Reviewing the Year: 2008 (Costumes, Film Scores and Song, Editing)

What do these 4 have in common? That they're probably my favorite 4 technicals (well, I also wanted to have Cinematography here, the other one I love, although, probably more than Costumes or Editing). Why costumes? Unlike the Academy, my mind doesn't think "the bigger and flashier the better", but how the way we dress is an extremely subtle way of letting others know our own personality. Whether it is by using flashy "look at me" dresses, or simple "I don't care what you think of me" clothes. And well, we should see these in the costumes of each character, even if they are supposed to be set 300 years ago in dazzling France, or simply...New York streets.

As for film music, I've provided links in both categories for you to enjoy those I considered this year's best, I invite you all to click (on the name of the movie) on them and listen. :D

Anyways, let's see:

Best Costume Design

Australia by Cahterine Martin

Yes, besides the sets, she's in charge of the costumes, and well, there's nothing more to say just that like in Moulin Rouge! and the sets, she did an extraordinary and beautiful job. That sexy red dress of Nicole?.

The Fall by Eiko Ishioka

The most bizzare aspect of the whole movie, weird and tacky, a wondrous globe that fit the hand perfectly.

Milk by Danny Glicker***

Colorful, charming, and fit. There's no other way to put it than just: perfect. The true definition of what costume designing its about.

Revolutionary Road by Albert Woltsky

The simple closet of an average couple in the 50s. What else did we want?

Sex and the City by Patricia Field

These girls really wanted everyone in the street to turn around an look at them. They're flashy, ugly, out of the ordinary, and chickie fits for "older" women.

Honorable Mentions

The Curious Case of Benjamin Button

The Duchess

The Reader

Mamma Mia!

Best Film Score (with samples!)

The Dark Knight by Hans Zimmer and James Newton Howard

Probably one of the most brilliant scores Mr. Zimmer has ever thought of. While we already know Newton Howard is an ace when it comes to scoring action film, this time, combined with those creepy eerie sounds, it introduces the perfect mood to the whole film..

Milk by Danny Elfman

Danny Elfman has done it again! Another hit to his resume, this time they're the beautiful sounds of hope and freedom combined in one.

Slumdog Millionaire by A.R. Rahman

Probably the most creative of the whole year, Rahman takes a different route and establishes an intense combination of sounds and score that compose this film's music, very different if we are in the troubled cities of Inidia or just about to meet with our loved one.

Revolutionary Road by Thomas Newman

Like everything in the movie, subtle, yet haunting. A bit repetitive, which is what prevented it from taking the win in my list.

WALL•E by Thomas Newman***

A beautifully touching piano, combined with some extravagant noises, or maybe a thrilling piece taking us into adventure. Crucial, since our characters rarely speak, but an incredible creation by Mr. Newman. A winner in this category, loud and clear.

Honorable Mentions (ranked)

In Bruges

The Curious Case of Benjamin Button

The Reader

Frost/Nixon

The Wrestler

Best Original Song

"Down to Earth" from WALL•E, by Peter Gabriel and Thomas Newman

"I Want it All" from High School Musical 3: Senior Year, by Matthew Gerrard and Robbie Newil

"Jai Ho" from Slumdog Millionaire, by A.R. Rahman and Gulzar

"Little Person" from Synecdoche, New York, by Charlie Kaufman and Jon Brion

"The Wrestler" from The Wrestler, by Bruce Sprinsteen***

Honorable Mentions

"Rock Me Sexy Jesus" from Hamlet 2, by Ralph Stall, Andrew Fleming and Pam Brady

"I Thought I Lost You" from Bolt, by Miley Cyrus and Jeffrey Steele

"Another Way to Die" from Quantum of Solace, by Jack White

"A Night to Remember" from High School Musical 3: Senior Year, by Matthew Gerrard and Robbie Newil

"By the Boab Tree" from Australia, by Baz Luhrmann and Angela Little

"The Call" from The Chronicles of Narnia: Prince Caspian, by Regina Spektor

Best Film Editing

The Dark Knight by Lee Smith

What every action film needs: adrenaline and impressive action sequences, plus some very exhilirating moments.

Entre les Murs by Robin Campillo

Never losing the audience's focus and adding tension, a realistic flavor and drama to it, despite having a very simple setting.

Frost/Nixon by Mike Hill, Daniel P. Hanley

A relatively simple story turns a complicated and interesting turn thanks to it.

Slumdog Millionaire by Chris Dickens***

Perfectly combining that incredible score and cinematography into one exciting ride, with some tear jerker moments here or there. An agile combination of flashbacks, a TV Show and a present love story, keeping the audience on the verge of their seats.

WALL•E by Stephen Schaffer

Never becomes boring, and effectively paced together, even when we are seeing the story from 4 points of view.

Honorable Mentions

Milk

Burn After Reading

Synecdoche, New York

The Curious Case of Benjamin Button

Thoughts??? Your own?

NEXT: WORST of the year + Visual Effects, Makeup and Breakthrough Award

Public Enemies Review

Whether it is as Sweeney Todd, Captain Jack Sparrow or even Willy Wonka, Mr. Johnny Depp has a way of attracting big masses to see what his new irreverent creation is. Alas...a year and a half has gone by since his last film came out, and now, he comes with the first "big" project released this year (of course, it we ignore Pixar) with interesting names and talented people attached to it. This time it's neither an excentric film director or a depressed man but a bank robber the character that fills his boots, and this time with bullett expert Michal Mann on the head.

One would wonder what exactly was going through Mann's mind while making this project since it lacks most details his other films like to shine: an interesting and gripping story, a impressive male lead with great screen presence and gripping scenes that make their movies an unfogettable show. Since The Insider, it seems Mann's lost a bit of touch, and this is no exception. However, what disappoints me the most (and I have to say, I didn't have high expectations I wanted the film to fill) is Mr. Depp's lazy performance.

As a fan of his, seeing more and more of his roles, I kept realizing that most of Depp's "chamaleon-ism" comes from the roles he picks, and not precisely from his own performances. Say what you may, I do believe the man is talented and he's definitely proved himself to be extraordinary more than once, however that status he's recently gained as the best actor around baffles me as he takes a role and rarely adds something spicy to it that isn't already on paper, a quality one loves to see in masters of the craft such as Dustin Hoffman or Malon Brando. The reason is unkown, but if people looked at his curriculum before the Pirate days they'd discover the work of Depp since then has mostly been uninspired.

In here, Depp acts as a confident man that believes he's never going to be caught, that enjoys the public bein at his knees and well, that robs banks...great, what else? I never saw a different display that showed me the chamaleonic talent Depp does have, or that extra flavor he adds to some of his roles. Surprisingly, I enjoyed more Christian Bale, who has shown to be nothing but wodden in everything he's in. But in here, at least he tried to stand out and walk away with the part of the movie that belong to him. Mr. Bale may not be as talented, but at least he tried, and delivered in certain times, which is more I can say about John Dillinger. With an almost invisible Billy Crudup and a star studed cast wasted away (did anyone notice David Wenham, Channing Tatum, Giovanni Ribisi or Emilie de Ravin?) the film certainly failed to impressed me in that aspect.

Despite all this, the acting was not a lost case for a movie that depends so strongly on its cast, as it was Miss Marion Cotillard, the one that delivered that intense and powerful display one enjoys in a Mann film. With barely 20 minutes on screen (more less as I'm not sure), Cotillard exploits every single aspect she finds. The only performance that will hopefully rememebered by the end of the year as great.

Acting, however, wasn't the only aspect Mann's brilliant at that falls flat. With the exception of the impeccable sound, I only saw an opportunity of displaying great costumes, sets or even a beautiful score wasted down the toilet. It's probable the director decided to rely on its "powerful" cast rather than showy techs. Bad choice. Uninspired costumes, and lame sets that didn't seem to require much often make you forget you're in the 30s and not in the 50s. The photography, effective and messy seemed to be spot on and helped the film's cause, but there were scenes where it seemed the cinmetographer didn't know what exactly to do or what to shoot. As for the screenplay...well, I'd rather keep my mouth shut.

The only other redeeming aspect that I found was (not surprisingly) Michael Mann's misconcepted but effective direction. An interesting vision and idea that whilst not supported by most aspects alone, known how to put them together (that's definitely not improved by an average work in the editing room) certain times in way that will definitely be hit or miss with the audience. However, that will at least entertain during those 2 hours and 20 minutes, even to those that didn't feel amazed by the experience. Minus points for not being able to join them in what could have been a thrilling experience, but an applause for the intention and keeping the film alive most of the time. Not exactly a "must see" from this year, but at least I can suggest it'll be a more worthwhile experience than most summer flicks this year.

RATING: 5/10

Reviewing the Year: 2008 (Animated, Sets, Suporting Actress, Documentary)

Time to continue with these. One more acting category coming up, along with a tech and two recognizing the best in their fields. But, unlike the Academy, they aren't ghettos, they might show up later in the main categories too.

Best Animated Feature Film

Bolt

Without Pixar, Disney hasn't really had anything worthy in over a decade. This, however, raises their quality from recent failures to a nice fun animated little film.

Horton Hears a Who!

Honoring one of the most beloved Seuss's books of all, plus that extra simpathy flavor added, I'm sad this was forgotten because of its early release, because it remained as one of the best animated films in a while.

Kung Fu Panda

Dreamworks has gone for comedy over....everything really, and have proved to repeat their jokes a big amount of times. Above their average silly film, it stands out as one of their best, but still...nothing amazing.

WALL•E***

It's no mystery that Pixar has learned how to master animation. Combined with their extraordinary imagintion and writing skills, their little jewels always appear with recognition in this category, and usually take the prize. This year is no exception with one of their finest so far.

Vals Im Bashir [Waltz With Bashir]

The only animated jewel I saw that can take away the gold from Pixar. Exploring delicate and harsh fields, with an impressive amount of imagery added. Being animated didn't make it any less impressive, but more easy to absorb and admire. A very big honorable mention.

BONUS: Proof that animation is not only for kids.

Best Achievement in Art Direction

Australia by Catherine Martin

Let me remind you, Mrs. Martin was also the one in charge of the previous Luhrmann production, Moulin Rouge! breathtaking sets. She has a more limited field this time, and still created some pretty awesome sets to enjoy during the movie.

The Curious Case of Benjamin Button by Donald Graham Burt

I want to think Fincher rellied on these to impress the audience. And well...he really did.

BONUS: Different time periods and many, many places.

Synecdoche, New York by Mark Freidberg***

Wicked, odd, crazy, and well, out of this world. You never really know if you are in a dream, the real world, or a play. Great designs and very effective.

The Fall by Gled Clark

Like the costumes, Clark takes a different approach, showing he's not afraid to go further away into unexplored territories particularly in this field.

WALL•E

After a short tour through space and the "Axiom", it's not hard to be impressed by the little details and polishing the background sets had. Creative and realistic.

Honorable Mentions (ranked)

Arrancame la Vida [Tear This Heart Out]

The Dark Knight

Okuribito [Departures]

Revolutionary Road

The Duchess

Changeling

Best Performance by an Actress in a Supporting Role (looking at my nominees, this was a year for human, touching and heartfelt performances in this category)

Penelope Cruz as María Elena in Vicky Cristina Barcelona

With less than 13 minutes on screen, and appearing until the last half of the film, Cruz easily walks away with the whole movie. Her irrevent, screaming, kick-ass performance joins the group of great Allen supporting actresses.

BONUS: Her sexy work in Elegy, but that's a leading performance and the category is too crowded for her.

Vera Farmiga as Erica Van Doren in Nothing But the Truth***

What a bitch, what an agent, and what a woman! Completely fell in love with her after just 3 minutes of seeing her. You don't really know if she's a good person, a bad person, or simply...a person that's doing her job.

BONUS: Her chemistry with Kate Beckinsaly helped those raw discussion scenes.

Samantha Morton as Hazel in Synecdoche, New York

Probably having the baitiest role in the whole movie helped, but she still managed to work everything out and has a few brilliant scenes as the Hoffman's main counterpart most of the time.

Marisa Tomei as Cassidy in The Wrestler

This is not the first time we've seen Tomei go into this field, but as proven before, she can handle it quite perfectly, and once in a while she'll knock it out of the park.

BONUS: "I'm here. I'm really here."

Elsa Zylberstein as Léa in Il yes a Longtemps que Je t'Aime [I've Loved You So Long]

Now this...the true subtle masterpiece acting of the year. In a borderline leading/supporting role, Zylberstein completely broke my heart in one of my favorite performances of the year, even erasing from scene Scott-Thomas' acclaimed work, who also did her great work.

Close to the Cut

Lena Olin as Rose & Ileana Mather in The Reader

I vatly preffered her in her second role, and mostly she's here because of that last scene. Talk about A+ work in limited roles.

Michelle Williams as Claire Keen in Synecdoche, New York

Like the Milk-men, the Synecdoche-gals outshine each other and keep the film alive. It was hard to choose between her and Morton, but in the end both were as real and funny as they could've possibly been. Ask me tomorrow and I may say I prefer Williams to Morton.

Honorable Mentions (ranked)

The rest of the great gals in Synecdoche, New York, but a special mention to Dianne Weist and Catherine Keener.

Hiam Abbass as the hearbreaking outsider mother in The Visitor.

Tilda Swinton's double hits, short screentime and still being one of the best of the cast in Burn After Reading and The Curious Case of Benjamin Button.

Debra Winger as the unlovable mother in Rachel Getting Married

Best Documentary Feature

Man on Wire*

Deserving Oscar winner. Entertaining, interesting, and keeps the audience involved in the premise.

Roman Polanski: Wanted and Desired

Trouble the Water

Young @ Heart

Probably the one I could connect with the most. Tearing me apart while also cheering me up with good memories.

Thoughts??? Your own?

NEXT: Costumes, Film Music, Song and Film Editing + the WORST of the year (no lineups, only "winners")

Reviewing the Year: 2008 (Cinematography, Supporting Actor, Sound categories)

Here we go! Starting the 2008 awards with these 4 categories. I refuse to rank my nominees, but I'll use a similar system to the Oscar one. I'll present to you my 5 "best" nominees in alphabetical order with my winner, I refuse to rank my other 4 nominees and also I'll give a couple of honorable mentions.

Best Cinematography

Australia by Mandy Walker

In a perfect display of beauty, Walker takes advantage of Australia's magnificent fields and sights making us fall in love with that land Baz Luhrmann illuminates in his film. A close runner up I admit.

The Dark Knight by Wally Pfister

Powerful and agile in a smart combination with the editing, adds tension and mood to the movie. A master show for the cinematographer, improving the already great work shown in the previous movie.

The Fall by Colin Watkinson

Unlike what I saw in other films, Watkinson takes a full approach at the amazing costumes and sets made for the movie. Creating a new and unique world the movie takes us into helped by this creative photography.

Revolutionary Road by Roger Deakins***

Subtle, terrifying, haunting and tricky. After already showing his talent, Mr. Deakins leaves it clear he understands the tone and the story maybe even better than the actors and the director. Transforming the suburbs into a whole different world. Outstanding work.

BONUS: He accomplishes more than what other cinematographers could with less impressive views.

Slumdog Millionaire by Anthony Dod Mantle

Lively and witty as the film itself. Manages to stand out whether we are in a tv studio or in the impressive low sides of India.

BONUS: "Paper Planes" and the kids running away.....wow

Honorable Mentions

It was a great year for pretty images, the following were as good as my top 5.....

The Curious Case of Benjamin Button

Let the Right One In

Milk

The Reader

Synecodoche, New York

The Wrestler

WALL•E (I'm not sure how much does the cinematographer actually interfere)

Best Performance by an Actor in a Supporting Role

Ralph Fiennes as Harry Waters in In Bruges

Despite appearing until the second third into the film, Fiennes is everything he was required to and more in a great way, almost stealing the last act in show from the also impressive Farrell and Gleeson.

Emile Hirsch as Cleve Jones in Milk

Gay...in every sense of the word. Cute, funny, interesting, and with a full screen presence in such a strong cast.

Heath Ledger as The Joker in The Dark Knight***

Mr. Ledger...the performance of the year undoubtedly. Amazed critics, fans and viewers and it's not hard to wonder why. In an already used (tons of times) character by more than talented actors, Ledger applies a full dose of madness and soul to the character we hadn't seen until now. His resounding performance walks away with the two hour and a half movie. A fully deserved Oscar.

BONUS: The voice and the impeccable laugh.

Eddie Marsan as Scott in Happy-Go-Lucky

Never losing focus in Hawkins but by joining her in a role as internally complex. Leigh (director) has proved once again how mastrclass acting doesn't require over the top wacky characters but with real human beings. A big applause for Mr. Marsan.

BONUS: The last drivign lesson and first appearance.

Michael Shannon as John Givings in Revolutionary Road

With probably the toughest role in the whole movie and with a mere 8 minutes on screen, Shannon holds up as much as the leading performances making the most of his screentime by screaming directly the truths by which the movie hurts us so much.

Close to the Cut

Robert Downey Jr. as Kirk Lazarus in Tropic Thunder

Hilarious, going much further than a simple comedic role making fun of character actors.

James Franco as Scotty Smith in Milk

Probably the most human and subtle performance in the whole film. Definitely worthy of a mention. Him and Hirsch were almost equally as good.

Honorable Mentions (ranked)

Brad Pitt in his best work of the year as an athletic hot head in Burn After Reading

Bill Irwin as the caring father and leader of a troubled family in Rachel Getting Married

Gary Oldman's stand out work in The Dark Knight

Anil Kapoor as the annoyingly smug tv show host in Slumdog Millionaire

Best Achievement in Sound Mixing

Cloverfield

The Dark Knight

Iron Man

Slumdog Millionaire

I disagree a lot with its Oscar win, but the smart combination of sounds and music deserves a mention here.

WALL•E*

Even if it wasn't the first time Pixar shows his ability with sounds, here they took it to a whole new level. Robots + space + humans + score + mother ship voice = best sound mixing of the year.

Best Achievement in Sound Editing

The Dark Knight

Kung Fu Panda

Iron Man

Quantum of Solace

WALL•E*

Having to create the main dialogues in a nice but realistic way. We had to hear robots trying to communicate with each other. Definitely one of the best of the decade.

Thoughts??? Your own?

NEXT: Supporting Actress, Sets, Animated Feature and Documentary