DID YOU READ

List: The Best Films of 2008

Posted by on

12192008_wendyandlucy.jpgIt feels completely appropriate in a year of incredible financial turmoil, particularly in the independent film sector, that so many good movies were made about people teetering on the edge of economic extinction. My own list features two such films, without even getting around to “Slumdog Millionaire,” “Frozen River” or the small but immensely powerful “Shotgun Stories.” Movie stars were feeling the pinch, too: in the semiautobiographical “JCVD,” audiences saw faded action hero Jean-Claude Van Damme resorting to begging his agent for money to pay for his divorce.

Stars, and studios too. Even before the bottom fell out of the economy, Hollywood studios were beginning to shutter their indie divisions; Paramount eliminated Vantage, Warner Brothers closed Picturehouse and Warner Independent and absorbed New Line. It wasn’t much better for smaller distributors: David O. Russell’s upcoming “Nailed” was in the news all summer because its production kept getting shut down by unions whose members weren’t getting paid by financier Capitol Films, whose subsidiary ThinkFilm had its own cash problems this year, when they couldn’t afford to purchase newspaper ads the Friday of the opening of their release “Then She Found Me.” Just last week the Yari Film Group filed for bankruptcy. Their big hit from a few years ago? “Crash.” There were weeks when the entire independent film world seemed embodied by Michelle Williams’ penniless drifter in “Wendy and Lucy:” every move they made seemed to draw them inexorably deeper into the financial quicksand.

There wasn’t exactly an artistic crash to match, but you could argue that the movies suffered a very mild creative recession in 2008. Strong as this year’s slate was, few if any equaled the remarkable heights of last year’s “No Country For Old Men” or “Zodiac.” On a personal level, I found myself on the outside looking in at a lot of the consensus critical hits: I thought both “Slumdog” and “WALL-E” started as strongly as any movie this year, but tapered off over the course of extremely disappointing final acts. Critical consensus may be a thing of the past anyway soon, the way newspaper and magazine film critics are losing their jobs.

Despite all of that gloominess, there was still much to celebrate in the movies of 2008. It was a year of impressive comebacks (JCVD himself for one, the magnetic fallen star of my number five film for another), of great dysfunctional onscreen families (my numbers two and ten), and more innovation in the documentary form (numbers one and nine). Some special movies even found ways to ask important questions of audiences, even as they entertained us: how far should the law go to stop a criminal (number three)? What does certainty mean in the absence of proof (number eight)?

In dark times, movies have always provided an escape. Even in an “off year” like this one, these ten films, plus the ones provided by my colleagues Alison Willmore and Michael Atkinson, gave us that and so much more.

12192008_mywinnipeg.jpg1. My Winnipeg
In the four years I’ve made top ten lists here on IFC.com, an IFC Film has never appeared even once, a convenient way to avoid accusations of a conflict of interest. I’ll risk them in this case because no movie I saw in 2008 was as exciting, imaginative, hysterically funny or hysterically sad as “My Winnipeg.” Guy Maddin was hired to direct a documentary to his hometown, a place he describes, with a good deal of pride, as “the strangest city in North America,” but wound up delivering a “docu-fantasia” where dream logic prevails, sleepwalking is a recurring motif and local history blends with myth and even parts of Maddin’s own childhood. In repeatedly returning to the image of a man on a train heading out of Winnipeg that can never quite break free from the city’s gravitational orbit, the film becomes a delightful piece of escapism on its subject’s inability to escape his past or his beloved home.

2. Rachel Getting Married
Jonathan Demme felt Jenny Lumet’s unique screenplay about a very dysfunctional family’s reunion for one of its daughters’ wedding deserved a visual strategy equally unusual. Shooting digitally with a minimum of crew and equipment he not only imbued the film with the feeling that the camera was a fly-on-the-wall videographer capturing the essential moments of this remarkable wedding, but he also brought out the raw, naturalistic beauty of digital photography in the way few filmmakers have.

3. The Dark Knight
Christopher Nolan’s superior sequel to his impressive “Batman Begins” was almost as much fun to discuss as it was to watch. In the moment, there were the expansive chase and fight sequences (even more stunning in IMAX) and Heath Ledger’s truly terrifying performance as The Joker. Afterwards, you debated movie’s message about the murky moral waters the film’s hero swims in to achieve his goal (extreme wiretapping, prisoner torture and the like). So many people focused on the question of whether Batman was supposed to represent President Bush that they missed the other possible parallel: that of district attorney Harvey Dent, whose courage under fire unites a frazzled community before checks out of reality completely and starts letting others make his decisions for him.

4. Wendy and Lucy
Watching director Kelly Reichardt’s minimalist masterpiece about a young woman searching for her lost dog is like savoring a fine wine; it’s about appreciating subtle flavors, nuances and clarity. Let those who would dismiss the film as “too small” have their gallons boxes of rubbish; “Wendy and Lucy” is vintage American independent filmmaking.

12192008_thewrestler.jpg5. The Wrestler
This beautifully sad film, simultaneously depressing and uplifting, was shot and set in the decaying suburbs and beach towns of New Jersey, and looks and feels like the movie the Dardennes might have made if they grew up as WWF fans in the 1980s. Mickey Rourke, using his own faded film career as his inspiration, groans and grunts with every step: for his Randy “The Ram” Robinson the very act of living day to day is a struggle greater than any Saturday Night’s Main Event. Real (fake) wrestling could only wish it was this emotionally devastating.

6. Milk
How can we ever explain Josh Brolin’s remarkable mid-career relevance? For so long he was that guy who looked like his dad and made schlocky movies, but now, out of nowhere, he’s the most interesting actor in Hollywood. He’s like the acting equivalent of a baseball player who discovers HGH at age 37 and suddenly hits 60 home runs in a season. In Gus Van Sant’s beautiful and incredibly timely biopic “Milk” he steals scene after scene as troubled San Francisco supervisor Dan White, and he’s stealing from Sean Penn, who’s giving the performance of a career full of career performances.

7. Let the Right One In
The rare horror film that’s many different kinds of scary. It’s creepy scary (as in the relationship between 12-year-old vampire Eli and the man who might be her father, caretaker, or — worst of all — a former boyfriend), it’s gross-out scary (like the scene where Eli bleeds from every pore of her body because she’s entered a house uninvited), it’s shocking scary (like the gorefest finale at the swimming pool).

8. Doubt
It’s common to see a movie with several great performances — most of the movies on this list qualify — but how often do you a movie with nothing but great performances? In “Doubt” all four leads — Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis — were equally outstanding. The film’s titular theme, elucidated in a crisp screenplay from director and source material playwright John Patrick Shanley, couldn’t be more timely, either.

9. Dear Zachary: A Letter to a Son About His Father
Kurt Kuenne set out to make a documentary as a tribute to his murdered friend Andrew Bagby, and became a witness to a series of events involving the people he left behind so impossibly tragic that they would seem laughably contrived in a fiction film (the fact that the woman suspected in the Bagby murder turns out to be an ex-girlfriend AND is carrying his unborn son is just the very tip of the iceberg). You could argue that by withholding certain information about where his story is going to heighten its emotional impact, Kuenne isn’t playing fair. But then, as this movie shows so powerfully, life rarely does.

12192008_achristmastale.jpg10. A Christmas Tale
Only a filmmaker as talented and as daring as Arnaud Desplechin could make such a warm comedy out of terminal cancer. “A Christmas Tale”‘s barebones description — an estranged family returns home for the first time in years because the matriarch is dying of cancer and a bone-marrow donor is needed — sounds like a downer. But Despleschin’s technique, including (but not limited to) flashback, narration, split-screen, irises, dissolves, direct address, plays within the film – makes the film one of the liveliest (and alive-est, if we can pretend for a moment that that’s a word) of the year.

Honorable mentions (in alphabetical order): The Bank Job, Burn After Reading, Chicago 10, Encounters at the End of the World, The Fall, Pineapple Express, Quid Pro Quo, Shotgun Stories, Snow Angels, Step Brothers.

Alison Willmore

It wasn’t a disappointing year so much as one without surprises — while 2008 had its share of fine films, there was nothing audacious that arrived out of nowhere to knock my socks off, to show me something new. Arnaud Desplechin’s “A Christmas Tale” was one of the few that felt truly electric, the dysfunctional family gathering chestnut filtered through an insanely cinematic prism, a far richer, larger-than-life Gallic one-upping of Demme’s uneven and staunchly naturalistic “Rachel Getting Married.”

Gus Van Sant contributed the headily semi-experimental “Paranoid Park,” but it was “Milk,” his return to not just traditional narrative but the claustrophobic confines of the biopic, that was unexpectedly appealing, a portrait of a martyr to a cause that never lost sight of the flesh and blood humanity of its subjects. “Happy-Go-Lucky” and “Frownland” were combative, with infuriating main characters that challenged your ability to sympathize — initially, for the former, and quite possible ever for the latter. And “Wendy and Lucy” and “The Order of Myths” offered, through their incisive observations of a fictional girl who loses her dog and a very real and still racially segregated southern celebration, deep focus ruminations on where we are as a nation. The majority of the films on the list below I first saw over half a year ago — due to the nature of the festival circuit, sure, but also to the fact that the more recent releases that have been clustered in the current award season have been letdowns.

1. A Christmas Tale
2. Wendy and Lucy
3. Paranoid Park
4. Happy-Go-Lucky
12192008_milk.jpg5. Silent Light
6. The Order of Myths
7. Frownland
8. Milk
9. Momma’s Man
10. Reprise

Honorable mentions, in alphabetical order: Flight of the Red Balloon, Love Songs, My Winnipeg, Snow Angels, Vicky Cristina Barcelona, WALL-E, Waltz with Bashir, Woman on the Beach, The Wrestler

Michael Atkinson

As usual these days (but not, notably, last year), 2008 was rescued by the Asians, even if they didn’t remain in Asia proper. Otherwise, my list looks like a clear vote for the new wave-ist upsurge in minimalist realism/realist minimalism, Asian or American, which always seems all the more remarkable when compared in taste tests with Hollywood parade floats and middle-class-middle-age-courting Euro-dramas, which if anything often resemble the unbearable U.S. studio product of decades past. A cinema of idiosyncratic personal force overshadows the products of the machine, even as the “specialty” venues dwindle.

1. My Winnipeg
2. Ballast
3. Wendy and Lucy
4. Silent Light
5. Still Life
6. Waltz with Bashir
7. Flight of the Red Balloon
8. The Wrestler
9. Synecdoche, New York
10. My Blueberry Nights

Honorable mentions, in order: Times and Winds, The Duchess of Langeais, WALL-E, Appaloosa, Che, Alexandra, Pineapple Express, Jellyfish, Milk, The Edge of Heaven, Boy A, My Father My Lord, Encounters at the End of the World, Snow Angels, Chop Shop, Stuff and Dough, In Bruges

[Photos: “Wendy and Lucy,” Oscilloscope Pictures, 2008; “My Winnipeg,” IFC Films, 2008; “The Wrestler,” Fox Searchlight, 2008; “A Christmas Tale,” IFC Films, 2008; “Milk,” Focus Features, 2008]

Watch More
Rocky IV Paulie Robot

Mr. Roboto

5 Reasons Rocky IV Is Too Rotten to Miss

Catch Rocky IV Friday at 8P during IFC's Rotten Fridays.

Posted by on
Photo Credit: MGM/UA/YouTube

When Rocky IV was released in 1985, the critics were not kind. (While it wasn’t around back then, the film’s 39% ranking on Rotten Tomatoes speaks for itself.) Less of a movie than a jingoistic music video starring a robot and a steroid-addled, monosyllabic Russian baddie, Rocky IV is a far cry from the Italian Stallion’s humble origins.

Still, more than any movie ever made, it exemplifies the whole “so bad its good” genre. This movie was made for us, the great-unwashed masses of the 1980s, who loved the band Survivor and hated those Commie bastards. Before you catch Rocky IV on IFC’s Rotten Fridays, let’s take a look at some moments that make this flick a “too rotten to miss” classic.

5. That Opening Shot

Rocky IV
United Artists

It takes all of 30 seconds for the audience to know they’re in for one ridiculous rollercoaster ride through a Cold War conniption fit of good vs. evil. Gone is the subtle tone and grounded reality of the first Rocky. In its place we see two gloves, one emblazoned with the American flag, the other with the Soviets’, hurtling toward each other. When they collide, sparks fly, and we witness an explosion decades in the making.

In case the symbolism is too subtle for you, director/writer/star Sylvester Stallone is trying to hint that this movie will be the clash of civilizations we’d all been waiting for, but instead of nuclear bombs, a humble palooka from the streets would be duking it out in the ring with the ultimate representation of coldhearted Communism. If it were up to us, this opening shot would’ve won Best Picture all by itself.


4. So Many Montages

Rocky IV has a running time of 91 minutes and 20 seconds. Its eight montages (yes, EIGHT) run a total of 29 minutes and 10 seconds. That is one third of the movie solely dedicated to montages. (Considering Stallone’s contempt for all things Soviet, we have to wonder if he knows it was a dirty Ruskie who invented the montage.)

During one of the many, many montages, director Stallone actually flashes back to a scene that had happened a minute and half prior, creating the impression that he might actually flashback to the montage we were just watching in the same montage. Stallone clearly loves a good montage set to an inspirational ’80s song, and so do we. Which brings us to…


3. A Soundtrack Full of Pumped Up ’80s Jams

Speaking of montages, they are set to the score of some of the cheesiest hits from the mid-’80s. For once, we’re spared tracks from Frank Stallone, with Stallone replacing his rocker brother with synth-y singles from Survivor, John Cafferty and Kenny Loggins. And of course, Robert Tepper, possessor of an ’80s mullet that could topple empires, crooning “No Easy Way Out.” The music in this movie is one step away from being a parody of the music in this movie. If you ever want to know what cocaine can do to the human mind, just listen to this soundtrack.


2. Rocky Ends the Cold War

Rocky IV speech
United Artists

In one of the most misguided, self-congratulatory, and immediately dated moments in cinema history, good ol’ galoot Rocky Balboa single-handedly ended the Cold War four years before the Berlin Wall came down.

To quote the Italian Stallion himself: “In here…there were two guys… killing each other. But I guess that’s better than millions. What I’m trying to say is… if I can change… and you can change…everybody can change!” And just like that the Soviet public, generals and even the Premier himself rose to their feet in applause, realizing what fools they’d been. This guy beat Mr. T for Heaven’s sake. He knows what he’s talking about!


1. Paulie’s Robot

Okay, let’s all take a deep breath and really consider this for a moment. Rocky IV has a robot butler in it. A movie franchise that began back in 1976 exploring the gritty reality of a bum fighter trying to prove himself somehow limped along long enough to turn into a weak Short Circuit rip-off in which an alcoholic mooch with a history of domestic abuse now gets his coffee served to him by a robot. A robot that he has programmed with a “sultry” lady voice!

Stallone was inspired to include the real life robot Sico in Rocky IV because of the work it did to help autistic children like his son Seargeoh. That’s all very moving, but doesn’t explain why he decided to write a scene where Paulie dubs poor Sico “the love of my life.” It’s a testament to Rocky IV‘s “too rotten to miss” status that Paulie’s robot girlfriend/personal servant isn’t even the craziest thing that happens to Rock and the gang.

Catch the “Too Rotten to Miss” movie Rocky IV this Friday at 8P on IFC. 

Watch More
Swimming To Cambodia Spalding Gray

Gray's Anatomy

Everything You Need to Know About the Movie That Inspired “Parker Gail’s Location is Everything”

Brand new Documentary Now! airs Wednesday at 10P on IFC.

Posted by on
Photo Credit: Cinecom Pictures

This week Documentary Now! spotlights a master monologist with “Parker Gail’s Location is Everything.” Before you tune in at 10P this Wednesday on IFC, check out our guide to Swimming to Cambodia, the 1987 film that captured writer/performer Spalding Gray’s acclaimed one-person show.

Spalding Gray 101

Swimming to Cambodia
Cinecom Pictures

Actor and renowned monologist Spalding Gray spent two years on stage perfecting his Obie Award-winning “Swimming to Cambodia” monologue. In it, Gray tells the story of his eight weeks in Southeast Asia while shooting the 1984 Academy Award-winning movie The Killing Fields. He had a small role, but the experience gave him several anecdotes about hanging out with the film crew and experiencing the local culture, all while searching for “the perfect moment.”

Directed by the Silence of the Lambs Guy

Hannibal Lecter
Orion Pictures/Everett Collection

Acclaimed filmmaker Jonathan Demme took Gray’s two-night, four hour performance and crafted it down to 85 minutes. His use of dramatic lighting, stylish camerawork and a score by performance artist Laurie Anderson was praised by critics and earned the film a cult following. No stranger to groundbreaking docs, Demme also directed the 1984 Talking Heads concert film Stop Making Sense, which Documentary Now! pays tribute to in this season’s episode “Final Transmission.”

All about the Voices

While it may have been a one-man show, Gray created a repertoire of characters all with distinctive accents. (He portrayed conversations between himself and others just by turning his head.) Our favorite impressions are of his demanding girlfriend Renee and Ivan Strasberg, the South African director of photography on The Killing Fields who, as depicted by Gray, sounds a bit like a Jamaican surfer.

The Original Cranky New Yorker

In one memorable scene, Gray rants about how his noisy upstairs artist neighbors are driving him and Renee crazy. Even in the mid-’80s, there were New Yorkers complaining that the city wasn’t what it used to be.

Show and Tell

Swimming to Cambodia
Cinecom Pictures/YouTube

A big fan of visual aids, Gray used pull-down maps to illustrate his travels. This helped to bring Swimming to Cambodia to life, since he’s basically sitting at a desk the entire time.

Inspired One-Person Shows

Gray’s groundbreaking performances in Swimming and other documentaries like Monster in a Box and the Steven Soderbergh-directed Gray’s Anatomy (about Gray’s struggle with a rare eye condition) paved the way for future one-person shows. (We wouldn’t have everything from Carrie Fisher’s “Wishful Drinking” to Mike Birbiglia’s “Sleepwalk With Me” without him.) Even Doc Now! star Fred Armisen got into the one-person show act for his recent SNL monologue.

Catch Documentary Now!’s tribute to Spalding Gray when “Parker Gail: Location Is Everything” premieres Wednesday, September 28th at 10P on IFC. 

Watch More
Rocky IV Stallone Lundgren

Burning Heart

10 Reasons Why Rocky IV Is the Ultimate Rocky Movie

Catch an all-day Rocky movie marathon this Friday, September 30th on IFC.

Posted by on
Photo Credit: United Artists/Everett Collection

Sure, most people love the first Rocky for its heart, gripping boxing scenes and the classic training montage. Or, you might love Creed for being both a return-to-form and a new exploration of the Rocky mythology. Maybe the thrill of seeing Mr. T and Hulk Hogan in the same movie makes Rocky III your top pick. Well, sorry, you’re wrong: Rocky IV is the greatest of all the “Italian Stallion”‘s movies.

Before you watch the all-day Rocky movie marathon this Friday, September 30th on IFC (with Rocky IV airing at 8P as part of Rotten Fridays), check out a few reasons to appreciate the fourth installment as the king of the series.

1. The Greatest Opening Ever

How many openings are able to sum up the entire conflict of the film in less than a minute and without a single line of dialogue? And how many of those movies have exploding boxing gloves? Just try to watch the opening sequence above and not be completely psyched for the pumped-up flick to come.


2. Montages!

We all know that the best part of any sports movie is the montage, and Rocky IV doesn’t give you one measly montage. There’s a recap of the previous films montage, a getting to Russia Montage, two training montages and an ending fight montage. That’s five montages! There’s probably a montage of montages snuck in there, too.


3. There’s a Full James Brown Musical Number

This movie is so packed with memorable moments, it’s easy to forget one of the first things that happens in the film: Apollo comes out to fight Drago dressed as a shirtless Uncle Sam, while James Brown and a full band play “Living in America.” To drive home the number’s patriotism, there are dancers in tuxedos and top hats, weird unitards and bowler caps, and bedazzled showgirls with headpieces for miles. Oh, and don’t forget the giant tentacled dragon statue on the stage. This is how every boxing match should start. Heck, this is how we always want to enter a room.


4. The Soundtrack

The Rocky IV soundtrack doesn’t just feature James Brown — it has rock anthems galore, all of which make you immediately want to hit the gym. From “Heart’s on Fire” by John Cafferty and the Beaver Brown Band to “Sweetest Victory” by Touch to multiple Survivor jams, you’ll get pumped and stay pumped. Even the instrumental score rocks! Sure, sometimes it sounds like it was made on a kids Casio, but this soundtrack never quits and — to quote Robert Tepper — never takes the easy way out.


5. Abs!

Rocky IV weights

Every Rocky movie shows off Stallone’s incredible physique, but Rocky IV really ups the game. Not only do we get Dolph Lundgren mostly shirtless looking like a man machine, but we get a wide variety of scenes of Stallone doing impossible tasks. Stallone’s crazy dragon fly crunches, aka a thing no human should be able to do, automatically take this movie to the top.


6. Two words: Ivan Drago

Ivan Drago
United Artists

Not only does Rocky IV explore the global conflict between the US and the Soviet Union, but it encapsulates all of our fears of the Cold War in one perfect villain. Ivan Drago only trains with machines and science and looks like he stepped out of an Aryan Nations recruitment poster. He also only responds in short, cold phrases like “If he dies, he dies,” or “I must break you.” There’s never been a villain who we so clearly want to get the crap beat out of than Ivan Drago.


7. Rocky Makes Chores Look Badass

Rocky saw
United Artists

Rocky doesn’t need to be hooked up to machines to become the perfect fighter. All he needs are huge tires and some outdoor chores to do. No one’s ever looked cooler chopping wood and using tractor parts. Half of his training is lifting an old wagon, probably to fix a broken axle. If anything, this film inspires us to take care of that gardening work we’ve been neglecting.


8. Rocky’s Beard

Rocky IV Beard

Stallone’s beard game is truly on point in Rocky IV. And this isn’t some “I forgot to shave, here’s a little stubble” look. No, we get full out, lumberjack-style beard action. Does any other Rocky movie have our hero looking like an old Russian aristocrat? Another point for Rocky IV.


9. There’s a robot!

Again, there’s so much to Rocky IV, you probably forgot about the robot. Well, Rocky has some money now and he’s not going to spend it on frivolous things for himself. He’s going to buy Paulie a robot! The best part of this scene is how truly disturbed Paulie is by this new technology until he gives it a sexy lady voice.


10. Rocky Ends the Cold War

If you’re still not convinced that Rocky IV is the greatest, answer this question: Does any other Rocky movie bring peace between the US and Russia?

By the end of the film, Rocky rises up to beat the seemingly undefeatable Drago. He fights so well, that even the Russians begin to appreciate his skills. Then, instead of using his victory to prove America’s superiority, he gives a rousing speech of “If I can change and you can change, everybody can change!” The whole crowd goes wild, including all of the Russian government, who we assume give up Communism immediately based solely on Rocky’s words. Stallone’s call for international reconciliation through brutal fighting and a variety of montages makes this if not one of the greatest films of all time, certainly the greatest Rocky of them all.

Catch the “Too Rotten to Miss” movie Rocky IV this Friday at 8P on IFC. 

Watch More
Powered by ZergNet