When all is said in done, there are quite a few reasons to believe that virtually no films where released in 2008 - at least none as important as current affairs: between the death of film criticism, a tanking economy, and perhaps the most important presidential election of (most of) our lives, it was easy to overlook the multiplex. Unless, of course, that multiplex was playing the Dark Knight, the second most popular film of all time (if one judges such things by box office gross; and lets face it, most do).
Most pertinent to myself is the ongoing debate as to the state of criticism. At the risk of boring non-specialists with the details, lets just say that a combination of crumbling print empires and their decreasing classified revenues, philistine movie executives pandering to a younger demographic with disposable income, and, by implication, an increasingly disenfranchised movie going public that would just rather stay home, has all lead to an irrevocable decline in the conversation surrounding film as art. But perhaps it’s too easy to make such broad justifications – after all, as several recent releases have shown, notwithstanding The Dark Knight factor, people seem more than willing to come out to theatres, assuming there is something worth seeing. Regardless of quality, or what this critic might think, people are turning out in droves for Slumdog Millionaire, Milk, Frost/Nixon and Gran Torino, as well as, to a lesser degree, Doubt. So we might amend the above to read something like ‘audiences don’t go to movies anymore, unless they do’, ‘the studios don’t make films for adults, except when they do’, and, with regards to critical analysis, ‘critics don’t matter, except when they do’. As we steadily approach awards season, those critics that the studios usually shun suddenly start getting their quotes plastered all over the place, the studios looking for affirmation that their product can deliver the goods to a discerning crowd (the crowd that, lets remember, doesn’t usually exist, at least before November).
So what does this all mean? Simply put, there are too many opinion pieces out there and not enough, well, criticism. After spending all year bemoaning the state of the art, we are suddenly relevant again, but instead of taking full advantage of it, we've just started repeating ourselves. In the last few weeks, I’ve seen at least four different op ed pieces on the current slate of WWII/Holocaust dramas that have been/are set for release from the studios, as well as a slew of accolades for most, if not all, of the above mentioned films. But I must admit that I am ambivalent for two reasons: one being that, as I see it, good criticism has been on the decline for a while, not just in the wake of recent job loss, and two, that the remaining old guard has easily slipped into the role of studio adjunct publicist. What else to make of the myriad number of top ten lists and critic’s association awards that have already started making the rounds? Chock full of films that most of us won’t be able to see for several weeks, if not months, they don’t serve much of a purpose beyond hyping product that already has substantial marketing in place, as well as the usual banal Oscar short listing. I, for one, don’t see much point in predicting what’s going to win awards that, beyond the uselessness of such an endeavor, doesn’t do much to critically grapple with the films in question (I might add that the above mentioned flood of Holocaust overkill pictures essays all include films not already in release (Valkyrie), and some not even set for release before the end of the year (Good, Defiance), essentially giving free publicity to films invoking a trend the various critics are supposedly bemoaning). With this in mind, I’m not particularly saddened by a few industry stool pigeons loosing their lively hood. I also hasten to add that the list just posted by Slant Magazine goes some ways toward avoiding most of the pitfalls I’ve mentioned, instead focusing on, you know, actual films.
I’m not suggesting that critics don’t actually like or care about the films they choose to place on their lists, but I am suggesting that what they have to choose from exists only within clearly delineated parameters, parameters more often than not set by studio publicity machines. As usual, Roger Ebert’s annual top ten list is a pretty clear indicator of enthusiastic, if unremarkable, middle brow taste. Barring a few legitimate American indies, like Ballast and Shotgun Stories, the presence of the usual Miramax Oscar bait prestige dominates. To reiterate, I’m not suggesting that Ebert doesn’t actually like the films that he is endorsing, only the fact that what he is promoting is so limited in scope as to be laughable (I might add that several of the legitimate independent films he lists will also be screening during his next Ebertfest, suggesting that his promoting of such films is also promoting his film festival and, by extension, himself). By way of comparison, the most recent issue of Art Forum offers several top ten films of the year lists, one by the incomparable James Quandt of the Cinematheque Ontario in
I would also direct you to a recent lambasting of NY Times critic Manohla Dargis, in an article from the Los Angles Times that is clearly designed to damn her with faint praise. Scoot on over and read it for yourself – to my mind, the fact that she has no interest in playing the publicity game is all the ammunition some people need to suggest that she just simply doesn’t like movies, life, liberty, or the pursuit of happiness. Never mind the fact that her own recently published top ten list clearly indicates not just good taste (obviously a subjective judgment on my part), but a general optimism with regards to the state of the art form. This is clearly quite a leap from the cranky curmudgeon that Patrick Goldstein paints her to be (it is equally fascinating to watch Goldstein try to simultaneously critique Dargis while attempting to not appear entirely as a studio mouthpiece, an effort in which he fails quite spectacularly).
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This was, by design, to be an introduction to what would have been my top ten films of the year, an undertaking I subscribe to only in as much as it fulfills a certain pedagogic function. With that in mind, I’m instead going to hype a handful of films that I’m particularly excited to see, some already set for some kind of distribution, however limited, and some that might premiere only on dvd or never at all. At the risk of succumbing to the very thing I’ve been decrying, I can only say that virtually none of these films are going to receive a fraction of the advertising or print that accompanies the average release from TWC, Miramax, or Sony Pictures Classics.
Right off the bat, I’m happy to see that Kelly Reichardt’s “Wendy and Lucy” hits the Music Box late next month, as well as Soderbergh’s “Che” and Laurent Cantet’s “The Class” at the Landmark. Here are some more to keep your eyes peeled for:
Summer Hours (Olivier Assayas) – as far as I know, the film is already set for some kind of distribution, but when it will hit our local screens is another matter entirely. I wasn’t particularly satisfied by Assayas’ last film, Boarding Gate, but he remains one of my favorite filmmakers and a major player in the international scene. This is the first, but not the last, of my most anticipated features listed by James Quandt in his top ten list.
35 Shots of Rum (Claire Denis) – perhaps cinema’s most opaque, quixotic visionary, any new film by Denis is a cause for celebration. Her film “Trouble Every Day” never saw the light of day here in
Hunger (Steve McQueen) – this played most recently at the Chicago International film Festival, after making the rounds at Cannes, Toronto and Berlin, picking up accolades as it went along. I was immensely sorry to miss the CIFF screenings, but very happy to hear that they all sold out. Apparently, there are some people out there that take critical acclaim seriously enough to try something new. No word on if the film will reach our shores: despite the virtually universal acclaim, the film failed to generate much business in limited runs in NY and LA, making its further distribution decidedly… undecided.
The Hurt Locker (Katherine Bigelow) – the director of Point Break, Near Dark and Strange Days has, by all accounts, made the toughest, and most daring, of the Iraqi War docu-dramas. As near as I can tell, everyone who sees it loves it, but the recent spate of war related commercial flops (do I need to reiterate the list?) makes it less and less likely that the film will see the light of day. It would be a shame if it went straight to dvd, as the chance to see a Bigelow film on the big screen hasn’t come around much recently.
RR & Casting a Glance (James Benning) – two recent works by a great filmmaker, and one of the few contemporary experimental directors who has managed to garner a (small but loyal) fan base. By all accounts, Chicago Filmmakers is working hard to show both of these films, although the chances of it happening in the next few months are slim. Considering how long it took his last couple of features to make it here, a few months would be mercifully short.
Frontier of Dawn (Philippe Garrel) – after the relatively crowd pleasing Regular Lovers, Garrel has apparently drifted back into inconsequence. His previous film’s (minor) success got his new one into competition at
United Red Army (Koji Wkamatsu) – Quandt’s take: “as a first hand account of leftist infighting and auto-immolation, it readily joins Oshima’s Night and Fog in
Lorna’s Silence/le Silence de Lorna (Jean-Pierre and Luc Dardenne) – advance word is that the Dardenne’s are repeating themselves and that their newest feature is somehow old hat. I’m personally of the opinion that they are modern masters, and therefore look forward to the opportunity to judge for myself. I’m also particularly distrustful of industry insiders who seem to think that they’ve got their finger on the pulse – of commerce, perhaps (or maybe not, considering the stupid decisions being constantly made), but not the film community.
Tony Manero (Pablo Larrain) – the film about a Travolta/Saturday Night Fever obsessed murderer in Pinochet’s
The Headless Woman (Lucrecia Martel) – Martel is a singular directorial voice; her only other two features, La Cienaga and The Holy Girly, reveal a unique talent keyed to the low key desperation and solitude of contemporary Argentina’s bourgeoisie that is structured by claustrophobic, geometrically severe compositions and free floating, opaque visual metaphors. The film involves a vehicular homicide and a woman who can’t remember what she may or may not have done. Sounds intriguing, no?
Me and Orson Welles (Richard Linklater) – several Welles’ scholars (a particularly touchy bunch, given the damage they’ve had to repair to his misunderstood legacy) have given the film a clean bill of health. I maintain that Linklater is our generation’s key humanist filmmaker, and any new work is not only a cause for celebration, but likely to put a smile on one’s face. Despite its (reportedly) crowd pleasing disposition, the film has yet to garner any North American distribution.
Night and Day (Hong Sang-soo) – a new film by the director of “Woman is the Future of Man” and “Woman on the Beach”? Yes, please.
Profit Motive and the Whispering Wind (John Gianvito) – full disclosure – Glabe Klinger’s Chicago Cinema Forum hosted a screening of this film just a few months ago at the
Adoration (Atom Egoyan) – Egoyan’s last few films have left much to be desired, and if the review in last month’s Cinemascope is to be believed, this films is his biggest misstep yet. Still, a minor and flawed work from an interesting, and sometimes great, filmmaker is always welcome.