Roland Emmerich. A God among men. This guy is single-handedly responsible for obliterating the world ten times over, and his magnum opus, the destruction film to end all destruction films, 2012, opens this Friday. In 2012, this creature of the universe hits humanity and the poor earth that he hates so much with just about everything the Lord has to offer, from tidal waves that engulf the Himalayas (that poor, poor monk ringing the bell) to meteor showers (drive, John Cusack, drive!) and earthquakes that open up into the pits of Hell itself. (more…)

Here are my top ten movies of 2008. This is one of the strangest lists I’ve assembled in years, as it includes a unique blend of comic book action, animated robots, a drinking beverage and a vampire – and no where to be found are the Nazis. Without further ado…

1. The Dark Knight
   I am not one of those people who usually put action movies in their top ten lists. I like dramas. I especially like depressing dramas. I love action films, too, but when it comes to the best films of the year, they rarely rank well. 2008 was an exception for two reasons: 1) the year, in general, was weak. There were some hilarious comedies and some great action movies, but few absolutely stunning dramas. In other words, there were no There Will Be Blood’s this year. This opens the door for… 2) one of the most amazing action films ever made. No, The Dark Knight is not the best action film out there – in terms of your typical action movie. However, few films manage to transcend the genre and deliver drama, suspense, crime and action in such a seamless, brilliant format. Christopher Nolan really outdid himself, and it is unlikely we’ll see another comic book movie top this one anytime soon, if ever. Oh yeah, and Heath Ledger is halfway decent in the movie, too.
2. The Wrestler
   If not for The Dark Knight, this one would be #1. Well, duh. The Wrestler is an incredible piece of work, a movie that is entertaining, dramatic, powerful and sad all at once. Darren Aronofsky, who was once rumored to direct the next Batman film, comes back down to earth after the strange The Fountain to direct his most normal film yet, but the director elevates an otherwise simply story to another level. The film looks great, but it’s Mickey Rourke’s performance that makes the picture worth it. With incredible acting, superb direction and stellar screenplay, it’s a real shame that The Wrestler isn’t getting honored with more Oscars – but leave it to the Academy to ignore great films. (more…)

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.

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.