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thehefnerSo as I said before, I wanted to do my usual list of "Heffie's Top Ten Films of 2008," but then I realized that I hadn't even seen ten! Well, actually, I'd seen eleven, but three of them I didn't love, and two of them I didn't feel entirely comfortable rating objectively in a "Best Of" list.
But as of last night, I managed to catch one of the two-and-a-half-dozen supposedly-great films I missed this year, and thus am able to round out my list. I've decided to break it up into three parts, the first comprised of entries #10 through #6, each of which were troublesome enough in their ways to warrant discussion.
10.)
THE INCREDIBLE HULK
I'll give it thus much: this is the HULK movie that Hulk fans wanted, no less and (unfortunately) no more. As an apologist for Ang Lee's much-maligned HULK, I appreciated that film as a noble failure, one that tried to turn a superhero trope into an actual art film, taking what many see as a one-note mean green smashing machine and exploring the psychological depths. With gamma poodles. *cough*
THE INCREDIBLE HULK, on the other hand, is straightforward and safe. Well-made, solid, entertaining, and forgettable. No one takes the concept and breathes life into it like THE DARK KNIGHT, HELLBOY, and IRON MAN did. This just ran through the Hulk's world and concepts by-the-numbers, beat by beat, with no real sign of life other than Tim Blake Nelson as Dr. Samuel Sterns. That little grin on his face was the only thing that made me think, "Yeah, I think I will check out THE INCREDIBLE HULK 2: HUNT FOR THE BLOOD ORCHID."
9.)
BURN AFTER READING
A lot of critics are hailing this as one of the Coen Brothers' greatest films, and more to the point, a classic return to their particular brand of comedy. But I disagree. This is a nasty little movie, a fun and evil romp and a biting satire, but it lacks even the germ of humanity of their previous comedies. In films like RAISING ARIZONA and THE HUDSUCKER PROXY, you got the impression that the Coen's really loved their protagonists, but this... this reminds me more of... well, CRUEL INTENTIONS.
Once you realize that you're not supposed to like any of these characters, you're solid. Well, except for Brad Pitt, playing Chad. Really, all you need to know about him is the name. Chad. Poor Chad's at least stupidly endearing, which is more than can be said for, say, Tilda Swinton and John Malkovich playing the Tilda Swintoniest and John Malkovichiest characters ever put to screen.
Extra mention must go to two always-great character actors: J.K. Simmons, who wonderfully drives the satirical nail home in his final scene, and Richard Jenkins, who really gets his time to shine in my # 6 selection.
But since we're talking Brad Pitt and Tilda Swinton, it's only fitting we go to...
8.)
THE CURIOUS CASE OF BENJAMIN BUTTON
Just saw this last night. Who else has seen this? Let's start a discussion in the comments below, with spoiler warnings for those who haven't.
Because I really don't quite know what to think of this. Really, its ranking here is somewhat arbitrary. It's a magical, charming film, one that got me choked up throughout, and the surest testament I can give is to say that the nearly-three-hour running time just flew by, no shit. THE DARK KNIGHT was a bit shorter, but actually felt longer.
But ultimately, I'm not sure I get it. What is the symbolism of Katrina, and the final shot? "Nothing Lasts?" If so, then what does the clock mean? And even my favorite joyless bastard Devin on CHUD.com wondered what the hell was the whole point of the main "aging backwards" gimmick.
Most people are responding favorably, a couple with hostility, many with indifference. But this film has managed to strike a chord with a small group of devoted viewers in a way I haven't seen since THE FOUNTAIN (which might make a good double-feature!), some going so far as to call it the best movie of 2008.
I know I liked it. I'm just not sure I got it. I'd call it this year's BIG FISH, with a heaping cup of GUMP tossed in.
7.)
HELLBOY II: THE GOLDEN ARMY
Boy, this is a film I wanted to like a whole lot more than I actually did. Which, oddly, is exactly how I felt about the first HELLBOY. And, now that I think about it, HELLBOY comics in general.
I mean, there's nothing to dislike in any of these. Nothing. It's tailor made for old-school geeks, packed with stunning visuals in any medium (Mingola and Del Toro are each brilliant visionaries in their own rights), rich mythologies, and marvelous characters. Plus, Ron Perlman. Nuff said.
And yet... at the risk of horrifying![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
bagelofdeath and beckara, I dunno, something is just always missing. The stories feel... slight. Like appetizers. With two sole exceptions--Hellboy in "The Wolves of St. August" and Abe Sapien in "The Dead"--no Hellboy story has ever felt writing home about, save for the pure visual aspect.
And the visuals were indeed, as previously stated, stunning. Del Toro has crafted a world not seen since the days of Henson's LABYRINTH and the Mos Eisley cantina, and the mythology is dreamlike and wondrous. But ultimately, I felt like I was watching PAN'S LABYRINTH lite, with explosions thrown in. Not bad, per se! Fuck, it's pretty damn great!
And yet... I don't know what it is I wanted, but I wanted more. Selma Blair is one of the few bad actresses I find charming and watchable even in her badness, but the love story here lacked even the tragic weight that it had in HELLBOY I, and I didn't find myself caring too much about their bickering. Seth McFarlane was utterly delightful, and reminded me that as much as I hate what FAMILY GUY is doing to the state of animation and comedy in general, the dude really does have vocal chops and skill. The world's slowly starting to realize what a treasure Doug Jones is, and Ron Perlman is Ron Motherfucking Perlman.
Many other geeks hail this was one of the great masterworks of 2008. Maybe it'll feel richer upon subsequent viewings. As it was, it felt like a lovely diversion pit stop between IRON MAN and THE DARK KNIGHT, a real pick-me-up after the rote blandness that was THE INCREDIBLE HULK.
6.)
THE VISITOR
I had no idea what this movie was about going in. It was the idea of my date, one of the many single dates that went both well enough and nowhere. Had I known it was an "issue" film, I probably would have avoided it outright. Anytime someone wants to explore a social issue in film, they put the issue first and the story second.
Tangent: have any of you seen THE GIRL IN THE CAFE, starring Bill Nighy and Kelly Macdonald and written by LOVE, ACTUALLY's Richard Curtis? Its noble intentions to highlight the issues of poverty and fair trade surrounding the G8 summit were utterly sabotaged by Kelly Macdonald's sanctimonious speech-giving cipher, a character so sickeningly symbolic that she might as well have sprouted wings and a halo. She wasn't a person, she was the message given form. See also: HARD CANDY, a film I liked a hell of a lot, but that line, "I am every girl you ever watched, touched, etc." nearly undid the whole thing.
But THE VISITOR... this, this is how you do an "issue" film.
Story and character are foremost in THE VISITOR, headed by the aforementioned Richard Jenkins (the dad from SIX FEET UNDER), one of the great modern character actors. You want a performance done well, you get a pro. The "issue" of the film doesn't even come into play until halfway in, and by then, you're so rooted in the character's lives and interactions that the story doesn't feel sabotaged but a logical (and tragic) progression.
Even when Jenkins' character gives a monologue that could easily have been Macdonald-like proselytizing, but instead feels organic and genuine, an explosion that is absolutely true to the emotion of the character. It's not a "here's the moral, idiots!" moment, but a *human* moment, and thus truly and more effectively exists as the heart of the film.
This is one of those great films that I'm gratified to have seen, one whose characters and ideas will stay with me for years to come, even though I have no intention of ever seeing it again.
That's it for Part 1. Coming up next, the top five films that I loved pretty well unabashedly.
Well, except in some cases, there's a bit of bashedly. But not too much bashedly.
But as of last night, I managed to catch one of the two-and-a-half-dozen supposedly-great films I missed this year, and thus am able to round out my list. I've decided to break it up into three parts, the first comprised of entries #10 through #6, each of which were troublesome enough in their ways to warrant discussion.
10.)
THE INCREDIBLE HULK
I'll give it thus much: this is the HULK movie that Hulk fans wanted, no less and (unfortunately) no more. As an apologist for Ang Lee's much-maligned HULK, I appreciated that film as a noble failure, one that tried to turn a superhero trope into an actual art film, taking what many see as a one-note mean green smashing machine and exploring the psychological depths. With gamma poodles. *cough*
THE INCREDIBLE HULK, on the other hand, is straightforward and safe. Well-made, solid, entertaining, and forgettable. No one takes the concept and breathes life into it like THE DARK KNIGHT, HELLBOY, and IRON MAN did. This just ran through the Hulk's world and concepts by-the-numbers, beat by beat, with no real sign of life other than Tim Blake Nelson as Dr. Samuel Sterns. That little grin on his face was the only thing that made me think, "Yeah, I think I will check out THE INCREDIBLE HULK 2: HUNT FOR THE BLOOD ORCHID."
9.)
BURN AFTER READING
A lot of critics are hailing this as one of the Coen Brothers' greatest films, and more to the point, a classic return to their particular brand of comedy. But I disagree. This is a nasty little movie, a fun and evil romp and a biting satire, but it lacks even the germ of humanity of their previous comedies. In films like RAISING ARIZONA and THE HUDSUCKER PROXY, you got the impression that the Coen's really loved their protagonists, but this... this reminds me more of... well, CRUEL INTENTIONS.
Once you realize that you're not supposed to like any of these characters, you're solid. Well, except for Brad Pitt, playing Chad. Really, all you need to know about him is the name. Chad. Poor Chad's at least stupidly endearing, which is more than can be said for, say, Tilda Swinton and John Malkovich playing the Tilda Swintoniest and John Malkovichiest characters ever put to screen.
Extra mention must go to two always-great character actors: J.K. Simmons, who wonderfully drives the satirical nail home in his final scene, and Richard Jenkins, who really gets his time to shine in my # 6 selection.
But since we're talking Brad Pitt and Tilda Swinton, it's only fitting we go to...
8.)
THE CURIOUS CASE OF BENJAMIN BUTTON
Just saw this last night. Who else has seen this? Let's start a discussion in the comments below, with spoiler warnings for those who haven't.
Because I really don't quite know what to think of this. Really, its ranking here is somewhat arbitrary. It's a magical, charming film, one that got me choked up throughout, and the surest testament I can give is to say that the nearly-three-hour running time just flew by, no shit. THE DARK KNIGHT was a bit shorter, but actually felt longer.
But ultimately, I'm not sure I get it. What is the symbolism of Katrina, and the final shot? "Nothing Lasts?" If so, then what does the clock mean? And even my favorite joyless bastard Devin on CHUD.com wondered what the hell was the whole point of the main "aging backwards" gimmick.
Most people are responding favorably, a couple with hostility, many with indifference. But this film has managed to strike a chord with a small group of devoted viewers in a way I haven't seen since THE FOUNTAIN (which might make a good double-feature!), some going so far as to call it the best movie of 2008.
I know I liked it. I'm just not sure I got it. I'd call it this year's BIG FISH, with a heaping cup of GUMP tossed in.
7.)
HELLBOY II: THE GOLDEN ARMY
Boy, this is a film I wanted to like a whole lot more than I actually did. Which, oddly, is exactly how I felt about the first HELLBOY. And, now that I think about it, HELLBOY comics in general.
I mean, there's nothing to dislike in any of these. Nothing. It's tailor made for old-school geeks, packed with stunning visuals in any medium (Mingola and Del Toro are each brilliant visionaries in their own rights), rich mythologies, and marvelous characters. Plus, Ron Perlman. Nuff said.
And yet... at the risk of horrifying
bagelofdeath and beckara, I dunno, something is just always missing. The stories feel... slight. Like appetizers. With two sole exceptions--Hellboy in "The Wolves of St. August" and Abe Sapien in "The Dead"--no Hellboy story has ever felt writing home about, save for the pure visual aspect. And the visuals were indeed, as previously stated, stunning. Del Toro has crafted a world not seen since the days of Henson's LABYRINTH and the Mos Eisley cantina, and the mythology is dreamlike and wondrous. But ultimately, I felt like I was watching PAN'S LABYRINTH lite, with explosions thrown in. Not bad, per se! Fuck, it's pretty damn great!
And yet... I don't know what it is I wanted, but I wanted more. Selma Blair is one of the few bad actresses I find charming and watchable even in her badness, but the love story here lacked even the tragic weight that it had in HELLBOY I, and I didn't find myself caring too much about their bickering. Seth McFarlane was utterly delightful, and reminded me that as much as I hate what FAMILY GUY is doing to the state of animation and comedy in general, the dude really does have vocal chops and skill. The world's slowly starting to realize what a treasure Doug Jones is, and Ron Perlman is Ron Motherfucking Perlman.
Many other geeks hail this was one of the great masterworks of 2008. Maybe it'll feel richer upon subsequent viewings. As it was, it felt like a lovely diversion pit stop between IRON MAN and THE DARK KNIGHT, a real pick-me-up after the rote blandness that was THE INCREDIBLE HULK.
6.)
THE VISITOR
I had no idea what this movie was about going in. It was the idea of my date, one of the many single dates that went both well enough and nowhere. Had I known it was an "issue" film, I probably would have avoided it outright. Anytime someone wants to explore a social issue in film, they put the issue first and the story second.
Tangent: have any of you seen THE GIRL IN THE CAFE, starring Bill Nighy and Kelly Macdonald and written by LOVE, ACTUALLY's Richard Curtis? Its noble intentions to highlight the issues of poverty and fair trade surrounding the G8 summit were utterly sabotaged by Kelly Macdonald's sanctimonious speech-giving cipher, a character so sickeningly symbolic that she might as well have sprouted wings and a halo. She wasn't a person, she was the message given form. See also: HARD CANDY, a film I liked a hell of a lot, but that line, "I am every girl you ever watched, touched, etc." nearly undid the whole thing.
But THE VISITOR... this, this is how you do an "issue" film.
Story and character are foremost in THE VISITOR, headed by the aforementioned Richard Jenkins (the dad from SIX FEET UNDER), one of the great modern character actors. You want a performance done well, you get a pro. The "issue" of the film doesn't even come into play until halfway in, and by then, you're so rooted in the character's lives and interactions that the story doesn't feel sabotaged but a logical (and tragic) progression.
Even when Jenkins' character gives a monologue that could easily have been Macdonald-like proselytizing, but instead feels organic and genuine, an explosion that is absolutely true to the emotion of the character. It's not a "here's the moral, idiots!" moment, but a *human* moment, and thus truly and more effectively exists as the heart of the film.
This is one of those great films that I'm gratified to have seen, one whose characters and ideas will stay with me for years to come, even though I have no intention of ever seeing it again.
That's it for Part 1. Coming up next, the top five films that I loved pretty well unabashedly.
Well, except in some cases, there's a bit of bashedly. But not too much bashedly.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
No *real* spoilers here
Date: 2008-12-30 08:14 pm (UTC)What I really love about this movie is that it didn't demonize certain "seedier" aspects of life in those eras such as sailors patronizing brothels or affairs with married ladies in foreign countries. It was unapologetic about what it was portraying and it made it work well...
Then again, if I was looking for a very Fincher-esque film, I would've been disappointed. However, I still expected a certain level of color and feel and thankfully, it delivered, making up for the boring mess that was Zodiac
Re: No *real* spoilers here
Date: 2008-12-30 08:18 pm (UTC)But I think it really shows growth for Fincher as a director, which is always gratifying. I expect to feel that way even more so when I finally see Aronofsky's THE WRESTLER.
It's funny, I haven't seen ZODIAC yet, but most of the geek critics pretty well adored it while others, you, my brother and sister-in-law hated it (but then, they're picky and also hated KISS KISS, BANG BANG, so their taste is suspect). I'm gonna need to see it myself sometime, so I can know either way. But I'm in no rush to get there.
Re: No *real* spoilers here
Date: 2008-12-30 08:29 pm (UTC)Re: No *real* spoilers here
Date: 2008-12-30 08:41 pm (UTC)no subject
Date: 2008-12-31 03:37 am (UTC)If you liked Curious Case of Benjamin Button (which I have not seen yet), you should check out the book The Confessions of Max Tivoli by Andrew Sean Greer-exact same plot setup (Greer got his story idea though not from F. Scott Fitzgerald's short story but the line of a Bob Dylan song: "Ah, but I was so much older then, I'm younger than that now."
no subject
Date: 2008-12-31 06:49 am (UTC)I'll keep the book in mind! My reading list is too massive at present, but I'm always up for stories like that.
no subject
Date: 2008-12-31 03:38 am (UTC)no subject
Date: 2008-12-31 04:01 am (UTC)I do want to look at "Benjamin Button," but I'll need to sucker a sibling into coming with me- The Sister is generally good for that, but she's in France with Sister's Boy. Brother's tastes can be unusual, perhaps I can tempt him...
Pity about Hellboy II- I didn't read Hellboy comics before the movie, and I *do* kind of find them lacking some sort of emotive cohesion.
Maybe it's because I was always reading them out of order, but they do make me feel like I'm reading the Sunday edition of a newspaper comic strip, not something that actually works each time to forward the characters and the plot. There seems to be a workmanlike aspect- they get the job done, generally, and there are signs of an solid structure and mind behind it, but they lack something essential in terms of heart. (I mean essential in the most basic sense of the word- they don't speak to something really deep and crucial to the characters.)
By the by, I got "The Dark Knight" for Christmas, marking the second time I've been able to watch it. :D It kind of blew away my previous opinions... Except that I hate the fact that they did not use comic characters for the cops in the MCU. That, I still hate.
no subject
Date: 2008-12-31 06:48 am (UTC)Well, I'm in the geek minority regarding HELLBOY II, it's pretty well beloved in our circles, so you might well dig the film. There's an awful lot to like, and it's definitely worth seeing. But your comparison to a Sunday newspaper comic strip is very, very apt, at least in terms of my feelings. Totally agreed. That said, I do love that werewolf comic I linked to, I thought that one really did have emotional resonance and heart.
Ha, well, wait until Part 3, when I give my final (for now) thoughts on TDK, after having seen it for a fifth time a couple days ago.
no subject
Date: 2009-01-06 02:52 am (UTC)no subject
Date: 2009-01-06 04:41 am (UTC)That said, have you seen the deleted scenes? I've been meaning to. I understand Edward Norton pulled an AMERICAN HISTORY X and commandeered the film for awhile, adding whole extended scenes intended to focus purely on character development, all of which were ultimately cut from theatrical release. I've been meaning to see them, to see if they would have added anything of value or if the studio's call was the best.
I'm tempted to believe the former, as doing so actually made the director's cut of DAREDEVIL a more-than-passable superhero origin movie, even with the flaws.