It’s that time of year again in which masses of movie critics will roll out their “self-appraised” top 10 lists. I have to admit that this time of year always fills me with at least a formidable amount of excitement. It’s always interesting to see what films make everyone’s list, which ones everyone has been talking about, and which ones they would most like to forget at year’s end. In recent years however, this annual occurrence has filled me with equal parts joy and frustration. Think about this: Does it not seem a tad bit pretentious to dogmatically list the so-called “best” of 2008 as if said critic’s opinion is the final answer on any question that presumes to answer what the best films truly are? I think part of my concern with turning movie criticism into such a science comes out full force when the “best-of” lists come out ever year. The problem with ranking 10 films is that you inevitably leave truly great films on the cutting room floor. Great films and their filmmakers should be celebrated, and sadly, top 10 lists seem to glorify more and more predictably each year, the same type of movie.
I have heard it said for example, by more than one critic this year that this was a bad year for cinema. This air of pomp and stuffiness is usually offered as an explanation of why such a critic felt it necessary to litter his/her top 10 lists with films that premiered in 2007.(i.e. Paranoid Park, Snow Angels, etc.) While it is safe to say that I shared an equal affinity for films like these, I would add that what some critics may think was a bad year for “cinema” was actually a great year for movies. This year was the first in a long time in which an animated movie literally made me stand up and cheer, more than one comic book movie captivated me with every frame, and seemingly formulaic plots filled me with intrigue and excitement (for this last point see Danny Boyle’s Slumdog Millionaire in order to really understand what I’m talking about.) What the awards season has shown us for the majority of the last decade is that there has been an ever-increasing chasm in the movie industry between the highest form of cinema and genuine popcorn blockbusters. Since the Coen Brothers’ Fargo in 1996, there has been at least one or more independent film nominated for best picture every year. While I have been excited as anyone with a genuine love for movies with the trend, I have to admit that I do miss films that are loved by audiences and critics alike. Gone are the Forrest Gump’s and Shawshanks of our day that touch a fabric in virtually every audience, critic and casual alike. I guess what I’m saying is that when the filmmakers who lash out against formula make films that in and of themselves are formulaic, what are they really trying to prove? And what is the academy trying to prove by nominating them? Think back upon 2005 in which virtually every oscar nominated best picture was highly political and/or completely non-commercial in virtually every way. I’m not saying that this is entirely bad, but what I am saying is that it is starting to leave some annoying marks on the movie industry.
I wonder if we have come to a point in which winning an award is the end all of a filmmakers’ career. What the awards season has shown us is simple. Hold off the release of your film until November or December and you will be most likely get nominated. Every Golden Globe nominee for best picture this year was for a film that was released in November or December, some of which weren’t even in wide release at the time of their nominations. The problem with this is that it smacks of formula. After seeing Clint Eastwood’s Changeling this year, I am absolutely convinced that the man has an oscar algorithm in his notes. Just put some actors in front of a camera and make them talk about things that no one wants to pay 8 dollars to hear about. You know, mass murder, child abduction, pedophilia, etc. Don’t let anyone see your film until a couple months before release, and you might have a chance of brining home the statuette. I recently heard that the release of the adaptation of Cormac McCarthy’s The Road had been delayed until 2009. Apparently post-production was taking much longer than expected. The delays have been so lengthy that director John Hillcoat was actually considering holding the film until next November. For those of you keeping score, this is nearly one year after the original release date. And why such a delay for a film that will be long finished before then? Why, for Oscars of course.
So why should this concern you and me as a movie lovers? Well, I guess in all actuality we shouldn’t lose that much sleep over it, but when we the people make our top 10 lists, lets try to do what so often the award shows fail to. Let’s celebrate really good films and the people who make them. This year boasted many such films, domestic and foreign. Hopefully, this will be the year in which the Oscars overlook the “formula” for more “unconventional” stories. Like a little robot with big ambitions for example… In a few weeks I will add my small and insignificant voice to the masses, and I will sit back and reflect upon the 10 “best” of the year for me. They will be 10 films that stuck out the most, and left the deepest impression upon me in 2008. I will not even begin to try to rank them, but I hope that in the process I will be able to celebrate good movies, people who love them, and introduce at least someone out there to a new favorite film.
Until then, here are at least two that are in the running that you might not have seen yet.
Gus Van Sant’s Paranoid Park- 4/5 – A high school student is involved in the accidental murder of a security guard at the skate park. After the incident he chooses to tell no one and then tries to deal with the consequences. Extremely interesting, and directed with great flair. Serves as interesting counterpart to Van Sant’s other more conventional ’08 biopic Milk.
Chop Shop¬ – 4/5 – tells the story of 2 kids living in the salvage yard streets of Queens, and their own journey to find hope and stability. Brilliant direction, and incredibly moving performances.
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