2008 Movies Roundtable Spectacular

Part II: Fine Performances in Limited Viewing

Click here for Part I of this discussion

As Nimero noted, 2008 proved to be an off year for movie-going and for movie-blogging for myself. I managed to sneak to the cinema to the latest Indiana Jones, the latest Batman, a Genghis Khan movie, and a wrasslin' flick, while only finding the time to do a write-up for Mongol. The other 2008 releases I caught on cable or DVD. Many fulfilling activities, I'm sure kept me busy this year but, suffice to say, my film-going schedule took a back seat. So, without further interruption, here's Colbinski's official (short and none-to-exciting) 2008 Year in Film Recap:

Highly Recommended
The Dark Knight

Recommended
Hellboy II: The Golden Army
The Wrestler

Good
Mongol
The Visitor
Redbelt
The Bank Job
Boarding Gate
Indiana Jones and the Kingdom of the Crystal Skull

Poor
Harold and Kumar Escape from Guantanamo Bay

Now, about this "rating system." It's been clearly stated that Nimero need not abide by these categories. Since I haven't even seen 10 movies released this year, making atop ten list is out and so these broad-range markers will have to do. Though, like Nimero, the wiggle room within the "Good" category is vast. Mongol teeters on the Recommended/Good scale and Indiana Jones and the Kingdom of the Crystal Skull teeters on the Good/Disappointing scale. I enjoyed enough after seeing it, but I think it was more the anticipation of another Indy movie that carried that feeling. It lacked real thrills and brought out many of Spielberg's worst instincts as a director. But, as Nimero stated, it was another Indy movie and, well, that is enough. Side note: strange how I'm more forgiving of bad Indy movies than of Episodes 1-3 of Star Wars. I think it was the re-visiting of a great character that made the difference versus the introduction of paper-thin characters in the second Star Wards trilogy.

Of the movies I saw, the performances truly carried the way. Of these, Chiwetel Ejiofor in Redbelt was the best. Of course, I'm a sucker for characters that calm, stoic idealists trying to get by, made difficult by external forces, stays true to himself and doesn't waver in the face of increasing adversity. Unlike Nimero, I found the ending cathartic (if not somewhat preposterous in the best possible way). Like many David Mamet movies, the con within the movie doesn't make much sense with one viewing - how deep did it go, when did it really start and why did they even bother to rope in a small-time judo instructor in the first place? - is the only reason why it didn't make the recommended list.

Other notable performances include Mickey Rourke in The Wrestler, Richard Jenkins in The Visitor, and Tadanobu Asano in Mongol. Like Ejiofor, all have a quiet center and more is done with what is not said. Outside of Rourke, none of these performances have any buzz, but I think I can safely say that it would be difficult for any other performances to top these 4. And I haven't even mentioned Heath Ledger's tour-de-force as The Joker in The Dark Knight.

Speaking of which, it's funny to think that Tim Burton's Batman was once considered the gritty dark antidote to the 60's cornball Batman TV show. That version seems so cartoony 20 years later. Christopher Nolan, however, understands where the darkness in the Batman mythos comes from and in both Batman Begins and The Dark Knight, he deftly coils the tension between Batman's sense of justice and Bruce Wayne's keen sense of loss. He also understands that Batman represents order. So, in stark contrast to Tim Burton's Joker, who, unforgivably, was responsible for the death of Bruce Wayne's parents, Nolan tosses in a wild card, a Joker, into Gotham City, with no origin and no real purpose. Bruce Wayne became Batman due to a random act of street violence. The Joker exists, it seems, to balance the scales of Batman's purpose. I've just oversimplified these heady themes that have been playing out in Batman stories for decades, but Nolan manages to pack The Dark Knight with ideas that are quite subversive to the mainstream superhero movie. And he does it without sacrificing some amazing set pieces and action sequences. The Dark Knight is a thrilling, smart two-fisted tale.

I'll leave it here for now while I work out further thoughts about The Joker and Two-Face, as well as my enduring fascination with Jason Statham.