Black Sheep's Top 10 of 2008

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 …

THE DARK KNIGHT

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.

THE DUCHESS

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.

ENTRE LES MURS (THE CLASS)

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.

MILK

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.

RACHEL GETTING MARRIED

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.

THE VISITOR

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.

WALL•E

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.

THE WRESTLER

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!

What to rent, what to rent ...

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.

Now, get out there and rent, rent, rent!

WEEKEND BOX OFFICE: Gone to the Dogs

I can still remember what it was like when I first saw the trailer for BEVERLY HILLS CHIHUAHUA. Essentially, my eyes were widened in disbelief and my mouth had dropped all the way to my knees. I thought for a second that perhaps I had inadvertently taken acid. There had to be a reasonable explanation for the countless tiny dogs bobbing their heads and singing in unison atop some Mayan temple. No matter though; surely no one would actually see this mess. Once again, North American audiences have proven me wrong.


Disney’s BEVERLY HILLS CHIHUAHUA opened to $29 million, laps ahead of the rest. Audiences were clearly starved for supposed family fun, having been disappointed with recent examples like IGOR and FLY ME TO THE MOON. To be fair, it isn’t just dogs in purses singing; these dogs rediscover their Mexican roots. These dogs are not just for show; they’ve got bite and they’ve bitten deep into your pockets. What a treat!


This weekend was ridiculously overcrowded. Hollywood put out seven wide titles and somehow thought that they would each find their own audiences. After all is said and done, only three managed to make a connection. The second would be NICK AND NORAH’S INFINITE PLAYLIST. The Michael Cera/Kat Dennings modern day romance averaged a solid $5K and should play its run out reasonably with inevitably sound word of mouth. The third would be the latest film from Larry Charles (BORAT), RELIGULOUS, featuring Bill Maher as he gallivants across the planet in search of truth in the world’s religions. Maher’s loyal followers rung up the film’s tally to a strong $7K per screen average. These are solid numbers but nothing to start your own religion with.


Word of mouth was also responsible for many holdovers retaining strong grasps on their audiences. Three titles (EAGLE EYE, BURN AFTER READING and FIREPROOF) all dropped off by less than 40% while the biggest decline wasn’t even that bad (NIGHTS IN RODANTHE with 45%). Then there’s that whole 3300% increase for APPALOOSA, Ed Harris’s latest directorial effort (having seen it yesterday, I will place the emphasis on “effort”). After two successful weeks in limited release, the supposedly modern western expanded modestly for a fifth place finish. The more modest expansion for THE DUCHESS is seeing more promising results. The film added another 72 screens and saw its tally rise another 60%. The film is slated to go nationwide on October 10.


As for the rest of the debuts, they will be listed in no particular order of embarrassment. First up, AN AMERICAN CAROL. This spoof, which apparently makes statements about the downside of free speech, played on three times as many screens as RELIGULOUS and mustered three times as less cash. Critical hopefuls, FLASH OF GENIUS and BLINDNESS debuted outside the Top 10 despite their strong studio pushes. And HOW TO LOSE FRIENDS AND ALIENATE PEOPLE proved perhaps once and for all that American audiences do not love Simon Pegg, as the movie couldn’t even manage over a grand per screen.


The weeks littlest winner is certainly RACHEL GETTING MARRIED. Jonathan Demme’s masterpiece debuted this week to nine screens before it goes wide on October 17 and pulled in the highest per screen of any film in release. The $33K per screen is nearly four times as much as this week’s ultimate champ, BEVERLY HILLS CHIHUAHUA. Look for the sequel soon enough … BEVERLY HILLS CHIHUAHUA GETTING MARRIED … or maybe RACHEL GETS A CHIHUAHUA.

Next Week: Another four releases go wide, the widest of which is Ridley Scott’s latest Russell Crowe vehicle, BODY OF LIES, also starring Leonardo DiCaprio. Dennis Quaid gives lessons in football and racism with THE EXPRESS. CITY OF EMBER aims to rob the dogs of some of their family gold. And QUARANTINE will try to trap horror fans into theatres before everyone inevitably gets “sawed” into pieces.

WEEKEND BOX OFFICE: Eagle Eye Candy

A few years back, a little known actor with a squeaky clean face headlined a remake of Hitchcock’s REAR WINDOW for the MTV generation. The film was called DISTURBIA and it opened past all expectations to debut at number one and then stayed there for three consecutive weeks. Now, we all know how rare that is. The kid whose face drove hordes of young ladies into the theatres was Shia LaBeouf and before Steven Spielberg made LaBeouf his personal pet project, Dreamworks fast tracked another LaBeouf collaboration with DISTURBIA director, DJ Caruso. That movie was EAGLE EYE and it has finally made it to theatres. Only now LaBeouf is Hollywood’s hottest young actor so the question wasn’t whether they would be able to repeat the business DISTURBIA did. The question was how far it would beat it.


Just like DISTURBIA, EAGLE EYE surpassed expectations, surging to almost $30 million in its opening weekend, very high numbers for September standards. Reviews have been poor but since when did reviews stop anyone from enjoying their favorite eye candy. Longevity will prove LaBeouf’s staying power with this picture but a robust $8300 per screen average on 3500 screens is a great starting point.


Richard Gere and Diane Lane reteamed for the third time and proved that romantic audiences still crave more from this attractive, older couple. Adapted from the Nicholas Sparks novel, NIGHTS IN RODANTHE may have pulled in less than half of what EAGLE EYE did but it held its own and found its audience. Whether that audience was able to find its way out of the auditorium with the tears in their eyes clouding their vision is another question altogether.


Here’s a question for you. What the heck is FIREPROOF? This little movie starring 80’s sitcom idol turned born again Christian, Kirk Cameron, not only managed to open on 800+ screens but it opened in third place on Friday to finish fourth for the weekend. It almost managed a higher per screen average than EAGLE EYE. Perhaps I’m a pretty ignorant but I never even heard of this movie before Friday. Given the poor reception it has received from critics and audiences alike, I probably won’t be hearing about it for much longer but a $6 million opening weekend for a movie that cost half a million to make is certainly commendable.

The week’s only other Top 10 debut was a disappointment for auteur director, Spike Lee. His WWII drama, MIRACLE AT ST. ANNA opened to under $3K per screen and lacks the critical praise that would encourage growth in the coming weeks. That’s what you get for making a bad movie, Spike. Seriously, it’s bad. It's got to hurt too that FIREPROOF did so much better on even less screens. Ouch. Sorry, O paid $40 to see this at the Toronto festival so I'm a little bitter.


On the artier side of the street, THE DUCHESS scored an excellent expansion. The Keira Knightly star vehicle added 48 screens and saw its business jump over 200%. APPALOOSA held up well in its second week with a solid $10K per screen but no screens were added yet so its gross still dipped. Things are sure to pick up next week when it goes wide. Two other high profile indie releases debuted to disappointing results. Well, one was disappointing; the other was disastrous. CHOKE, the Fox Searchlight hopeful starring Sam Rockwell, earned just over $3K per screen to debut outside the Top 10. And proving once again that American audiences are still not willing to face films about their war, THE LUCKY ONES, in which three soldiers take a road trip while on leave, made under $500 per screen on 425 screens.

NEXT WEEK: Holy crap, what isn’t coming out next weekend? To name just a few, BLINDNESS goes wide, FLASH OF GENIUS opens on 1000+, HOW TO LOSE FRIENDS AND ALIENATE PEOPLE will try to get people to like Simon Pegg and NICK AND NORAH’S INFINITE PLAYLIST finds Nick & Norah falling in love with each other while we fall in love with them. Oh wait, I almost forgot … the Bill Maher religion mockery, RELIGULOUS opens on Wednesday and goes wide on Friday, APPALOOSA takes the West to the masses and the Jonathan Demme masterpiece, RACHEL GETTING MARRIED dips its toes into 8 shallow pools.

WEEKEND BOX OFFICE: Samuel L. Jackson Moves In

Samuel L. Jackson living next door to you is apparently horrifying to everyone except perhaps the people at Screen Gems, as they celebrate the number one opening of LAKEVIEW TERRACE, in which a happy couple move to the suburbs only to find that they are living next to the neighborhood terrorist. So if you are not with the Screen Gems camp and you discover Mr. Jackson lurking around your rose bushes, I suggest you call your realtor.


LAKEVIEW TERRACE opened solidly with fifteen and a half million and a sturdy per screen average of over $6K. This would not be enough though to elevate the overall box office to the same levels as the pack of Hollywood hits from last weekend did. LAKEVIEW TERRACE is certainly the only successful wide opening of the weekend. Opening just below in third and fourth respectively was the romantic comedy, MY BEST FRIEND’S GIRL and the animated IGOR. Both films earned mediocre per screens of $3K and poor reviews. The weekend’s only other wide opener, the David Koepp directed GHOST TOWN, opened on a good chunk less screens but found a similar sized audience for an eighth place debut. All four films found their own audiences and found at the same time that these audiences weren’t all that big.


Brad Pitt was feeling generous this week when he gave $100K to support the gay community looking to keep gay marriage legal in California when the subject comes up for debate in the coming election. It’s no surprise he’s out there giving it away as he is clearly riding high on the success of his latest, BURN AFTER READING. The Coen Brothers directed pic held steady with only a 41% loss for a 2nd place finish. Good word of mouth and strong critical response has made it the must-see September title. This isn’t saying that much given the competition but it’s still something. Last week’s other holdover titles all plummeted by nearly 50% or more, showing absolutely no staying power whatsoever.


Two high profile festival favorites made their platform debuts to spectacular results this weekend. The Ed Harris directed western, APPALOOSA, scored an $18K per screen average on 14 screens. The other title outshined even that with a $29K average on a mere 7 screens. This would be the Saul Dibb directed, THE DUCHESS, starring Keira Knightly. Both will expand slowly in the weeks to come and will hopefully do so more smoothly than TOWELHEAD. After a stellar platform last week, the film fizzled after adding 14 screens, the Alan Ball directorial debut saw its per screen average drop from $13K to under $4K. The true test comes this weekend when it expands to 90 screens. If it doesn’t work out, Ball might want to change his name to Baghead because he might not want to show his face for a while.

NEXT WEEK: What is with all this overcrowding? Aside from three high profile wide releases, there are no less than a dozen limited releases vying for the North American dollar. The biggies include the Shia LaBeouf thriller, EAGLE-EYE, the repairing of Richard Gere and Diane Lane, NIGHT AT RODANTHE and the latest Spike Lee mess, I mean, joint, MIRACLE AT ST, ANNA. Meanwhile, BLINDNESS, CHOKE and THE LUCKY ONES are just a few of the indies hoping to find a place in the crowd. C’mon, Hollywood, spread the love!