Heffie's Top Ten... er, I mean, TEN films of 2008! Part 2: The Big Last Five

[thehefner]

5.)



TROPIC THUNDER

It's not as good as it could have been. Shit, it's not as good as it should be. And it's certainly not as good as ZOOLANDER. But for all that, it's pretty goddamn fucking hilarious, with *just* enough ballsy, even vicious satire about Hollywood and the egos of actors (of all stripes) to be absolutely worth watching at least a few times. Downey is utterly brilliant in a role that could seriously have fucked up his career in ways that drugs couldn't, and Tom Cruise is mesmerizing (helped in large part by Bill Hader as his Smithers).

To really complete the experience, I urge you to check out the free mockumentary RAIN OF MADNESS, in which screenwriter (of TT and IRON MAN!) and MULHOLLAND DRIVE actor Justin Theroux plays a Herzog-filmmaker documenting the complete self-destruction of TROPIC THUNDER's cast and crew. This mostly-improvised homage to Herzog's BURDEN OF DREAMS and, of course, Coppola's HEARTS OF DARKNESS actually adds to the whole of TROPIC THUNDER's all-encompassing world, and is a total delight, especially considering that Theroux clearly understands that Herzog is both brilliant and dryly hilarious. Which brings me to...

4.)



ENCOUNTERS AT THE END OF THE WORLD

I saw this on a date with a girl who'd never seen a Herzog film before. Afterward, she was befuddled and frustrated. Not by the film, but the audience. "They were like statues! They just sat there silently, the whole time! Didn't they realize that this film was fucking HILARIOUS?!"

No, they didn't. Nor, apparently, did the reviewers, who praised Herzog's documentary about people who live and work in the Arctic circle but didn't make note about any trace of humor. Maybe most people don't find joy in Herzog's ultra-dry German wit, which Theroux himself observed is wonderful because it's *so* dry that you don't even know if he's joking or not.

And yet, how could people not laugh when Herzog films a group in training to survive by wearing buckets on their heads to simulate whiteout conditions, to which he eventually comments, "For most of our time here we had postcard pretty conditions. This was frustrating because I loathe the sun on both my celluloid and my skin."

But one of the real gems came when Herzog broke his promise to not make a film about "fluffy penguins" (he rages against MARCH OF THE PENGUINS and all such films that try to soften and humanize nature) to interview a penguin researcher who's been there so long that he's forgotten how to socialize with humans. When Herzog narrates that he realized a change of tactic would be needed to get some conversation out of this man, that's when he springs the following question, one which could only have been asked by Werner Herzog:

With scenes like that, one gets the feeling that Herzog knows the viewer will not feel the same way that he himself does. While he neutrally observes madness and certain death, most of us--I imagine--would look at that penguin and see something... bizarrely beautiful. Sad, yes, but strangely moving. Which is exactly what Werner "Nature is not your friend, nature will destroy you" Herzog wouldn't want you to think. Or would he? I still don't know.

But yes, what seems to be the kind of bland "beauty of nature" movie by that poster is actually a brilliant, moving, and utterly hilarious series of portraits of people compelled to live in this desolate place, overseen by one of the masters of film. It'd make wonderful double-feature with either MARCH OF THE PENGUINS or Herzog's GRIZZLY MAN (which itself would go very well with INTO THE WILD; I would love to know what Herzog thinks of Christopher McCandless)

3.)



WALL*E

I still don't know if this movie could have been better than it already was. Part of me wishes that it could have kept up with the brilliant first half and been an entirely (mostly) silent film, a modern Little Tramp romance in a world that places too much value on dialogue is storytelling. But then another part of me adores the (pretty biting and harsh) satire. And like any great satire worth its salt, it pissed off plenty of people, as evidenced by The AV Club's Guide to WALL*E Controversy.

And then, there's the ending. I honestly do not know if it would have been a better, more powerful, more brilliant film if they went with the downer ending. It would have been OLD YELLER for a new generation, one way or another, and given them their own version of what we FUTURAMA fans had to endure with the goddamn dog episode. Fucking dog episode.

But then, if they'd done that, I'd never be able to watch WALL*E again. And while I'm not sure if they cheated a bit with the happier ending, it was still one of the very best films Pixar's ever made; one of the most adult films from a company that never pandered to them nor children.

Plus, Fred Willard plays the President and it ends with a new Peter Gabriel song. What's not to love?


2.)



LET THE RIGHT ONE IN

Some are calling this one of the greatest vampire movies ever made. Maybe even the greatest. Never mind that browncoating. Know that this is a wonderful, timeless film that seamlessly and perfectly works as both a coming-of-age love story and a legitimately scary vampire movie, without any of the wankification of Anne Rice and TWILIGHT. It's because of the bullshit romanticizing of vampires that I usually hate the bloodsuckers, but here, the vampire in question is not an airy angsting fop but a beast, an animal, something to be feared... and yet, in conjunction with the script and performance, is also more human than any Lestat wannabe I've seen in years.

Furthermore, without spoiling anything, I think the real enduring brilliance of LET THE RIGHT ON IN is how it is beautifully ambiguous enough to appeal to both sentimental romantics and hardened cynics. Both interpretations are equally legitimate, as are any others that people have. I'd love to discuss them with you, but I fear to do so until more of you have seen it. Which you really should, especially before the fucking CLOVERFIELD guy remakes it.

1.)



IRON MAN

Now this is how you stay true to the absolute heart and spirit of a classic superhero while breathing your own heart and soul into the film. THE INCREDIBLE HULK was like the Mark 2 armor: functional and neat, but just not final, not polished, not that extra step. But IRON MAN took it all the way, and soared with a cracking script and literally-Oscar-worthy cast.

Gwenneth Paltrow delivered what is my personal favorite performance of hers, taking a character who could so easily be a shrill love interest and creating a real three-dimensional character of strength, intelligence, and depth. Terrence Howard was rockin' in the five minutes he was in, and much as I love Don Cheadle, I'll be sad not to see him fulfill his thought of "Next time, baby." And Jeff Bridges--perhaps the most under-appreciated actor alive--plays the nicest Marvel villain ever. "Tony, hey! Gimme a hug, you! Hey, I got pizza! You can't have any! Oh, here, have a slice! Look, I got a Segway, wheeeeeeee! Oh hey, is that your heart?" *RIPS IT OUT*

And, of course, there's Downey. Nothing I possibly say can add what's already been said, what everyone already knows. Nuff said.

In light of THE DARK KNIGHT, I fear many people look back on IRON MAN as summer blockbuster fluff, as light and trivial compared to the dead-seriousness of that other film. But what people don't realize is that THE DARK KNIGHT is driven by plot, ideas, and one performance in particular, whereas IRON MAN is driven entirely by character. And in that respect, I find IRON MAN deeper and more resonant than most people would give it credit for. The crisis of Tony Stark is not one normally found in films, superhero or otherwise, and it's far from resolved. Some people criticized the film for purporting to be anti-military-industrial-complex, then having Tony go ahead and just build another weapon. What these people miss is that's exactly the point. I have absolute faith that Faverau and company be exploring that in parts 2 and 3, and perhaps THE AVENGERS as well. I cannot wait.




So that wraps up my top ten. But wait, there's more! In my third and final part, I explore the two (or maybe three) films that--for one reason or another--I could not in good conscience place in this list, but deserve mention nonetheless. I'm sure you can guess one. But wait till you hear about the other(s).

Comments

[spacechild.livejournal.com]

We have much to discuss.

One Hundred Beers, my friend.

[kali921.livejournal.com]

Sorry for butting in like this, spacechild, but have you read the latest issue of Nova? I thought of you as soon as I saw the GIGANTIC reveal at the end.

[spacechild.livejournal.com]

I actually haven't been reading Nova, so no I haven't. I'm pretty far behind on everything, as I was out of work for a while.

What's the reveal?

[kali921.livejournal.com]

Are you sure you want to know? Because I don't want to spoil it for you.

If you want to see, here it is. (http://community.livejournal.com/scans_daily/6847077.html)

[spacechild.livejournal.com]

That's pretty cool, but they are running the risk of being called copycats. Nova Corps is already a bit of a Green Lantern knock off; suddenly having a planet as a corpsmen can't help.

[thehefner.livejournal.com]

Yes indeed, pally. Yes indeed. I'm shooting for being back around the 17th, so let's definitely do. We'll make a long night of it.

I need a hundred beers. Literally. Literally a hundred, thank you.

[lairdofdarkness.livejournal.com]

Intereting thoughts as always Mr Hef.
Have a great Hogmany sir - hope 2009 is great for you

[thehefner.livejournal.com]

And for you too, pally! And for you too!

[kali921.livejournal.com]

So, I started to watch that Herzog clip and almost spat out a mouthful of Darjeeling in hysterical laughter, but then the penguin went to the left and I had to stop watching the clip because I don't need my heart broken. Does that penguin survive? If so, I'll watch the rest of the clip.

[thehefner.livejournal.com]

We never see the fate of the penguin, but Herzog remarks that he's running off to certain death. Yet the way it's filmed... there's something strangely moving about it. Normally, I get upset at such depictions in film too, but something here... I dunno, "moving" is the word I keep coming back to.

Actually, in context of the whole film, it might relate very nicely to the stories of all these people--scientists, plumbers, writers, chefs--who have run away from the outside world and found themselves living in the Arctic Circle. There's something not quite right about these people as well. I wonder if Herzog is drawing a connection there.

Definitely a wonderful film, well worth the rent. And--as you *get* the wonder that is Herzog's humor--bloody hilarious as well.

[kali921.livejournal.com]

I could never stand by and watch a penguin go to certain death - I'd catch the penguin and send him/her back towards the herd.

So I can't watch this film, no matter how much I want to, because Herzog is almost always worth watching. It'll upset me too much.

[thehefner.livejournal.com]

That's the thing they explain, though (dunno if you got this far), if they tried, the penguin would just run back out. It's a "deranged" penguin, and determined, driven by whatever reason, to run toward the mountain. Its fate is only assumed, but never seen.

Taken for what probably really happened, it's depressing and heartbreaking. But taken as a metaphor, there's something moving, even quixotically inspirational in the actions of this "deranged" penguin. But then, there I go, putting human feelings on a mad beast, just as Herzog would not want me doing. Maybe.

But yeah, I can still see that being too depressing. But hey! The scene is only one-to-two minutes long. Now that you know where it is with this clip, you can fast-forward through it when you watch the actual film!

Have you seen GL #36?!

[kali921.livejournal.com]

Have you seen the scans of GL #36 that were just posted on scans_daily? There's some serious Hal hate out in force (I think someone pays bluefall to tl;dr at everyone at how offensive Hal is to her sensibilities and how he doesn't have one redeeming characteristic), but the Blue Lantern reveal! Woohoo! It almost makes up for the somewhat disappointing execution of the Red Lanterns!

Re: Have you seen GL #36?!

[thehefner.livejournal.com]

I really do not understand why Hal Jordan evokes such hatred in people. I just do not get why one fictional character should be any more hate-worthy than any other. It befuddles and frustrates me. I've just learned to barely graze over the comments in any GL post.

But the Blue Lanterns are fucking awesome. I love the oath! And I cannot wait to see the redemption of Sinestro. Cannot wait.

Re: Have you seen GL #36?!

[kali921.livejournal.com]

I don't get the people who see him as boring. Even with all the mishandling that he's suffered (and continues to suffer) under various writers, if I open up any issue of a DC comic and Hal or Ollie is on the page, I immediately look at their dialog bubbles first to see what they're saying. Frankly, I'm liking Hal out in space with the Corps more than I'm liking how he's been written when he's bogged down with Earth stuff. When he's out in space, he's freed up more and focused more and has more room to be an interesting character. I must say, though, I'm not happy with the way he's written in #36. WHY is he being written as such a dick? Real Hal'd be more likely to ask questions but not just dismiss the Blues out of hand and be assholes to them. This doesn't feel like Hal.

Wait, do we get Agent Orange in this issue of GL? Because I'm SO EXCITED to see how Johns is going to utilize avarice.

And the Indigo Lanterns! SPACE DRUIDS WITH PWNAGE STICKS! What about that is NOT awesome?!

Re: Have you seen GL #36?!

[thehefner.livejournal.com]

Unfortunately, "dick" is exactly what so many people think about Hal (in addition to being boring), which is crazy because that latest issue is one of the only instances where I've seen him actually being a dick. Great, more fuel for the haters.

[swimpenguin.livejournal.com]

I was juggling around on where I'd put Iron Man vs. Dark Knight on my list for the year but thank you sir, you've helped me figure that out.
Oh and thank you for making me almost cry with that penguin clip. I'm going to try to rent some Herzog when I return to work next week. Herzog on McCandless?-I'd be really interested, but from what I've seen on Herzog, I don't think if they had ever met in real life..they would not have been great friends.

[thehefner.livejournal.com]

Glad to hear it! I'm waiting for my TDK fans to chime in and disagree! Actually, knowing them, they'll probably politely disagree and won't argue the point. They're not as contentious a bunch as I could be, it seems. But I'll be getting to TDK in my Bonus Round.

Yay, Herzog! He's really almost equal parts filmmaker and documentary maker now. In fact, some of his films are both! Many consider FITZCARALDO his masterpiece, and it's accompanied by BURDEN OF DREAMS: how many filmmakers would document their own HEARTS OF DARKNESS-style movie meltdown? Then he recently adapted his own documentary LITTLE DIETER NEEDS TO FLY into the Christian Bale POW movie, RESCUE DAWN, which I still need to see.

But yeah, I definitely think two primo starting points are AGUIRRE, WRATH OF GOD on one hand and GRIZZLY MAN on the other. But then, I haven't even seen half of his output.

[swimpenguin.livejournal.com]

I know we have Grizzly Man so I can definitely rent that, the others I'll have to look in to.
My top ten list is up! along with my final say on Dark Knight-I'm tired of arguing about it haha

[tompurdue.livejournal.com]

I'm literally in the middle of Tropic Thunder right this instant. It's not entirely grabbing me thus far, but I only just got to what I think is they story they're really trying to tell.

The "trailers" at the beginning, however, were were the price of admission. A little ham-handed in places where the satire could have been more deft, but satisfyingly funny nonetheless.

[thehefner.livejournal.com]

Yeah, that's one thing I realized the second time I saw it: it really drags ass in places over the first hour, but I think it makes up for it overall.

But exactly, "a little ham-handed in places where the satire could have been more deft" sums up a great part of my problems with the film. The missed opportunities are everywhere. Hell, for one thing, I wonder if they should have made Cruise and Stiller switch roles!