I, Erik Samdahl, posted my top ten movies of 2007 a couple weeks ago. Here, check out the top ten movies of 2007 as determined by Nathan Vass, who has done occasion guest movie reviews on the website over the last couple of years. Nathan has an excellent but particular taste in movies; I’ll agree with him pretty much spot on 80% of the time, and 10% he’ll absolutely love movies that I simply liked (American Gangster, for one) and the other 10% I couldn’t disagree more (300). Regardless, he writes a lot more poetically than me, so please enjoy his best movies of 2007, as well as some other insightful comments…

1. There Will Be Blood

The boundaries of cinema are now slightly bigger. ‘Blood’ is like nothing you have ever seen, or heard. Every element of it, from Day-Lewis’s blistering, rightly lauded performance to (Radiohead) Jonny Greenwood’s dissonant score- if ever there was a film that defied superlatives, this is it. Anderson’s long takes highlight the performances, and his writing establishes a unique vernacular quite unlike anything I’ve heard, which he slowly escalates to something way beyond tipping point in the final scene, an ungodly stunner that flies in the face of categorization or even description, but must simply be seen to be believed. Everyone knows Day-Lewis is great, but nobody’s ever seen like this before. Steven Spielberg has stated that Anderson is his favorite director of the new generation, and I am inclined to agree. Easily one of the towering cinematic achievements of the new decade.

2. No Country For Old Men

It’s the ending that raises this film to the level of masterpiece. For the first two acts, the Coens make a measured, tense thriller rooted in physicality, with riveting but easily comprehendible situations. Then, the film takes a sharp left turn in its viewpoint, but not its subject matter, forcing us to reevaluate the thematics of what we’ve seen in a way we wouldn’t have expected- it’s about a man’s change in worldview, and how he achieves peace with himself internally, by changing the way he sees things, instead of finding closure physically. It’s a cerebral ending, and a challenging one for most audiences; at first glance it feels unresolved, but in reality it couldn’t be moreso. The film is not exactly very approachable or entertaining, but the execution of the scenes, performances, and in particular, the script, really couldn’t be any better.

3. Zodiac

If you forgot about this film, it’s time to see it again. Another reviewer wrote that if if Fight Club was Fincher’s rock’n'roll masterpiece, this is his twelve-part symphony. Like Oliver Stone’s JFK, the film mines its subject matter for all it’s worth, thereby becoming the definitive last word on its subject (the investigation of the Zodiac murders in 1970s San Francisco). Certainly serial killer movies will continue to be made, but they will be difficult to take seriously in light of this film, which, finally, exposes the true nature of investigative police work and journalism- it is tedious, exhausting, sometimes never-ending- an arduous numbing of the soul. The film is not so much about the Zodiac himself, but about the people who fell to the psychological toll of pursuiing him; one by one they drop out of the picture, until only one (Jake Gyllenhal) is unable to give up, having lost the rest of his life long ago. It’s a bleak picture, but a valuable and cautionary one. Writers will take pleasure in its detail and measured pacing, and especially for its unique inverted-pyramid structure- you’ll know what I mean when you see it.

4. American Gangster

Ridley Scott’s so good that when he turns in another masterpiece, people shrug their shoulders. His new film is as good as any of his others, and well worth the time of any serious filmgoer; the film’s incredibly dense, intricate plotting is reminiscent of JFK. Indeed, Gangster holds the record for the film with the most locations (180). Steven Zaillian’s script takes a unique approach- dozens (about 350, in the shooting script) of very short scenes, many of them without dialogue, sketch together a detailed portrait of two like-minded workaholics on very different career paths.

The two characters seem similar to others we’ve seen before, but there are subtle differences that make them very different. Lucas (Washington) is oblivious to the glamourous side of ‘the life,’ seeing it merely as a lucrative but exhausting business venture; he has conversations with associates not about fast cars or women, but about exclusivity rights and trademark infringement. Roberts is of the same breed, with a little more humanity; both of them define themselves by what they do. Contrary to popular consensus, Crowe’s character is almost more interesting than Washington’s- we wonder what makes him so doggedly honest. Could it be the same vision of the possibilities of America that he shares with Lucas, but from a different angle? A film that stimulates such questions should not be ignored.

I should also note the tremendous performance by Washington; watch him at the moment when he first sees Russell Crowe. You can read a dozen emotions on his face in the space of a few seconds. And then there is the direction- each successive film Ridley makes further cements his status as one of the premier visual stylists of our time. The communicative power of the cinematography, the use of music, the layered but followable script, the sheer size of the picture- it’s all impeccable, and very much deserving of the iconic title.

5. The Assassination of Jesse James By The Coward Robert Ford

What lingers in the mind is not the story or plotting, but the atmosphere. This is a film about that which is nearly intangible- the unspoken inner thoughts of others, the gradual shifts in the mind that lead a man to do something he originally couldn’t dream of. Scenes drift past us, at first appearing inconsequential, but in hindsight revealing exactly what we needed to know. The title of the picture tells the what and who; the film tells us the how and the why. The performances by both leads are award-worthy, although the film has somehow been passed over this awards season, despite its undeniable if unique quality.

6. I’m Not There

The film is just like Bob Dylan- frustrating but brilliant, complex but engrossing, always at the cusp of being comprehendible. Most importantly of all- it’s completely uncategorizable. The more you know about Dylan, the more comprehensible the film is, and the more one can appreciate the novel approach (six actors, including an 11-year black boy and Cate Blanchett, portray various sides of the Dylan persona). The fact that the movie actually manages to make any sense at all is a testament to the talent of the filmmakers. Todd Haynes’ direction is highly energetic and hugely ambitious; the visuals are many and varied in their approach. You don’t watch this movie so much as wander around in it- and that’s a good thing. The performances are uniformly excellent, especially Blanchett as the 1960s-era Bob Dylan.

7. The Diving Bell and The Butterfly

Large portions of the film are shot exclusively from the point of view of the protagonist’s left eye- the only part of his body that hasn’t been paralyzed. There are lots of movies about paraplegics; you’ve never seen one like this. Vibrant colors and beautiful compositions leap off the screen; American painter Julian Schnabel’s direction is in-your-face outstanding. Somehow, the film manages to be very uplifting, despite its subject matter. The film concerns the man’s coming to terms with his new state of living, somehow still finding some humor and joy in life. The picture is based on the life of a French editor of Elle magazine, who, upon being paralyzed, dictated his entire autobiography by blinking his left eye.

8. Into The Wild

A fantastically involving picture. Penn’s direction is remarkably fluid, and the questions the story posits are relevant to so many of us; we are allowed to consider the character’s ideas and actions on their own terms, and come to our own conclusions about life. One of the most thought-provoking and deeply rewarding cinematic experiences of the year.

9. Juno

How rare- a comedy made with attention to human nature, exploring its characters not just for laughs but for the same insight we gain from watching dramas. There is a humanity lurking under the too-cool exterior of Juno, and you can sense traces of it in the nuances of Ellen Page’s incredible performance; her quirkiness and ironic attitude conceal something that is never shown in the film, but clearly sensed. It’s a remarkably difficult role. Also rare in a teenage comedy- Juno actually seems like her parent’s child, and we can see where she learned to be the smartass that she is. The drama of the story is real, and earned, and by the end, we feel we’ve been somewhere. The same can’t be said for most comedies today. (Also worth noting: when was the last time you saw a *cool* stepmom in a movie??)

10. Michael Clayton / Atonement / The Bourne Ultimatum

All three films are pitch-perfect examples of their respective genres, and represent filmmakers working at the top of their craft. Gilroy’s Michael Clayton is the best legal picture since Mann’s The Insider, and is astonishingly well written and directed for a first timer; Atonement is a period piece with a very unique story focus (neither of the lead actors are the main characters) and very, very sharp editing and direction; with Bourne Ultimatum, Greengrass has all but perfected his style, shooting a studio tentpole sequel as if it was an indie docudrama; the film is made of three chase sequences, and he injects them with a realism that can’t be achieved any other way. His editing is disorienting but intricate; notice how flows of motion are started in one shot but are almost never continued in the next. The best action picture in several years.

Other comments

Sicko

Great, mostly non-partisan documentary that makes you want to move to France.

Transformers

The fulfillment of Michael Bay’s promise to cinema- beautiful, exquisitely photographed wall-to-wall kinetic movement, complete with laughable dialogue and story. It’s fantastic.

Gone Baby Gone

Ben Affleck’s (co)writing and direction is confident and mature, and best of all, understated. The script uses a crime drama as a template for exploring different, complex points of view on a certain aspect of the human condition.

La Vie En Rose

Nearly the best musical biopic that still uses the musical biopic template (that is, struggling artist makes big, takes drugs, does one last show); the overwhelming advantage here is total non-linearity, connecting scenes not by time but by emotion. Cotllard’s performance is outstanding. Also worth noting is the presence of some incredible dynamic tracking shots.

3:10 To Yuma

Another genre picture that works very well without breaking out of the bounds of its mold. The film is about as good as it could be as such. Worth mentioning is the humanity of the Christian Bale character, and the dynamic between the two leads.

Reign Over Me

A brilliant first hour, very affecting in its realistic approach of a unique dilemma studiously avoided in the movies; the remainder of the picture unfortunately dissolves into typical studio melodrama. A massively unrealistic courtroom scene near the end takes the cake.

Across The Universe

Well worth it for its ambition and creativity;

Hot Fuzz

Another excellent comedy with good characters, albeit a good deal more frivolous, and gory, than Juno; it kicks into high gear in the last half hour. A good number of unmissable scenes.

300

Glorified nihilism at its worst. The film wallows in stereotypes and prejudices, positing psychotic violence as a premier problem-solving tool and worse, a cause for glory. It isn’t that the film’s characters are morally repugnant, although they are; it’s that the film takes a stance that glorifies their outlook. Only in post 9-11 America could a picture like this be so well-received. I recognize its many strong points (the visuals are undeniably great), and want to like the picture, but am unable to get past its non-relation to reality. I should stress that despite that, it is not, however, a bad film by any means.

Beowulf

People will laugh about this film in times to come- indeed, some already are. Zemeckis has miraculously forgotten how to make the masterpieces for which he is famous, choosing instead to turn a piece of epic literature into a short, action-fluff piece that doesn’t even work on its own terms. 3D effects are particularly risible, essentially emphasizing foreground/background contrasts, throwing the swishing arrow in every now and then. The novelty wears off fast, and 3D shots thrown in for their own sake will seem extraneous and oddly paced on the 2D dvd.

The Kingdom

A surprising disappointment. The film dares to simplify America’s involvement in Iraq, and all the complexities involved, into a big-budget version of CSI. The story and imagery, at times, smacks of blatant wish-fulfillment, particularly in the climactic gun battle. The opening credits set us up for a story that builds upon the complicated, violent history of Saudi Arabia, but only offers us a peek in the film’s final 30 seconds. The rest is a (very) well-executed version of a mediocre and irrelevant story- not something promised in the film’s opening.

Grindhouse

Ebert writes, “This evocation of a grindhouse may have existed somewhere, sometime, but my movie-going reaches back to before either director was born, and I have never witnessed a double bill and supporting program much like the one they have created…. “Grindhouse” is an attempt to re-create a double feature that never existed for an audience that no longer exists.” He is right, but the films stand on their own, even if their origins don’t. Rodriguez understands the appeal of the “good bad film,” and offers an excellent one with Planet Terror, which involves zombies, Bin Laden assassins, barbeques and small motorcycles; Tarantino’s segment is actually intended to be a good movie- which it is- and focuses on too-hip dialogue, female feet, a kinetic car chase, and some fairly disturbing violence that is ambiguous in its intent on the viewer. An excellent, unique package, overflowing with its filmmakers’ creativity and love for their medium.

The Savages

Hoffman nails it, again. Linney proves herself once more. Tamara Jenkins’ script moves well, exploring an unexplored but universal topic (what do we do with our aging parents?) with detail and good humor.

Eastern Promises

Cronenberg’s non-direction appears as a missed opportunity at first sight, but upon further reflection is quite effective. His use of slightly wider-angle lenses and compositions that center shoulders instead of heads doesn’t even register on first viewing. He infuses a subtle sense of dread through mostly indiscernible means; he pointedly asks us to wonder what the different characters are thinking, a task many filmgoers may not be accustomed to. Note the way he reveals that one of the characters is homosexual. The use of readings from a diary, peripherally related to all the characters, is timed to suggest the inner motivations of the characters then onscreen. A unique, film-going experience. Worth mentioning is the climactic (and unending) bathhouse fight, which shows us the visceral vulnerability of close combat in ways we’ve definitely haven’t seen before.

Oh, religious conservatives. How their hypocrisy continues to amaze me. Of course, that’s a broad generalization… I’m sure there are a lot of religious conservatives who practice what they preach; then again, I’m sure there are a lot who either lie to themselves, lie to others or are just downright hypocrites.

Take one Daniel Thompson, who up until recently was the operator of the Flix Club in Orem, Utah. The Flix Club is a part of the Clean Flix chain, which has drawn fire in recent years from the major studios for altering their films to be, shall we say, PG-rated. The chain illegally removes scenes depicting sex and violence from home videos, and essentially waters down perfectly good films for those who are too afraid to watch quality stories the way their creators meant for them to be watched.

Anyway, needless to say, the Clean Flix chain - and, specifically, the Flix Club - appeals mainly to religious conservatives. One would guess that the Flix Club is operated by a religious conservative. Maybe. Then again, maybe he’s a man who likes to have sex with underage girls and film them for his pornographies.

Yes, Daniel Thompson, operator of Utah-based Flix Club, was arrested for statutory rape. According to Orem police, Thompson also told the girls his business was “actually a cover for a pornography studio  and asked them to participate in making a porn movie.” Large amounts of pornography was found at the business. Needless to say, Thompson claims he didn’t know the girls were underage and that the pornos were for his own personal collection.

With Senator Larry Craig and seemingly countless other disgraced religious conservatives popping up every year, not to mention priest abuse and so on and so forth, it’s just amazing that… well, I’ll just leave it at that.

Johnny Depp is being rumored to replace Heath Ledger in the upcoming Terry Gilliam movie The Imaginarium of Doctor Parnassus, which begs the question: if a leading actor dies, what should happen to the film?

My personal belief is that a movie shouldn’t die based on one man alone. After all, there are hundreds of other people involved in the making of a film, and as tragic as Heath Ledger’s death was, should all their work be put to waste? Furthermore, what about the guy who wrote the movie? How would you feel if your work was about to be put into action and then it was stopped indefinitely.

The current status of the The Imaginarium of Doctor Parnassus movie is that it is on hold, but I’m sure we’ll see an incarnation of it at some point or another. Despite my belief above, according to MovieWeb, filming of the picture was almost complete, which begs another question:

What do you do with all that footage? Obviously, it will be released at some point or another, but if filming was nearly complete, does it make sense to redo all of his scenes with another actor or do something else (CGI, stand-in, what?). Some options might be disrespectful, others financially or artfully inappropriate, but if filming was almost complete, what makes the most sense?

In a recent Sun Times article, co-star Christopher Plummer said that there may be a way to salvage the film without Heath Ledger:Terry Gilliam is “trying to work out at this moment how to continue on. Fortunately, because the film deals with magic, there is a way, perhaps, of turning Heath into other people.”

So what will happen? Who knows. What should happen? I think they should try as hard as they can to finish the film without replacing him. Hell, turn the movie into a homage for Heath Ledger and have someone else play his remaining scenes. Terry Gilliam sure has a tough decision on his hands.

Some people are excited for 2009’s action movie G.I. Joe. After all, the movie is based on one of the most popular and iconic television shows of the 1980’s. There are millions of fanboys drooling over the release of this film (Garth, you reading?). And, other than the fact U.S. foreign policy is hated by most countries right now (the movie rectifies this by making G.I. Joe an international task force), a movie such as this is prime for the making.

However, you do realize G.I. Joe is going to suck, right? And when I say “suck”, I mean you are going to want to stick a vacuum cleaner inside your own skull and suck whatever remnants of your brain you have left. It’s going to be that bad.

Yes, the G.I. Joe movie is being directed by Stephen Sommers. This is old news, but as more and more casting developments emerge (Channing Tatum as Duke, Arnold Vosloo as Zartan), I finally realized who was masterminding the film. Sommers isn’t Uwe Boll, of course, but in terms of influence, power and reach, he is much, much worse. Unlike Uwe Boll’s films, which are terrible beyond belief but generally make a few million dollars in sales before disappearing into the night, Stephen Sommers movies actually make a ton of money.

Still holding out hope? Let me remind you that Stephen Sommers directed The Mummy. Okay, that one wasn’t that bad, if you like mindless entertainment. But he also directed The Mummy Returns, which is one of the worst movies I have ever seen. Disagree with me on that? Tell me you liked the ending, where Brenden Fraser escapes the sandstorm and the little monkey mummies via a crude airship that showed up out nowhere to unleash upon the audience some of the most terrible special effects of the modern blockbuster. Come on, tell me you liked that ending! (if you did, I shake my head in pity) Oh, and Stephen Sommers also directed Van Helsing, another disaster of an action film that also featured some pretty lousy special effects.

And they put this man in charge of G.I. Joe, one of your childhood favorites. I feel your pain, I really do, but yes, G.I. Joe is going to suck big time.

Here are a couple cool-looking movie pictures for the upcoming Will Smith movie called Hancock. In the action-comedy, he plays a superhero with destructive capabilities.

Peter Jackson may not be directing the upcoming Hobbit movies, but New Line may have found an even better director to take his place. According to The Hollywood Reporter, The Hobbit movies - the book is somehow being split into two films - will be directed by none other than Guillermo Del Toro. Del Toro is best known for the award-winning film Pan’s Labyrinth, as well as Hellboy. Needless to say, Guillermo Del Toro is no stranger to fantasy OR fanboy films. Del Toro is in talks to direct, which means nothing has been finalized - but usually, when someone is “in talks”, it means they’re going to take the project.

As I’m sure you know, The Hobbit is a prequel to J.R.R. Tolkien’s The Lord of the Rings trilogy, and is one of the most anticipated projects of the next three years. Concerns were raised when Peter Jackson backed out after a rather bitter contract dispute, but those same concerns were alleviated when New Line and MGM managed to come to peace with the director. Jackson will be an executive producer for The Hobbit, which will be split into two films that will be created simultaneously, each for $150 million. It is expected that the first film will be released in 2010 and the other in 2011.

Here are two things I’m wondering:

• How much creative license will Del Toro have in regards to The Hobbit? Obviously, neither fans nor New Line want to mess with a proven formula, but Guillermo Del Toro has a very unique visual style. Honestly, it’d be pretty cool to see what Del Toro would come up with if he had free reign; at the same time, The Lord of the Rings trilogy was pretty perfect, and I don’t want anything getting messed up. So how much visual flavor will Del Toro be able to add to the story?
• Second, how are they splitting The Hobbit into two movies? The Hobbit is the quickest and most basic of the Middle Earth tales, and it seems a bit odd to split the shortest and most adventure-based tale into two movies - other than the obvious revenue-making potential, of course. How will they split The Hobbit into two?

Wow. I didn’t see this one coming.

Proving once again that you can’t keep audience members with no taste down, Meet the Spartans stood up to an invading empire of other films and earned $6.5 million on Friday, January 25, 2008, to beat out both Rambo and Cloverfield. Steve Mason over at SlashFilm predicts the new Rambo movie - which features Sylvestor Stallone in his latest attempt to salvage a dying career - will end up winning the weekend… But, what the Hell?

Meet the Spartans looks God awful and likely is even worse, as it is just the latest in a series of terrible spoof movies such as Date Movie and Epic Movie. Are there people who actually like these films? The comedy is inane, and when you can’t even fill out a two-minute preview with funny moments, you know you’re in store for some pain. So how did Meet the Spartans manage to make $6.5 million on Friday? I have no clue.

Rambo, which received only a 34% fresh rating at Rotten Tomatoes, opened on Friday to approximately $6 million. I thought for sure this one would win the weekend, with not much other competition out there other than Cloverfield. I guess violent action movies really are dead, which is a real shame.

The other real shocker is Cloverfield, however. Everyone knew the movie would fall hard, as last week’s numbers were inflated by a huge fanboy rush to see it opening weekend, but could anyone have predicted a 68% freefall? The J.J. Abrams monster movie earned only $4.5 million for the weekend.

The Diane Lane thriller Untraceable opened to $3.5 million on Friday and How She Move managed to open up outside the Top Ten with approximately $1 million.

I haven’t seen many blogs discussing this, so I thought I’d raise the question: Could Heath Ledger win an Oscar for his portrayal of The Joker in the upcoming Batman movie The Dark Knight? At the very least, could he receive an Oscar nomination?

The thought is unlikely - after all, action movies - especially action movies based on comic books featuring a man dressed up in a rubber bat suit - are hardly critical fodder for nominations of any sort outside of a few technical awards such as editing and visual effects. Jack Nicholson didn’t receive any major awards, or nominations, for his portrayal of Batman’s arch nemesis - and yet he was praised for his performance and is, at least for a few more months, still considered to have the best comic book villain performance ever.

But… is Academy Award recognition, whether it be through a win or a nomination, that unreasonably for the late Heath Ledger, who died earlier this week from an apparent drug overdose? Let’s look at the possibilities:

• Heath Ledger already has an Oscar nomination for his excellent performance in Brokeback Mountain. Repeat nominees often have a better chance.
• Heath Ledger was a good looking guy, and in his upcoming role, he plays a disfigured psychopath. Oscar voters love good-looking people who make themselves ugly (though this tend to applies more to women than men).
• The Dark Knight is a comic book movie, yes, but of all of the comic book movies that could have had a chance at award nominations, Oscar or otherwise, Batman Begins is the most serious, dramatically significant, character-driven film of them all. Expectations are that The Dark Knight is going to have the same brooding, dark approach to it that the previous film had.
• The Dark Knight is directed for Christopher Nolan, who so far has yet to direct a bad movie. Popular, critically favored directors can help elevate a film and its actors.
• The buzz around Heath Ledger’s performance, even before his death, was and is huge. Snippets of his performance that have been seen in trailers and clips have been downright terrifying.
• It looks like Heath Ledger has transformed himself into the villain of villains, and will do what no other actor has done: to overshadow Jack Nicholson’s portrayal of The Joker.
• Some people are blaming Heath Ledger’s death on his devotion and submersion into his role as The Joker; the actor was apparently only sleeping a couple hours a night because The Joker was so disturbing and evil. It is possible that Ledger overdosed on sleeping pills. Essentially, it is possible that Heath Ledger “died” as a result of playing The Joker.
• Heath Ledger is dead. Let’s face it - the emotional vote is in his favor.

To push on my last point a little more, madbeast.com says there are six actors to be nominated for acting Oscars posthumously:

• Jeanne Eagels received a Best Actress nomination months after dying of a Heroin overdose.
• James Dean received two nominations after his fatal car crash.
• Spencer Tracy received his ninth Best Actor nomination after dying.
• Peter Finch died of a heart attack some say was a result of an exhaustive effort to win the Oscar for Network. After WINNING THE AWARD, his costar and fellow nominee William Holden said, “If the son of a bitch
  hadn’t died, I could have won my second Oscar.” Hmm…
• Ralph Richardson died five months before his Tarzan movie was released; he was subsequently nominated.
• Massimo Troisi died a day after completing Il Postino; he received nominations for Best Actor and Best Adapted Screenplay.

 

So, again, we realize that a Batman film is an unlikely place to find an Oscar-winning performance in any way or form, but actors have been nominated posthumously before. The Dark Knight comes out in the summer, not a very good time to showcase an actor’s capabilities for Oscar voters, but the film will be hitting DVD sometime before Christmas, and it will hit big. Every voter will see the movie, and every voter will be reminded of Heath Ledger’s death.

Until that day, who knows, but it’s certainly an interesting prospect. What do you think?

Comedies can win Oscars, or at least Golden Globes. Foreign films get their own category. So, aside from family films, the one genre that never gets much recognition other than through box office dollars is the action movie genre. Action films have become blurred with thrillers recently, as Hollywood has leaned more toward serious, realistic action-thrillers over kick-ass explosion-filled extravaganzas. This list includes some of those, but 2007 saw the reemergence of some bad ass action films.

And no, Spider-Man 3 is not on the list. Here are the top ten action movies of 2007:

1. Transformers (2007)
   The top five action movies of 2007 are pretty close to one another, and the top three are almost interchangeable. But there’s no denying that the film with the biggest impact over the summer was an explosive action film that had fan boys salivating and even regular audience members blown away by spectacular visual effects and a finale that all but destroys Los Angeles. The movie was plagued with some annoying dialogue and other screenplay issues, but Michael Bay’s action sequences overcame those flaws to make Transformers the best action movie of 2007.
2. 300 (2007)
   Coming in a very close second place is 300, a movie from Dawn of the Dead director Zach Snyder. 300 could have been a complete disaster, but Snyder made the movie a visual feast. Some people complained that the movie had a lot more talking than fighting, but I found it to have the perfect balance of politics, drama, visuals and action. 300 is by far and away the most visually original picture of 2007, and it’ll be interesting to see how the Visual Effects Oscar gets handed out - on the one hand, Transfomers offered seamless visuals; on the other, 300 was one long special effect that defied expectations and made the film the biggest hit of the first four months of the year.
3. The Bourne Ultimatum (2007)
   The smartest action film in the top three, the third Bourne film places third simply because I thought The Bourne Supremacy was slightly better. The Bourne Ultimatum felt a bit like it was re-treading on the second film’s originality only with a less interesting plot, but I only say that because Supremacy is one of my all-time favorite action films. Ultimatum is still a great action movie, and continues to prove that Matt Damon can be an action hero, and a damn intimidating one to boot.
4. Live Free or Die Hard (2007)
   Despite going way too over the top at times (the fighter jet blowing up a billion dollars worth of highway, for instance), the fourth Die Hard movie was everything fans were expecting and waiting for. People had all but given up on the chance that they would indeed make a fourth movie, but Bruce Willis brought his rugged John McClain back to theaters one more time. The movie is one long action sequence, and while it is hit a bit by the fact that it is rated PG-13, it is still a pretty brutal thrill ride. At the very least, it was refreshing to return to the action films of old, where tough guys did tough things.
5. No Country for Old Men (2007)
   Who knew that a major Best Picture contender would end up on a Top Ten list for Best Action Movie? Regardless, No Country for Old Men, from the Coen Brothers, is one of the most exciting movies I’ve seen in a long time. Not your typical action film, the Coen Brothers fill their film with an impending sense of dread, and give us one of the scariest and most ruthless villains ever witnessed on the silver screen. Unfortunately, the movie doesn’t end the way most of us would have liked - otherwise, this film could have been a lot higher on this list.
6. Shooter (2007)
   Items six through ten aren’t nearly as good as items one through five, but are still good entries for those looking for mindless entertainment. Shooter is a pretty mindless film that tries to cover some idiocies with a political assassination and conspiracy storyline, which, for the most part, works well enough. Mark Wahlberg does a good job in the lead, and Shooter offers plenty of action and intrigue. It’s not a great movie, but it’s still better than most action movies we get these days.
7. 28 Weeks Later (2007)
   Okay, so 28 Weeks Later is technically a horror movie, or at the very least a zombie movie, but as far as excitement goes, it’s a great little film. The movie didn’t receive very good reviews nor box office revenues, but this zombie sequel is exciting and suspenseful from the first minute to the last. The opening sequence is great, and the film is full of exciting moments.
8. Vacancy (2007)
   It’s been a while since I last saw this thriller, but I had to put it on the list anyway. It’s not an action movie per se, but it is action-packed, so I think it deserves a place. Starring the unlikely combination of Luke Wilson and Kate Beckinsale as a nearly divorced couple, Vacancy is about two people who find themselves trapped at the hotel from Hell. The movie is exciting from beginning to the end, minus the last two minutes, which are just dreadful. Still, I hadn’t sat on the edge of my seat like this in a long time.
9. 3:10 to Yuma (2007)
   I wasn’t crazy about the ending of this one either, but there’s no denying that 3:10 to Yuma is still a thoroughly entertaining film. Starring the great combination of Russell Crowe and Christian Bale, the western remake offers a complicated and disturbing villain (Crowe), some good action scenes and several other exciting moments. If anyone still thinks that westerns are out of date, 3:10 to Yuma is just one of many recent westerns that proves them wrong.
10. The Kingdom (2007)
    This one wasn’t as good as I was hoping it would be, but The Kingdom has some great action, especially toward the end. Somehow this movie, which featured some pretty spectacular trailers and a quality cast, flopped in theaters despite having everything that action audiences require. The shortcoming of the film is that the screenplay isn’t nearly as good as it should have been, given the material.

Other movies that almost made the list: Planet Terror, Death Proof and Smokin’ Aces. The two Grindhouse films were both thoroughly entertaining and offered some good action, while Smokin’ Aces was entertaining but not quite as action packed as I was hoping for.

Why wasn’t Spider-Man 3 on the list? Because it just wasn’t that good of a movie. Harry Potter? Not nearly as good as the other movies (and not really an action movie). Pirates of the Caribbean? That movie just sucked. Fantastic Four 2? Enough said.

Has anyone realized that 2008 has just as many big movies, if not more big movies, than 2007 did? We get Batman, Bond, Harry, Indy, Kirk, Rambo and Mulder over the span of approximately 180 days, and those are only a fraction of the cool-looking movies coming out this year. Of course, the most anticipated movies of 2008 includes a lot of big budget films - because the smaller films and dramas that come out at year’s end have yet to release trailers or develop much buzz as of yet. That will change, but in the meantime, here are my 20 most anticipated movies of 2008. Enjoy the 2008 movie list:

1. The Dark Knight (2008)
   Easily my most anticipated movie of 2008, The Dark Knight brings back nearly everyone that made Batman Begins so great, while adding Heath Ledger as The Joker. I was skeptical about whether it was smart to bring back The Joker after Jack Nicholson made an icon of the character in Tim Burton’s original, but there is no denying that Heath Ledger looks and sounds a heck of a lot more terrifying. Without all the back story that slowed down the first one (don’t get me wrong - I loved it), The Dark Knight promises to be more action-packed and even better.
2. James Bond 22 (2008)
   On Batman’s heels is the latest James Bond film, which once again stars Daniel Craig. After Casino Royale defied expectations and proved that the world could handle a blond Bond, I have huge expectations for this sequel. That being said, there have been a few worrisome developments. There was one article that suggested the producers wanted to inject more humor into the film, though I’m guessing that was fake news - after all, why would they mess with a formula that worked so well, both critically and financially, the last time out? Oh, and the director has never done an action movie before. Regardless, expectations have never been higher for a Bond film; I usually went to the theaters expecting some fun action and entertainment, but now I expect a truly quality film.
3. Indiana Jones and the Kingdom of the Crystal Skull (2008)
   In other years, this movie might have been #1, but not this year. Still, there’s no denying that the biggest movie of the year will probably be Indiana Jones 4. We haven’t seen any previews yet, but with Harrison Ford returning to the role and Steven Spielberg back as director, there’s no reason not to expect another entertaining thrill ride. The only thing that could kill this film will be super high expectations; fans have been waiting nearly 20 years, and the anticipation in the weeks leading up to the film’s release will be crazy.
4. Star Trek (2008)
   The buzz is already big on this film. Abrams is flying high right now after Cloverfield launched big (and his previous directorial effort, Mission: Impossible III, was an awesome movie), and thus I am expecting nothing less than incredible for the new Star Trek movie. Looking back, the last several movies have been a bit cheesy and not all that great, but the teaser trailer for this film indicates that much of the cheese factor may be removed. How this rests with Trekkies is anyone’s guess, but hopefully fans of the shows (like me) realize that something like this is necessary to keep the franchise going - much like the Bond franchise needed Casino Royale.
5. Cloverfield (2008)
   This J.J. Abrams-produced movie has already been released in theaters, but even before I saw it, I was definitely looking forward to it. The marketing team did an incredible job of creating buzz for the film over a six-month period, and for the most part, the film lived up to expectations.
6. The X-Files 2 (2008)
   This sequel is flying under the radar right now, and often times I forget that it’s even coming to theaters this year, but once the trailer hits the airwaves, things will change. As a huge X-Files fan, I’m definitely looking forward to this long overdue film, but the question remains: will anyone care? It’s been a long time since The X-Files ended, and the movie is probably not going to make hundreds of millions of dollars. It’s anyone’s guess, but I hope it delivers big in one way or another.
7. Harry Potter and the Half-Blood Prince (2008)
   Normally, a Harry Potter movie would rank much higher, and in years past they have often topped my lists; however, after the disappointing last movie, it’s a waiting game for me. David Yates, who I pretty much blamed for the previous film’s lack of cohesion, is returning to direct this film, and I really have to wonder what Warner Brothers was thinking. That being said, the original screenwriter - who has done all of the other movies except for The Order of the Phoenix, is returning, and that should spice things up a bit. This prequel to the final movie (rumored to be two movies?) is an important one, and so Yates better not blow it again.
8. Rambo (2008)
   Okay, it might be endless entertainment, but if you’re a guy, you have to be at least a little excited at the prospect of watching a new Rambo movie. Sure, Sylvestor Stallone is scraping for any way to make a buck, but after Rocky Balboa managed to be halfway decent, I’m holding out hope. Furthermore, the previews have absolutely kicked ass; I don’t care how old Stallone is - if he’s tearing apart bad guys with his bare hands and blood is flying everywhere, I am in theaters opening night.
9. Iron Man (2008)
   I was skeptical about this one at first. While I was a comic book fan as a kid, I never purchased a single Iron Man comic, though I’m sure I’ve read one or two over the years. The character never intrigued me very much, and the thought of a tin man flying around doesn’t sound like it could work. Still, the previews for Iron Man have suggested otherwise. The trailers are kick ass, full of explosions, special effects and everything else you’d want from a movie like this.
10. Hancock (2008)
    This superhero movie took me by surprise when I saw a preview for it in front of National Treasure 2; I hadn’t heard or seen anything about it up until then. But this movie, about a loser of a superhero who causes millions of dollars of damage to everything he touches, looks pretty damn entertaining. Did I mention it stars Will Smith? That alone means this film will be a blast, as he has yet to truly disappoint in a blockbuster flick.
11. Get Smart (2008)
    Steve Carrell is at the peak of his career right now, and Get Smart looks like it may finally capitalize on his sense of humor (since Evan Almighty sucked Jesus balls). The teaser trailer for the movie is spectacular, and features Carrell in all kinds of awkward, spy-oriented situations. The phone booth sequence is entertaining, as is the phone-throwing attempt. I usually don’t put too many comedies on my list, but Get Smart definitely deserves a place.
12. Wall-E (2008)
    This is the new movie from Pixar. Enough said. Okay, I’ll add that the visuals look great, and once again Pixar is doing something unique, which is more than what can be sound about their competitors.
13. Harold and Kumar Escape from Guantanamo (2008)
    The first movie looked completely awful, but it was so funny and I ended up watching it twice in the same day. The second movie looks pretty funny as well, though for these kind of films, you can never tell. The marketing team will of course be able to make a funny two-minute trailer out of ninety minutes of stupidity, but I’m holding out hope that this Harold and Kumar sequel will be pretty good.
14. Hellboy II: The Golden Army (2008)
    The trailer for this sequel isn’t as good as I would have liked, but since the first movie was such a refreshing jolt of excitement, I have high hopes for this sequel. All of the main cast members are returning, and it looks like Guillermo del Toro, fresh off his foreign-language masterpiece Pan’s Labyrinth, has injected similar styles from that Oscar-nominated film into this one.
15. Jumper (2008)
    This Hayden Christensen/Samuel L. Jackson sci-fi thriller may end up being mindless fluff, but Jumper looks cool. The concept, about a young man who can teleport anywhere in the world, is relatively unique, and the special effects look good enough to back up the idea. The movie’s release date suggests it won’t be anything too intelligent, but you never know.
16. The Incredible Hulk (2008)
    I actually liked the first Hulk movie moderately enough, up until the absolutely horrible ending. That being said, if I watched it again, I would probably laugh at how bad it is. I’ve never been a fan of the Hulk - I never understood what the big deal is about an anti-hero who turns into a monster - but this movie does have potential. After all, the studio heard the complaints about the original film and have presumably made amends. The presence of Ed Norton as Bruce Banner doesn’t hurt, either.
17. Revolutionary Road (2008)
    Again, here’s another drama without a trailer, but come awards time, everyone expects this film to be right up among the major contenders. Why? The movie stars Leonardo DiCaprio and Kate Winslet, reuniting for the first time since Titanic, and is directed by Sam Mendes, who directed one of my all-time favorite movies, American Beauty. You may have heard of it.
18. Sex and the City (2008)
    I’m not anticipating this comedy as much as I am intrigued by it. Even though I am a 25-year old straight male, I have to admit that I have seen almost all of the Sex and the City episodes and thoroughly enjoyed them (living with two females for a year helped). It’s truly one of the best comedies ever to be seen on television; of course, HBO has an unfair advantage in that it puts a lot more dollars into its shows than the average sitcom. Whether the television show will work as a movie is anyone’s guess, but we’ll find out in a few months…
19. Run, Fatboy, Run (2008)
    Just to fill out my Top 20, I added one that I haven’t seen on anyone else’s list. Run, Fatboy, Run, starring Simon Pegg (Shaun of the Dead) looks funny in a completely goofy kind of way, and that’s enough to have me looking forward to it. Pegg really hasn’t stumbled yet, and while I’m not expecting anything as clever as his Shaun or Hot Fuzz, this one should be a bloody good time.
20. The Chronicles of Narnia: Prince Caspian (2008)
    Some people are really looking forward to this movie. I’m holding my breath. The previews don’t make this one look as good as the first one, and the first one was a mild disappointment. I thought the first one looked cool, until I sat down for a two-and-a-half hour film that was mildly entertaining at best and boring at its worst, so the marketing department is really going to have to step it up to convince me that this sequel is different.