It's not 2008 anymore, I know, but I still have quite a few 2008 movies that I have yet to tell you about. It seems obvious at this point that they're not going to get full reviews. I still want to acknowledge them, though, so they get the paragraph treatment instead. Hurrah!
Blindness (2008)
Bearing in mind that Julianne Moore and Mark
Ruffalo are pretty mu
ch always going to be good, this has to be one of the worst movies I have ever seen. A metaphor for the break down of communication in modern society, huh? How does that work, exactly? Let's go back to grade five and remember that a metaphor is a comparison not using like or as. So everyone loses their sight and only one seemingly ordinary woman (Moore) can still see but pretends to be blind in order to stay with her husband (
Ruffalo). Okay . . . still waiting for someone to explain to me how the metaphor works. I'll give
José Saramago the benefit of the doubt and guess that it works in the novel, but it doesn't come across in screenwriter Don
McKellar and director Fernando
Meirelles adaptation
. Basically, this movie has an overlap of self-
consciously arty crap (it's white blindness, so the theatre would occasionally fill with bright white light from the screen, which achieved nothing so much as taking the audience directly out of the film) and over attention to gritty details (people stopped using the washrooms and just used the hall, and not a single scene that involved walking down the hallway failed to include someone slipping in shit. I'd like to say points for continuity, but We. Get. It). We also got it when you stayed on the stray dog eating a dead person in the street for two minutes. Shut up, moive.
DPasschendaele (2008)
This movie had a lot going for it. The opening sequence was shocking.
Then the movie
zigged when you thought it would
zag, taking you back to Alberta and focusing instead on an older officer (Paul Gross) wooing an emotionally unavailable younger nurse (Caroline
Dhavernas). This part I liked. It was a little boring at times, but you could understand why he kept at it even as she pushed him away. But the movie's called
Passchendaele, so you knew they had to get back to the front eventually. It was at this point, the third act, that the movie got bad. Out of nowhere, a small, well developed, character driven story became a sweeping war movie in the worst way. Now it was about CANADA, and CANADA deserves to have its story told. I'm not saying that that's not true; I'm saying that it didn't jive with what came before and was done in something of an
embarrassing manner. Oh, well. I suppose writer-director-star Gross isn't perfect.
C+Zack and Miri Make a Porno (2008)
I'll just tell you how it is: I don't really get Kevin Smith. I don't dislike him or want him to come to any harm, but when I'm
watching his movies, it's sort of a big
meh. Part of it is that people just don't talk like that. Not in that
Sorkin way where we wish we were all that erudite but in that "If I hear the words 'make love' or any derivation thereof one more time, I'm going to lose it" way. I don't believe that Zack would talk that way, and I wanted to stop such things from coming out of Seth
Rogen's mouth. He's a good actor; they would sound ridiculous no matter what. And that's all it is, really: that two best friends would think making a porno is the best way to solve their financial crisis, that having sex could reveal deeper feelings, that it does, it's a workable premise. But then you throw all these other layers of shit (sometimes literal) on top of the thing, and it becomes shallow. There's humour there, but the fundamental lack of emotionality prevents the movie from ever being more than okay.
B-Changeling (2008)
Remember when Angelina Jolie got really skinny back in there? See this movie if you need a refresher. Not only does her collarbone practically cry out "feed me!", but all the veins in her hands stand out, giving her the effect of seeming fragile. Which is great when you are
playing a character like Christine Collins. The trailer may give you the impression that this movie's about a lady looking for her lost son, but it's really about a lady learning to toughen up. She just also happens to be looking for her lost son. Jolie's great, but her
out sized public persona prevents her from ever really disappearing into a role. It's hard to believe that she wouldn't start kicking some ass. John
Malkovich is cast fantastically against type as Reverend Gustav
Briegleb (I think you could get a solid short film out of him just saying that name), a firebrand so intent on taking down the corrupt police department that it's possible he only sees Christine as a means to an end. This, unfortunately, is all the nuance any character in the movie is allowed. Jeffrey Donovan, as the captain who gives Christine the wrong boy, gets all of fifteen seconds to register any doubt or remorse. No one else gets even that much. It gets the point where you want to tell the nice detective (Michael Kelly) to go easier on these kids. This just isn't it, Clint.
C-
Australia (2008)
This not so much a movie as a child's fever dream of what an epic movie should be. It's bookended by a movie ab
out the Stolen Generations, turns into a fish out of water love story about an Englishwoman (Nicole Kidman) who inherits a cattle farm in the outback and the Drover (Hugh Jackman) who helps her save the place from financial ruin, and then turns into a war drama. While there's plenty of material there, it's not convincingly much of any of these movies. Kidman's really got to stop doing whatever it is she's been doing to her face (woe is the day when I go back to The Others to discover that it was like that all along), Jackman's Jackman (he seems an affable, gregarious fellow, and you can pretty much take it or leave it with him), and they have some lovely friendship chemistry but not much else. And if I were Brandon Walters, he of that lovely mane, I would turn tail and run before I ever took on another Magic Aboriginal role like that again. A child who refers to his adoptive parents as Boss and Mrs. Boss? Where do we draw the line? For a man who has supposedly left his red curtain trilogy behind, Baz Luhrmann is awfully fixated on a literal swinging one. It's pretty, but there's not much else to this one. C
Forgetting Sarah Marshall (2008)
I've said it before, but it bears repeating: one of the problems rom-coms is the tendency to demonize the love interest the audience shouldn't want the 
lead to end up, and this problem tends to be ratcheted up when said love interest is a woman. So you can imagine my surprise writer and star Jason Segel remembered happy, funny times with his eponymous ex (Kristen Bell) and even allowed her valid points about the difficulties in their relationships (I'd balk at someone wearing the same sweatpants everyday for a week, too). When he starts to remember the downsides to their relationship (a montage of events where he stood back and held her purse, for one), it feels earned and as natural as it would in any break up. Everyone knows from the outset that he'll end up with the lovely Mila Kunis, but it's a pleasant surprise that Bell feels like a contender. At least until a couple of reveals undo all that nice work, but you'll forgive the movie it's only real misstep. It's still got hilarious turns from Russell Brand and Kenneth the Page, after all, and you totally would go see a Dracula puppet musical. A-
Made of Honor (2008)
I watched this as a double bill with Marshall, and, while it's the worse both by comparison and in point of fact, it's not as bad as you might think. It is what you think, a sex-reversed My Best Friend's Wedding, and the sex reversal guarantees an ending reversal as well. Because I stopped watching Grey's Anatomy several seasons back, I'm free to find Patrick Dempsey, all floppy hair and twinkling blue eyes, charming again (Fun fact: I started watching Grey's for Dempsey, kind of like how I started watching House for Robert Sean Leonard. There are a handful of early 90s movies that mean a lot to me, okay?). I like Michelle Monaghan as well, and they are pretty cute together. Nothing about this movie is fresh or interesting, but sometimes being middling isn't the worst thing in the world. C
Tell No One (2006)
It's all in the tagline: "8 years ago, Alex's wife was murdered. Today, she emailed him." This French thriller, adapted by writer-director Guillaume Canet from the novel by American Harlan Coben, is exactly as exciting as you find that premise. At the very least, it's mildly intriguing, right? François Cluzet goes on the hunt for the truth about his wife's murder, loosening the foundations of several people's lives in the process. Though neither the direction nor the writing are perfect (particularly egregious is the music video early on that disrupts the flow of the movie), Cluzet is fantastic as the still grieving widower, and Kristin Scott Thomas (perhaps practicing her French for I've loved you so long) is particularly welcome as his only supportive friend. Having never read the novel, I can't speak to the adaptation, but, as a movie, it's pretty good. B
Stop-Loss (2008)
While I'm certain that there's a story to be told about soldiers who get stop-lossed (that is, called back to duty just when they are set to be discharge based on the needs of the service) and Kimberly Pierce may even be the director to do it, Ryan Phillippe and Abbie Cornish aren't the actors for it. Cornish's attempts at an American accent and her man voice do nothing to alievate her lack of affect, and Phillippe's never been the most expressive actor (although he does seem the right type to solider). Perhaps subing out Phillippe for Joseph Gordon-Levitt, who handles the film's most compelling plot with the aplomb we've come to expect, would have produced better results. Aside from her imperfect leads, Pierce's film tends toward the obvious, but it's also smart, patriotic, and occasionally quietly moving (the digital collages made by the soldiers themselves are perhaps the movie's pinnacle). B+
Kung Fu Panda (2008)
I probably wouldn't have seen this at all if we weren't already at the theatre and a
ll in the mood to see another movie, but there you have it. What all the celebrity voices bring to the table I couldn't tell you (will a six year old even recognize Jolie, much less David Cross?), but it's fun and funny, necessary components for any worthwhile kids' flick, as well as beautiful to look at, smart, and just a little smart-mouthed. It's got a simple message (boiled down, you could call it "be yourself") that it handles with a fair amount of subtlety. In short, if your niece or nephew wants to rent it, you could do worse. A lot worse. A-
Drillbit Taylor (2008) could be one of those worse things. 
My hopes were briefly raised after my nephew put it on when I saw both Stephen Root and Danny R. McBride's names go by, but they petered out shortly thereafter. They scored their sole laugh from me in a cameo from Adam Baldwin that surely went over every head but my mother's. There's just something unfunny and downright creepy about a homeless man who tries to swill abused teens out of their money. It could be darkly funny, but the movie doesn't set that tone, and it's all downhill from there. C
I don't ever think I've seen Meryl Streep this sexy before. She's certainly having the time of her life (to be honest, she seems to be having the time of her life all the time lately. It's great to be Meryl Streep these days), and Steve Martin and Alec Baldwin are right there with her for the most part. Too bad the movie is endlessly distracting with it's "oh, look at the problems of these affluent white people" attitude. I mean, that's all Nancy Meyers movies, but I am telling you it stands out more starkly this time around. You've "earned" a reno to make your massive, gorgeous house even more massive and gorgeous? Seriously, every one's like, "I'm so happy you're getting the reno you've always wanted," and, while I get that a perfect kitchen is the great white whale for a chef or baker, could we cool it with the cooing for a minute? Wouldn't it be hilarious if Meyers were to one day find out that people who work at say, NGOs, never make all that much money? She should write a romantic comedy about them. They need love, too. B-
A RE-view! We haven't had one of those in forever. It mostly held up the way I remembered it, but I did find it even more slow moving this time around. How long does it take to get to the plot? Also, I'm not sure how I feel about using the same tricks twice in the one movie (both Holmes planning out an attack in slow-mo, then we see it in real time, and when he pulls off some feat, and we go back to see how he got there). Still, the slow pace gave me more time to appreciate Hans Zimmer's score and the dinner at the Royale. I love that Law is styled after Tsar Nicholas II in that scene. B
I can hardly believe that the movie keeps affecting me the same way, but it does: such exquisite agony. By now I know the rhythms and what conversations to expect, and it works for the film. I find myself nearly breathless in anticipation for Jesse to tell Celine he was there or for her to reveal that she thinks all her relationships since have paled in comparison to their one night. And then, there they are in her apartment, one waltz later and Nina Simone on the soundtrack. He is going to miss his plane. It's been six years. Is that enough time to start work on a sequel? A+
The Book of Eli (2010)
