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