i mentioned earlier ten favourite first-run flicks in the '08: a list with a fair few movies tickling its depths.
so, here's a sprinkling of some of the rest (as earlier, some of the following films are older than 2008, but generally by a year or two at most, and i saw them last year at the pictures in one of about four countries in a first-run capacity, so i think it's fair enough to be a bit loose with criteria).
this post promises
* to descend, invariably, into a list of absolutely all first-runs i saw last year.
Juno.
how did they get this so right? Michael Cera, you're a star.
and you, too, young lady.
Juno's dad was once a white supremacist gang leader in homoerotic prison show 'Oz'. marvelous. one of the finest (and
just so) film soundtracks since Into the Wild (which was similarly fab in both songs, and as moving picture).
Caramel.
there were a few strands running through this film, with perhaps the most affecting being a middle-aged woman whose courting attempts were continually undermined by her frail, older sister. one of the women at the salon hadn't yet come out and that was handled quite nicely. (the epilation of the title was shown, wonderfully, including the removal of a male cop's upper lip hair.)
Still Life.
such a profoundly different film to much of the multiplex in terms of the dignified pace at which things revealed themselves (that is to say, with no great rush at all). the overall effect was not snail, more glacier. in terms of immersing
cinema possibly the experience of the year. it left you deeply shook up, and not only due to the background subject matter (a giant dam in China = flooded villages, and that is overlooking much of it).
The Assassination of Jesse James by the Coward Robert Ford.
anticipating criticisms along the line of this was an overlong, somewhat empty exercise to some, i would note Affleck's stumbling, mumbling performance built up a sort of head of steam, a satisfying exercise in accretion. and the film
looked superb, with cinematography to rival the opening pans of No Country (and, overall, beat it).
the wind rustling through prairie grass.
dies.
XXY.
intimate and deeply moving. and very sympathetic.
The Silence of Lorna.
a (slight?) drop in quality for the brothers, apparently, is the consensus (this their only one i've seen), and maybe the ending is a bit too open-ended for some, but i thought it magnificent.
they really
live their locations, don't they?
The Orphanage.
like being scared. and impressed. and, then, happy.
(also, Belén Rueda is gorgeous.)
The Visitor.
meeting of cultures-different sides of the track arc, drums, the injustice of how poor people move around the world with far less ease than capital does, drums, the lovely Richard Jenkins (who was perfect in
Burn After Reading), drums.
it could have been a different - and perhaps more powerful, certainly more
worthy, definitely less subtle - movie if the end focus of the film hadn't rested on the successful New England professor, but his anger and concern for his immigrant friend Tarek's plight is epitomised with that subway drumming coda (plus audiences don't need spoon-feeding), and it's hard to think of a (relatively) big American movie in recent years with as finely appropriate an ending as this one.
About Schmidt maybe?
(also, Hiam Abbass is gorgeous.)
The Mist.
this is already a good movie anyway, and all good movies must end.
Changeling.
Owen,
thoroughly on the money. (excellent on accents.)
The Dark Knight.
even leaving aside the politics, and the fact this is a fine film with not just the incredible Ledger, but Eckhart on song too, (and Gyllenhaal and Freeman and Oldman convincing), you get car chases taking place under the Chicago El, William Fichtner as a handy banker, Batman swooping among 2IFC and the other modern redwoods of Hong Kong,
and Michael Caine gets to utter the most bad ass line in the film (although aficionados would have been more pleased with the final conversation between Batman and the Joker, granted).
Vicky Cristina Barcelona.
ravishing.
i was ravished.
(also,
Scarlett Johansson and Javier Bardem and Penélope Cruz and Rebecca Hall are all oh fuck this all younger people that Woody ever pervs at are gorgeous.)
The Kingdom of the Crystal Skull.
Shia LaBeouf
+ Harrison Ford
+ well-executed job
x Karen Allen
- Ray Winstone
÷ John Hurt
= Cate Blanchett (Cate has no need of brackets).
My Brother is an Only Child.
unfortunately i missed
The Baader-Meinhof Complex (and
Garage, while we're at it), but this also had reds holding guns. a bit of a looker concerning the two brothers with differing political outlooks coming of age in 70's Italy, yet by turns funny, laugh aloud funny, and then seriously beautiful (an in-film concert, for one), with some breath-catching scenes, and quite a finish, too.
The Yacoubian Building.
huge (practically
epic) Cairene soap - i have not read the novel from which it was taken - with a bit of everything thrown in, including a lot of humanity (and
humanity), plus a useful reminder that Hosni Mubarak tortures, persecutes, extinguishes, harasses, cracks down and detains on a whim.
Burn After Reading.
more typical Coens (including casting) after the singular No Country, and classic Coen extravagance.
i am still shaking from what happened to Brad Pitt.
Clooney is lovely, isn't he?
Quantum of Solace.
i adore Daniel Craig in general, and this darker direction compared to some of the classic years of the franchise appeals (there's only so much Roger Moore you can take, although i do love
Moonraker and
Live and Let Die as much as the next person), whilst acknowledging the entire series has always had a wry smile up its sleeve: at least up until
now.
Craig is only behind Connery already for me after two films,
and he has feelings!
(that said, if we're talking sparse spy brutality, Matt Damon is the man, and i must admit my appreciation of the Damon Bourne may be tipping me further toward this Bond than he strictly deserves.)
Cloverfield.
how
awesome are the parts in the subway?
call it 'smart gore'.
smart gore sounds like it could be the title of a giallo guide for Anglophones, but, hey.
The Golden Compass.
i read the trilogy and went with a friend - at his insistence - who hasn't read any of the trilogy.
he pretty much hated it, which was certainly stronger than my reaction (it didn't really warrant a strong reaction TBH).
the vaguely Fens-like settings at some point and a nice ensemble cast (not a surprise when you consider the esteem in which Philip Pullman's work is rightly held) were my highlights, and i'm glad i went, because the more time in East Anglia the better AFAIC.
(also, Dakota Blue Richards was brilliant.)
The Day the Earth Stood Still.
i was surprised by how heartfelt a tribute this was to the original (of course it has been getting a critical kicking), the message still sweet and the pic, overall, quite touching.
on an IMAX screen it packed a real punch and i am left defending Keanu's grasp of stillness in the same way that Scarlett Johansson above was either;
(a) a harder-fought pleasure/acquired taste compared to the ease with which we all enjoyed the effortless sight of Bardem and Cruz arguing in the street
(b) the weak link
(c) both of the above
posdatathe reason why i have not put any bracketed comments about my, er,
views on Nadine Labaki after my
Caramel paragraph are known to people who know me..
* that was the wrong word, wasn't it?