I will always remember 2008 as the year I stopped sleeping. Oddly enough, from day one, I developed some very erratic but very effective insomnia. I am still dealing with it to this day but I can feel it falling away with every passing night. Many people offered advice – warm milk, booze before bed, meditation. My favorite trick though was to lie still and think back on the day that had just ended. I would lie there and stare up at the ceiling and recall all the blessings, no matter how small, that I had been fortunate enough to encounter throughout my day. And so, as 2008 enters its final hours, I would like to lie back on my pillow and remember 10 of the best film experiences I had this last year. When I’m done, I will say goodnight.
In alphabetical order, here is Black Sheep’s Top 10 of 2008 …
If you’re going to be big, you have to think big from the start. Director Christopher Nolan did just that with his second Batman picture. It is grand to behold and exhilarating to experience. Aside from laying claim to Heath Ledger’s unforgettable last performance, THE DARK KNIGHT can also assert itself as the most accomplished superhero movie of all time.
Saul Dibb’s little seen film may have been dismissed as just another period piece where a woman is sold off by her family for financial gain and stature but I assure you there is so much more to see here. The Duchess of Devonshire endured many a hardship behind her castle walls and Dibb, along with the lovely Keira Knightly, strip the period drama of its binding costume to show the naked person barely breathing underneath.
Director, Laurent Cantet, along with screenwriter and star, Francois Bégaudeau, invite us to take our seats in this year’s winner of the Palmes d’Or at Cannes. Shot like a documentary, THE CLASS is an important lesson about the state of today’s classroom. Sure, we all know the situation isn’t great but Bégaudeau wants us to feel the reality of what it means to have a seat at the back of the class. Pay attention because the test will follow immediately after.
MAN ON WIRE
In 1974, Philippe Petit crossed New York’s twin towers across a tight rope eight times. Documentary filmmaker, James Marsh, was not there to capture it. And so a new style of documentary is born where all the players from back in the day are on board to tell their stories while actors reenact the events of 34 years ago. Pieced together as though it were a narrative piece, the story itself is a caper that will leave you hanging on the edge of your seat as though it were one of the towers.
This is Gus Van Sant’s masterpiece. It is a soft and tender piece about bravery and strength, that had me enraged one moment, laughing the next and crying practically throughout. Harvey Milk fought for the simple human rights of gay men and women in California as the first openly gay man to be elected to public office and he was killed for this. Telling his story today is heartbreaking as gay men and women are still fighting for these same rights some 30 years later.
When I first saw this movie, I left the theatre and felt entirely disoriented. Rachel had just gotten married and I felt as though I were a guest at this event. The weekend was tumultuous but gorgeous and filled with deep love and all the hardship that comes with this kind of intimacy. The entire cast is so genuine that you feel as though they have known each other for as long as they would have had they been real. This is a true testament to Jenny Lumet’s subtle screenplay and Jonathan Demme’s beautifully spontaneous direction.
THE READER
Stephen Daldry is a very sumptuous filmmaker. He tells his stories with conviction and without apology for their nature. THE READER is a complicated, multi-layered work that may have missed its mark in someone else’s hand. Daldry forces us to face this tale of passion, betrayal and healing and asks us to go through our own personal interaction with these emotions. Of course, it doesn’t hurt that Kate Winslet and Ralph Fiennes are there to hold our hands along the way.
Simple, understated and effective are just a few words that can be thrown at Thomas McCarthy’s second film and Richard Jenkins’ breakout performance. This unique story about a widower who walks around his own life as though it weren’t his own unspools in such an unexpected fashion that one feels like visiting again and again.
It only takes about four minutes to fall completely in love with WALL•E. No matter how many times I’ve seen this film (and I assure you, I’ve seen it a few times already), I am always in awe of what Pixar was able to accomplish. Not only did they manage to put out an eco-friendly film that criticizes humanity’s disposable habits and our growing reliance on conglomerate control but they also crafted one of the most endearing love stories in recent history. To create a genuine love between genderless, animated robots is what places Pixar out of this world compared with all their imitators.
Darren Aronofsky should feel very good about this one. THE WRESTLER is not just his best film but it is also the best American film of the year. Like P.T. Anderson did last year with THERE WILL BE BLOOD, Aronofsky has reinvented himself as an American storyteller who understands its people and their convictions. It is a dirty, gritty experience that mirrors the hardships of so many and it never stops fighting.
Be sure to check back tomorrow to get all the details on Black Sheep's Best of 2008 contest. Happy New Year!
Written by Robert D. Siegel Directed by Darren Aronofsky Starring Mickey Rourke, Marisa Tomei and Evan Rachel Wood
For more information on THE WRESTLER, just click on the title anywhere you see it in this review.
Randy “The Ram” Robinson: I’m an old broken down piece of meat and I deserve to be alone.
I was never a professional wrestling fan as a child. My brother was and so I occasionally caught the weekly shows because I was too lazy to get off the couch when he would watch them. I never understood the appeal. How could grown men rolling around on the floor together in an obviously choreographed battle appeal to the straight male? Is wrestling the straight man’s ballet? And though I never understood why, my brother and legions of other men (and women) would watch religiously to see who would be smashed with a chair while the referee was lying unconscious on the floor. Amidst all of the spectacle though, it is easy to forget that the men in tights put on pants just like the rest of us when the show is done and go home to their lives. Darren Aronofsky is here to remind us of this and to show us the softer or more human side of THE WRESTLER.
From the moment it begins, with an opening credit montage highlighting the career accomplishments of former wrestling superstar, Randy “The Ram” Robinson (Mickey Rourke) over a throwback hair-metal song, you know that you are in for a dirty ride. The Ram has got to be in his sixties at this point. It has been twenty years since he played Madison Square Garden and now he is the main attraction at local wrestling matches that are put up in high school gymnasiums and workout centers. He has no one of significance in his life; he can barely afford his trailer park home; and the steroids and numerous other drugs he has consumed and is still currently consuming have taken their toll on his weathered body. Yet still, he soldiers on. As long as he has his wrestling, he has purpose. Then one day, even that is taken away. Who does a man become when he can no longer be who he has always known himself to be?
THE WRESTLER is Aronofsky’s finest work. It marks the first time in his major filmmaking career where he did not direct a script that he himself wrote. That credit goes to novice writer, Robert D. Siegel. Siegel’s script is bare, honest and frank. It follows The Ram during this hard transitional period of his life and Aronofsky follows behind as though he were filming some trashy reality TV show. After all, this is a dirty story that goes back and forth between wrestling rings, strip clubs and trailer parks. Aronofsky does not sensationalize though. Instead, his newfound simplicity allows the humanity of all on screen to flow freely and freely is exactly how it flows from this immensely talented cast. Marisa Tomei plays The Ram’s love interest, a stripper named Cassidy. Not only does she look incredible working the stage but her off stage persona is a great mix of tender and tired. It is a welcome reminder that Tomei is one of today’s most underrated actresses. And then of course there is the wrestler himself. Rourke is revelatory. He is lonely and broken but still picking himself up and doing whatever needs doing. To watch a man of his age endure what he does in the ring makes you root hard for him but the horrifying violence also inspires intense sympathy.
THE WRESTLER is about purpose. After Aronofsky’s last film, THE FOUNTAIN, failed and fell apart quite publicly, it would stand to reason that he may have been questioning his own purpose. Just like The Ram knows only how to be a wrestler though, Aronofsky has to be a filmmaker. Whatever confidence he may have lost has been forgotten as THE WRESTLER is a brave move away from the visual trickery and style he had become accustomed to. It is the natural simplicity of his new direction that makes THE WRESTLER so relatable, inspires great caring for its characters and solidifies it as Aronofsky’s best work.
Traditionally, I usually follow my Christmas morning with family with a movie. My Christmas movie this year was THE CURIOUS CASE OF BENJAMIN BUTTON but, while this was certainly also the choice of many others, it was not the choice of the majority. I looked up at the listings to see what was playing while I waited in line and this is when I saw it. All eight showings of MARLEY & ME were flashing to signify that the shows were nearly sold out. Clearly, Christmas is a time to be spent with loved ones and their dogs.
Both MARLEY & ME and THE CURIOUS CASE OF BENJAMIN BUTTON set records this Christmas. The latter’s one-day tally of $12 million would become the second biggest Christmas day opening of all time. That said, the one with the dog made $14.7 million that same day and you know what that means. It means that people like Jennifer Aniston better than they like Brad Pitt. No, that’s dumb. It doesn’t mean that at all. What it likely means is that people like fun, simple fare with dogs on Christmas day more so that long, epic romances. MARLEY & ME went on to win the weekend, surpassing all expectations with a $51 million total gross over the four days. THE CURIOUS CASE OF BENJAMIN BUTTON also performed very strongly and could have placed even higher if it weren’t for its 2 ½ hour running time.
One film came in between Brad & Jen and that would be the Adam Sandler family comedy, BEDTIME STORIES. Originally, this film was expected to take the weekend as it had the strongest family appeal. MARLEY & ME came running from behind like a dog after a moving car to reach past its built-in couple audience to snag a good chunk of the families as well. As a result, BEDTIME STORIES had to settle for second place and only the third biggest Christmas day opening ever. Opening in fourth, was a solid placement for the To Cruise vehicle, VALKYRIE. The Bryan Singer WWII thriller performed consistently throughout the four days of its release and ever averaged higher than BEDTIME STORIES.
The Top 10 saw two other debuts and both would be considered disappointing. The fifth wide release of the weekend was not even a consideration apparently. Frank Miller’s first formal directorial effort, THE SPIRIT, opened in ninth place, with a pathetic average of just over $2500 bucks. It could pick up next weekend when teenagers will returning to the multiplexes on their own after their parents held them hostage this past weekend. And DOUBT went wide this holiday frame and though its weekend take shot up over 700%, its average plummeted to a decent but not amazing $4500. Still, awards season is only just beginning so I don’t doubt it will continue to perform as long as the accolades continue to come in.
Platform releases love the month of December. In the weeks ahead, adults will finally find some time on their hands and will flock to see a great number of the Oscar contenders as they continue to widen their screen count. This weekend, the last major Best Picture contender, REVOLUTIONARY ROAD, starring the reunited Kate Winslet and Leonard DiCaprio, opened on just three screens in all of North America but pulled in one of the biggest averages of the year with $64K per screen. The picture goes wide January 9. Averaging lower but still solidly were the Oscar contenders, LAST CHANCE HARVEY and WALTZ WITH BASHIR. The former is hoping for recognition for Dustin Hoffman and Emma Thompson as lead actors but the competition is tight this year and the former is Israel’s official submission for the Foreign Language Oscar. Each earned per screen averages of $16K and $10K, respectively.
NEXT WEEK: Nothing. There are no new wide releases next week. Apparently, New Year’s is a time for leftovers in Hollywood.
Written by Eric Roth Directed by David Fincher Starring Brad Pitt, Cate Blanchett, Taraji P. Henson, Julia Ormond and Tilda Swinton
Daisy: What’s it like growing younger? Benjamin: Can’t say; I’m always looking in my own eyes.
THE CURIOUS CASE OF BENJAMIN BUTTON certainly has no trouble living up to its name. It is very curious indeed, for instance, how a man can be born to this world the size of an infant but with the physical affliction of a man at death’s door. It is remarkable that a two and a half hour epic can be so consistently beautiful to behold and breathtaking until its final moments. While it isn’t the least bit unusual to catch Cate Blanchett on top of her game, it is certainly impressive to see Brad Pitt exhibit such restraint and internalized inquisitiveness. It is definitely intriguing to witness a director as dark as David Fincher (ZODIAC, SE7EN, FIGHT CLUB) abandon the genre that made him who he is and side step into such a grand, romantic piece with such apparent ease and enthusiasm. But it is perhaps most curious how this film, where every element is so delicately placed and nurtured to a point where it borders on technical perfection, can be so cold and empty an experience despite itself.
Of course, within the context of the film, the curious thing about Benjamin Button is that he is aging backwards while all of humanity is progressing naturally. Benjamin must suffer through his childhood in the body of an old man who has already lived his life when he is really just discovering it. Too frail to participate, he must watch life happen from the front porch of the old age home that has taken him in. Here, he bears witness to life in its final stages and grows accustomed to the constant presence of death. His perspective is undeniably unique as he is always moving forward despite the reversed nature of his physical growth. Yet, this view and the wisdom it could bring are not shared with Benjamin’s most ardent observers, the audience. We are here for his story and the meaning it could bring to our relatively uncomplicated existences but instead, all we are given is the story itself. This amounts to little more than the long life of Benjamin Button, which would not be particularly different if it weren’t for the whole aging backwards thing.
It is one thing certainly to have all of the characters who encounter Benjamin accept him for who he is but that expectation is mildly unrealistic to ask of an audience. Still, this film has been bouncing around Hollywood for years for a number of reasons, not the least of which was figuring out how to make it look realistic. Fincher finally settled on having graphs of Pitt’s face drafted onto actors of different sizes and stature playing him at various stages of his aged infancy. The results are entirely believable and the makeup work, which so often detracts in such extreme cases such as these, is quite complimentary. And so visually, we buy into it. The performances also guide us to do the same as they are natural and heartfelt. And as if this weren’t enough to transport us to this historic, fantasyland, Claudio Miranda’s rich, contrasting cinematography does everything needed to fill in whatever gaps were left. With all this effort spent to make sure we believe what we are seeing, it is an awful shame that equal time wasn’t spent on giving us something to believe in.
I blame Eric Roth. With so many things going for THE CURIOUS CASE OF BENJAMIN BUTTON, I have to lay the blame somewhere and Roth is the easiest person to point at. Roth’s script is epic in proportion but minute in terms of purpose and meaning. Having proven his ability to carry people on long life journeys, such as that of FORREST GUMP, it is clear why he would be chosen to expand F. Scott Fitzgerald’s short story into such a long film. In the process though, he took an unconventional concept and told it as conventionally as he could (did I mention that Benjamin’s entire story is read from a diary at Blanchett’s hospital deathbed). He created a character that is not so unlike the naïve Forrest. Benjamin is an observer of life; he watches it move forward from a perspective that none of us can truly comprehend and one that sadly, Roth and Fincher never allow us to see.
Every now and then you are reminded just how intensely a creature of habit you can be. This just happened to me when I realized that I have been subscribing to Entertainment Weekly magazine on and off for the last dozen years. Lately, with the amount of time I've spent shopping and working and watching movies, I've had a very hard time keeping up with them. They come once a week, guys! Anyway, there is one issue I would not miss though and that is their "Best of 2008" issue. Resident film critics, and personal writing heroes, Owen Gleiberman and Lisa Schwarzbaum have unveiled their official year end lists and I will now reveal them to you.
I enjoy Mr. Gleiberman's list because, while it is internationally tinged (TELL NO ONE and THE CLASS are both French, while THE EDGE OF HEAVEN is German), it is also distinctly American. THE WRESTLER, which I still haven't watched despite having a screener sitting on my coffee table for more than a week now, is a celebration of a return to independence and the tale of an American underdog. And THE DARK KNIGHT represents everything excessive and grandiose about American film. Meanwhile, love thrown at MILK and BURN AFTER READING recognizes two of America's greatest filmmakers. Speaking of love, I could not be more happy to see RACHEL GETTING MARRIED in third place. This is the most underrated film of the year for me and it deserves serious consideration in the major categories at this year's Oscar's. It won't get it, of course, but it deserves it hands down. Of course, the most lovable robot of all time is just sitting pretty in fourth place but more on him in Lisa Schwarzbaum's list. Let's get to that ...
And there he goes, zooming right on up to first place. I would love to see WALL-E walk away with a Best Picture nomination at this year's Oscar's. I feel like the Academy might make room for a major hit this year considering a handful of them were actually that good. Still, I feel that most members will likely go the route of lopping WALL-E with the other animated flicks and leaving it at that. If anything, I feel like the Blockbuster spot will go to THE DARK KNIGHT. Quite frankly, considering the supposedly better indie fare I've seen thus far, and I still have some last minute catching up to do, I would shortlist them both in the Top 5 right now. I will be renting MAN ON WIRE very soon, catching WALTZ WITH BASHIR at the cinema down the street some time this weekend and scouring the internet for HAPPY-G0-LUCKY and GOMORRA as neither is playing in my city. As for the rest of the list, I can't say I agree with the inclusion of TROPIC THUNDER but I guess everyone's got a sense of humour. And MILK, this is a film that needs to be seen so as both critics included it, maybe this will help.
Please note the absence of SLUMDOG MILLIONAIRE. Although I doubt I could accomplish this, I would like to start a campaign to detract from this fine film. I caught it again yesterday, thinking I should as everyone seems to be tripping over themselves after seeing this film, but I felt the same after my second viewing. This is a fine film but this is not a Best Picture contender. I'm not sure what depth you all are getting from it. It is trapped by its own Q&A structure and can never truly break out into anything truly fated or unexpected. It is inconsistent and contrived and I fear that people are falling for it for all the wrong reasons. Yes, it is Indian and colorful; yes, it has a great, fun musical number during the closing credits; and yes, it has the American import "Who Wants to be a Millionaire?" to give it all a familiar air. However, it lacks the emotional depth and understated simplicity that will make films like WALL-E, THE DARK KNIGHT, RACHEL GETTING MARRIED and MILK into the kinds of experiences that will still have meaning for years to come.
I see another CRASH coming and I feel powerless to stop it.
What? Huh? Black Sheep does music? What is that about? I thought this sheep was all about the movies. 'Fraid not. If there is one thing Black Sheep is passionate about outside the wide world of film, it is most definitely music. In fact, you would often be hard pressed not to see me walking around with my iPod buds firmly planted into my ears ... y'know if you actually knew me and knew what I looked like, which would be kinda necessary for you to point me out on the street. Rambling? Yes. With a point? Not really. So, let's get to it then. The following is an alphabetical list of the 10 albums that moved me either to tears or to full on belting in my kitchen whilst I did the dishes.
Adele, 19
The album is called "19" because she was 19 when she wrote and recorded it. Her unique voice is haunting and her maturity is shocking. All too often, young artists put out work that sounds beyond their emotional capacity or placates to their own age group, feeling flat and uninspired. The moment you hear the first few chords of the album's first track, "Daydreamer", you know that a particularly adult mood is being set. And then you hear her. Her voice is deep and her British accent is heavy but all of this adds an unexpected weight that anchors the album in an intensely emotional grip. She is playful and cheeky but, unlike most girls her age, she is always aware of her own self. She is both haunting and enchanting and clearly a talent that has enormous growth waiting for her in her inevitably lengthy career ahead.
Coldplay, VIVA LA VIDA OR DEATH AND ALL HIS FRIENDS
When Coldplay's last album before this one was released, I found it to be solid but somewhat tired. They had a formula and they worked it. Only their first two efforts were such strong individual and unique pieces that formula was not what I wanted from this band. Then they announced "Viva la Vida or Death and All his Friends". When you're a super group, you run the risk of coming across as terribly overwrought and self-important (cough, U2) and this title gave me pause. I needn't have worried. Coldplay had found their new sound. It was a perfect blend of the unmistakable Chris Martin vocals and piano driven melodies and a new infusion of ambient electronic noise and modern rock. And as for that title, well I like to see it as Coldplay giving us all a choice. We can either choose to celebrate our lives or give in to defeat. It is clear to me which of those options Coldplay has chosen for themselves. Viva la vida, indeed.
Dosh, WOLVES AND WISHES
This is one of those rare and unexpected finds for me. I happened upon this album because I kept hearing it in the background of my apartment, coming from my roommate's bedroom. After asking him on more than one occasion what he was listening to, I eventually borrowed it from him and uploaded it to my collection. I knew that if this music was strong enough to come out of the background and grab my attention time and time again that it needed a closer listen. Dosh is a one-man show. The man plays nearly all the instruments in this eclectic combination of rock, electronic and experimental jazz. And he does it all in his basement! You can't help but respect that. And while I initially wanted to add this album to my repertoire to keep me company in a non-invasive way, it manages to grab my full focus every time. "Wolves and Wolverines" is a near indescribable work of genius.
Jay Brannan, GODDAMNED
There is a special place in my heart for this album. Jay Brannan is New York based singer/songwriter who gained some fame when he starred in John Cameron Mitchell's SHORTBUS. He sang in the movie and I soon found out that he had a few songs available to purchse on iTunes. Then this year, he released his first full-length album, "goddamned". I downloaded it, expecting very little, even though I did enjoy his previous EP. Within no time, I was hooked. The man has managed to sneak his way into my Top 10 artists list on Last.fm with only one album because I simply cannot stop listening to his morose music. It is simple in style, often only consisting of an acoustic guitar and strings but that is part of its charm. It's the passion that keeps me coming back for more though. Every lyric is so personal that you feel as though you know the man behind the music after hearing his songs. Of course, this isn't true. Even Brannan himself knows this as he sings in "At First Sight", "You like the guy on your iPod, not the guy in your bed." Brannan is brave and honest, an all too rare combination these days. I also had the distinct pleasure of meeting and interviewing him this fall. Check it out here.
John Legend, EVOLVER
I cannot think of a more appropriate name for this album. I have to admit that I was terribly disappointed with smooth, sexy soul singer's third album when I first heard it. I couldn't connect with the direction he was headed until I read an interview with Legend about his intentions for the direction. He knew that some might struggle with this contemporary sound but had hoped that people would give it enough time to see the depth lying beneath it. So I gave it another listen and there it was. Yes, it is a decidedly more contemporary feel but it never goes so far as to cross over into modern, mundane R&B garbage. Legend elevates every song to gut wrenching emotional levels with the strength of his scintillating voice. One of my very good friends nailed it on the head when she described him as consistently being able to reach inside of you with his voice and pull directly at your heart. Still, Legend always makes you feel safe, like nothing could go wrong as long as he's singing his song.
Kanye West, 808'S & HEARTBREAK
Intimate and forthcoming are not words that are often used to describe Kanye West. Humble and singer, even less so. Yet, here we are. This album was not expected this year but West just couldn't wait to let his new sound get out there. I could not be happier with this decision. I have never been fully satisfied with any of West's previous efforts. There are always standout tracks here and there but I've never enjoyed the albums as whole, cohesive efforts. This trend has now come to an end. Now, if you're not a big fan of a vocoder effect on voice, this album may grate on your nerves but I find it entirely addictive. It is both dark and deep. Dark, lyrically. Deep, musically. West waxes on about his breakup with his fiancee and the death of his mother, both of which took place in the last year. The one-two punch of these experiences has apparently left West feeling pensive, questioning the choices he made for his life and his priorities. These questions are laid on deep, base and percussion heavy tracks that drill into your head and stay there. West has finally made me a believer. All he had to do was drop the ego.
MGMT, ORACULAR SPECTACULAR
It is a rare feat these days to create albums that are consistently engaging from start to finish. MGMT has done that without question with their first album under new management. Sorry, that was misleading. They used to be called Management and released one album under that name but have since changed it after realizing that there were already plenty of bands out there under that name. I love when rock and electronica blend so seamlessly. Rockers can enjoy this just as much as all the folks looking to dance out there. Even your dad might like this one seeing as how lead singer, Andrew Van Wyngarden's voice bears an uncanny resemblance to rock icon, Mick Jagger. Despite all their obvious influences, MGMT has crafted an original work that will certainly be remembered as one of the best finds of 2008.
Portishead, THIRD
I can remember it as though it were yesterday. I walked into my apartment and had one of many lengthy conversations with my roommate about everything and nothing at all. Not that my roommate isn't interesting but suddenly I found it impossible to concentrate. What was that sound coming from his room? It was hard and heavy but that voice; I knew that voice. "Is that the new Portishead?" I asked. And yes, it most certainly was. People had waited eleven years to hear new material from the band that was at the forefront of the electronic music surge of the 1990's and suddenly, here it was. I was immediately blown away. Their hiatus, which they were certainly entitled to but which led to mass disappointment amongst their fans, was instantly forgotten. THIRD, appropriately titled as it is their third studio album, was unlike anything they had ever produced before but yet still had that signature Portishead sound, something between melancholy and appreciative. Portishead is still miles ahead of all the imitators that tried to fill the void in their absence. They may have disappeared for a while but this return makes it seem as if they never left.
Sheryl Crow, DETOURS
Sheryl Crow also recently took a break. Who wouldn't though after breaking up with your fiance and being diagnosed with breast cancer. Crow had just released an album when her personal life fell apart and retreated from music to go to survive her battle with cancer and adopt a baby boy named Wyatt. With her health back on track and a new love in her life, Crow went back to the studio. She also rekindled an old relationship with producer, Bill Bottrell, the man responsible for Crow's debut, TUESDAY NIGHT MUSIC CLUB. What they crafted together is nothing short of stunning. The album is called DETOURS and has two distinct paths. Ever the activist at heart, the first half of the album is a reflection on the state of the world. Somehow, Bottrell steers Crow's words and music clear of preachy pop star crap and makes it reflective and hopeful. The title track follows and, after Crow asks her mother to "teach her to love with a paper thin heart", the album takes its own detour. The remaining songs all look back on the loss of her love and the gain of her health. It is heartbreaking and starkly personal. I would expect nothing less from Crow.
Vampire Weekend, VAMPIRE WEEKEND
I have to admit, I don't know very much about this album. All I do know is that it makes me very happy and keeps me up and bouncing. I suppose one could describe it as college-rock meets modern pop ska. The lyrics are dippy and influences like The Police and Peter Gabriel are too obvious to ignore but none of it matters. Maybe I like it because it isn't like anything else I listen to but I don't see how this would matter either. The fact is that this album makes me joyful and anything that can do that has to get its day.
That's it! 10 albums that filled the space between my ears to and from work, on lengthy train rides and on leisurely walks through my neighborhood late at night. One last mention though. Anyone who knows me knows that I'm a pop music fan at heart and I could not release this list without giving props to my favorite guilty pleasure of 2008 ...
Mariah Carey, E=MC2
Fine, that is by far the cheesiest title of the year. And fine, she is essentially naked on the cover. I'm telling you though, radio passed on this one way too early. Mariah's follow up to her comeback album, THE EMANCIPATION OF MIMI (by far, the best album of her career), is packed with so much single potential, its impossible to listen to this album without getting any number of hooks locked in your head. If there is anyone out there who knows how to work a formula, it's Mariah. She saw what worked last time out and tried to recreate that here. Arguably, this is why it didn't do as well - personally, I blame the poor choice of lead single, "Touch my Body" - but this is also why it is such a joy to listen to. Mariah found a new groove and she is entitled to ride it for a while. Whether she is professing that she is "That Chick" you like over a sampled hook from Michael Jackson's "Off the Wall", asserting that her "Love Story" won't end up like that Casablanca movie or realizing the "Side Effects" of her past abusive relationship, Mariah is doing it all her way and I love that she finally figured out what that is.
Alright, I feel that after that last bit, I may have lost enough of your confidence in my taste so I will move on. How about I give something away to keep you coming back. The first five people to post their own favorite albums of 2008 in the comments section for this post will receive a copy of a mix I made entitled, "Goodnight, 2008. Sleep Well." It contains selections from each album mentioned here and a handful of other memorable songs from the last year.
From everyone here at Black Sheep Reviews ... well, that is essentially just me really ... Have a safe and happy holiday! I will leave you with a rather sad Christmas song by Jay Brannan ...
The last piece of turkey has finally been devoured by the dog; the dishes have been crammed into the dishwasher; and the last house guests have taken their gifts and gone home. You can finally change into the jammies your mom bought you and plop yourself down in front of the TV for some much needed and well deserved down time. Luckily for you, there are plenty of great releases available to rent just in time for precisely this moment in time. You’re even luckier still because Black Sheep is make sure that moment isn’t followed by a bad movie.
If you're in the mood for entirely off the cuff, whacked out comedy, plenty of A-list celebs and hearty laughs on top of it all, then the Coen Brothers' BURN AFTER READING is perfect for you. The premise itself is certainly amusing, if not a little scattered, but it is the top-notch ensemble that solidifies this work as quintessentially Coen-esque. Regulars like George Clooney and Frances McDormand return as two particularly kooky people who find each other online while pretending to be different versions of themselves. Tilda Swinton and John Malkovich are a married couple on the way to divorce. Both are, to a fault, cold and crazed respectively, as well as formidable performers. Richard Jenkins turns in another self-effacing, understated performance (after this year’s THE VISITOR) that should nab him more work with high profile directors. And while all of these performances are top notch and so delightfully exaggerated, it is Brad Pitt that shines brightest for the simple reason that he is entirely ridiculous. Pitt plays Chad Feldheimer, a fitness trainer who has perhaps been running on endorphins for one too many laps, and the only character in this film who isn’t pretending to be anything he isn’t. This could have a lot to do with his character not being smart enough to pull off disguise but Pitt himself is more than capable. We never quite forget that we’re watching Pitt but that’s what makes his unbridled exuberance as he bounces around to the music in his headphones so darn funny.
Now I know that when it comes to famliy film, I can clearly not say enough aout WALL-E, but I actually have an alternative for you that you may have forgotten about considering it took from March until now for this film to finally get its home release. HORTON HEARS A WHO! is by far the funniest big screen Dr. Seuss adaptation I've ever seen and plenty of great lessons for the kids to learn while you leave them to watch for hours on end in front of the TV. When the book was originally published in 1954, Dr. Seuss gave his young readers an important lesson about how any voice, no matter how small it may appear to be, can change the world. Screenwriters, Ken Dario and Cinco Paul, have developed the confidence-boosting tale into a much grander take on societal hierarchies, the power of the imagination and the possibility that we are not alone in this universe. The very big elephant, Horton (voiced in a lovably whimsical fashion of fancy by Jim Carrey), randomly finds the tiniest world in the most unexpected of places, a spec of dust that has flown past him to eventually rest comfortably on a clover. It turns out that this world is known as Whoville. It plays home to hundreds if not thousands of Who’s and is run by a Who known only as The Mayor. You can only imagine The Mayor’s surprise when Horton finally makes contact with him. Now imagine that surprise voiced by the self-deprecating, neurotic genius of Steve Carrell. Together, Carell and Carey play perfectly off each other as their performances are based in the knowledge that Horton and The Mayor are not nearly as different as they initially appear. Though one is huge and one is small, they both know the meaning of responsibility and importance of helping all who need.
And for all you Christmas matriarchs out there, I have just the thing for you. Sure, you could rent MAMMA MIA! and sing along with your girlfriends one night but when you want a good, deep cry, pick up the underrated period piece, THE DUCHESS. Keira Knightly carries the weight of this film on her shoulders while carrying the weight of the wigs on her head with poise and prominence. Her big brown eyes go from playful to shy to distraught and defeated. When we first meet her, she is free and seemingly unaware of the heavier world outside of her backyard games. Before long though, she is face to face with adulthood. This particular face belongs to Ralph Fiennes as the Duke of Devonshire. It is here that director, Saul Dibb steps in to add another layer to the played out trajectory. With an age difference that is only matched in vastness by the distance between them, the Duke undresses his Duchess and asks why women’s clothing must be so complicated. There is no better occasion for small talk than before two practical strangers go to bed for the first time. Knightly, trying desperately to hide her nervousness, replies to the obviously rhetorical question though, claiming that this is the only way for women to express themselves in the times they live in. It is clear she is not sure that a reply is necessary or even allowed but it is also clear that she speaks to ensure that she is seen, that her person is present. Her clothing falls to the floor and the imprints of her corset can still be seen on the smooth of her back. THE DUCHESS is shocking on many levels but perhaps mostly in how harsh it is underneath its polished finish and how new this old tale feels.
Box office geeks everywhere were very curious to see how this weekend would play out. It isn’t often that two giant stars open movies the same weekend. Only one can debut on top and no one wants to take the runner-up spot. In the end though, it would appear that Mother Nature was the big winner this weekend. With most of the eastern portion of North America covered in snow, the big showdown between Jim Carrey and Will Smith got lost in the blizzard. In fact, the only casualty the weather can’t be blamed for is the steep 66% drop of THE DAY THE EARTH STOOD STILL. That’s merely a reflection of how bad it is.
Carrey’s YES MAN actually came out on top, but just barely. Smith’s SEVEN POUNDS actually took in a higher per screen average, signaling that there was a higher demand for his film. Still, YES MAN had a higher theatre count and solid average, allowing it to pull ahead with $18 million over the $16 million take for SEVEN POUNDS. I never thought there was any reason to believe Smith would come out on top. I realize he is the world’s biggest box office draw but SEVEN POUNDS is a downer and it is Christmas after all. Sure, THE PURSUIT OF HAPPYNESS was a downer that came out around the same time too but that one was actually good. SEVEN POUNDS meanwhile, is actually making some critic’s year end worst lists. So finally, yes it is to YES MAN.
Squeaking into third place is the little mouse that isn’t afraid of anything (except Smith and Carrey as it turns out), THE TALE OF DESPEREAUX. Audiences practically ignored this family film but business could pick up in the weeks ahead with the holidays just around the corner. Still, it is off to a very slow start and has no critical praise to encourage parents to bother.
Every major awards contender vying for art house supremacy continued to impress on the smaller stages of America. DOUBT and GRAN TURINO each built on last week’s totals as they expanded but there are two other titles that need singling out this week. The first is the latest by Darren Aronofsky, THE WRESTLER. The film itself isn’t getting much awards recognition but performances by Mickey Rourke and Marisa Tomei are being talked up around the country – or at least they are in and around the four cinemas where the film opened this weekend. THE WRESTLER wrestled up nearly $300K on four screens for an average of over $52K per screen. And for the first time since its release six weeks ago, the unexpected front runner in the Best Picture Oscar race, SLUMDOG MILLIONAIRE, has finally made it to the Top 10. In its widest expansion to date, Fox Searchlight added 420 screens and saw its returns improve nearly 45%. The inevitably impressive word of mouth that will be generated from these showings will certainly only catapult Danny Boyle’s film to even more unexpected heights in the weeks to come. I smell a crossover!
Or is that just my turkey in the over? Hmmm …
NEXT WEEK: What isn’t coming out next week? Aside from wide expansions for DOUBT, GRAN TURINO and FROST/NIXON, and the soft release of the Kate & Leo reunion, REVOLUTIONARY ROAD, Hollywood will unleash five mammoth releases on the Christmas public. For the families, there is the Adam Sandler comedy, BEDTIME STORIES. For the couples, you’ve got Owen Wilson and Jennifer Aniston in MARLEY & ME. For the comic book crowd, Frank Miller makes his formal directorial debut with THE SPIRIT. For the award geeks, David Fincher’s buzz heavy, THE CURIOUS CASE OF BENJAMIN BUTTON finally hits. And for, actually, I’m not sure who this one is for, but Tom Cruise also returns with VALKYRIE. People like seeing WWII movies with bad acting and eye patches on Christmas, right?
To call myself a failure would be an exaggeration but there have just been so many film critic associations announcing their choices for 2008's best films and performances, I have not been able to keep up. And so I find myself here today lopping them all into one giant post! So pack your bag because today we go New York, L.A., Chicago, Toronto, Boston, Las Vegas, Florida, Dallas, Phoenix and San Diego.
Just the other day, a friend of mine asked me whether I am ever able to enjoy anything at this point in my critical career. Of course, I can. Just because a critic points out areas of weakness or stumbling, does not mean they cannot enjoy the whole. Besides, I give out the love just as often as I tear things down. Awards season is the one time when critics all over get to focus solely on the love though and they certainly spread it across several worthy titles. Let's break it down in the major categories and then I'll proceed to tear them down.
Add 'em up, people! That's five separate critic associations going with SLUMDOG MILLIONAIRE as Best Picture of the year. This critic will likely not even include it in his Top 10 but I am clearly alone on this one. I think it's fair to say at this point that Danny Boyle's indie hit will be Best Picture nominee at this year's Oscars. WALL-E scoring the top prize in three of the ten certainly improves its chances of sneaking into the fold but I am skeptical that the Academy will follow suit. MILK & FROST/NIXON are already solid contenders but Toronto's decision to go with WENDY & LUCY is certainly the most offbeat choice. This is especially odd when you consider that SLUMDOG MILLIONAIRE earned its first accolade as the people's choice favorite at this year's Toronto International Film Festival.
Six out of ten went with Danny Boyle for director. That's one more than went with SLUMDOG MILLIONAIRE as Best Picture. I'm glad to see Jonathan Demme getting some love here as I find his RACHEL GETTING MARRIED to be a much stronger contender than just for acting. Ron Howard, given the weight behind his name, may find himself nominated for a potential second Oscar win but Mike Leigh and Demme will likely see their films honoured in the screenplay category before director.
Ten associations and only three names mentioned. I believe it is safe to say that all three of these actors are sure bets for an Oscar nomination. Then, I'm sorry to say Mr. Langella, but it will come down to only two, Sean Penn & Mickey Rourke. Penn is heartbreaking as Harvey Milk but Rourke is the sentimental favorite. This one will be impossible to call right up until they open the envelope.
Count 'em ... five different names. Could this be the final five? It's difficult to say. I would say that there is no question that Anne Hathaway will earn her first Oscar nod. I believe it is also fairly safe to say that Meryl Streep will earn her15th nomination. Sally Hawkins has certainly solidified herself as a serious contender. Meanwhile, Melissa Leo looks to be FROZEN RIVER's best chance outside of the screenplay category. Kate Winslet is the only unsure thing here. REVOLUTIONARY ROAD has not received overwhelming praise and her people are pushing her role in THE READER as a supporting bid. She may end up with two nominations but she will certainly end up with at least one.
As for the rest of the major categories, there is one thing for certain, Heath Ledger will be nominated post-humously for his supporting role in THE DARK KNIGHT. Nine out of ten voted him the best, with Josh Brolin grabbing that last bid for his turn in MILK. The supporting actress category is a little more split, with Marisa Tomei scoring four wins for her role in THE WRESTLER and Penelope Cruz taking three wins for her feisty turn in VICKY CRISTINA BARCELONA. Finally, in the screenplay category, the results are also fairly split and not so easy to assess, as not every critic association splits the screenplays into original and adapted categories. Still, Simon Beaufoy's adapted screenplay for SLUMDOG MILLIONAIRE brought in four wins, while Dustin Lance Black's original screenplay for MILK pulled in two wins.
Now, you'll have to excuse me, I still have a lot of movies to watch before this year ends. Ugh.
Written by Grant Nieporte Directed by Gabriele Muccino Starring Will Smith, Rosario Dawson and Woody Harrelson
Ben Thomas: In seven days, God created the world and in seven seconds, I shattered mine.”
As a film critic, writer, enthusiast, what have you, I always find it somewhat tricky to write about a film that goes through such painstaking measures in its marketing campaign to keep its plot ambiguous. I can never figure out how to talk about the film while somehow not really talking about the film at all. This is because I hate giving things away and apparently, so does director, Gabriele Muccino. For the first half of the Italian director’s latest Hollywood offering, SEVEN POUNDS, he drags his heels in the dirt, desperately concealing the plot in some failed attempt at being unconventional. For audiences who have been teased long enough with the trailer, being taunted once they’ve already paid for the answers will not go over well. There is a difference between natural intrigue and playing dramatic mind games with the viewer, intentional or not. When it comes to secrets, the important ones are kept without anyone knowing they even exist. Muccino almost seems to be having too much twisted fun dangling this seven pound carrot in my face. And by the time he gives you a bite, you’re not hungry anymore.
After successfully pairing with star, Will Smith, two years ago with THE PURSUIT OF HAPPYNESS, Muccino goes for a second round. Muccino works very well with Smith, pulling hard, internal emotions out of one of the most accessible stars in Hollywood history. Smith knows this and it was no surprise to hear they were reteaming. It would seem that Smith makes most of his film decisions these days by choosing characters that are challenging and complicated. I commend him for this and think that, for the most part, he is successful in his evndeavors. However, Smith cannot completely control how his performance ends up shaping the films he is in. In SEVEN POUNDS, Smith gives a range of emotions – from angry and bitter to gracious and generous. He is always convincing but Muccino takes Smith’s performance and breaks it into so many non-sequential pieces that the energy needed to piece them all together leaves no energy left over to appreciate the whole.
SEVEN POUNDS does have one saving grace though and her name is Rosario Dawson. Dawson plays Emily Posa, a young woman with a heart condition and very little time left to live. She also owes an obscene amount of money to the American government. In steps Smith as Ben Thomas, an I.R.S. representative who seems more concerned with Emily’s health issues than her back taxes. Inexplicably, they begin to spend significant time with each other. By the time this happens in the film, you can pretty much figure out what all the fuss is about but their interaction is so intriguing that it becomes a very welcome distraction. Their time together is oddly intriguing. They are drawn to each other and have a surprisingly simple ability to make each other laugh but you can tell that they are both dealing with very heavy struggles that limit their possibilities, both individually and together. It is a testament to healing capacity of the ever elusive emotion known as love.
The fragile love shared between Smith and Dawson proves ultimately to be another disappointing element of SEVEN POUNDS. It is so endearing that you wish the film had spent more of its focus there. Instead, it tries to play with you right up until the very end. If I am to be toyed with for such an extended period of time, I expect a pretty big payoff when I get what I’m due. Only the big reveal in SEVEN POUNDS serves solely to expose how conventional it truly is and how it wants to be heavy but is essentially as light as its namesake.
