon Green (who serves as a producer). His locations prove to be characters of their own, since they in large part help us understand the lives and actions of the people who inhabit them. Michael Shannon (Bug) is fantastic as the oldest of three brothers struggling to get by. Their world gets a little less sturdy when their father dies and it creates a feud between them and their half brothers - four boys their father cared about more than them. The movie is constantly at risk of turning into a stale melodrama but Nichols has a clear understanding of how to build character and keep what little violence is necessary off screen. Not to say he doesn't make some small mistakes, as most first time filmmakers do, but on the whole, he's crafted a lightly engrossing portrait of small town life, hauntingly scored by his older brother Ben (the front man of the Memphis band, Lucero) and vividly shot by cinematographer Adam Stone.
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Copyright, Hell and Beyond, 2008
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