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DID YOU READ

List: The Best Films of 2008

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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]

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.