With the bottle rocket’s red glare, and the cherry bombs bursting in air (at least, in those places where said celebration ammunition remains quasi-legal), the first half of the Summer Movie Season circa 2008 is officially over. Nine weeks, dozens of films, and lots of critical complaining has made this annual parade of popcorn movies a decidedly mixed bag. On the one hand, Marvel has come out swinging, taking over creative control of its character canon and delivering two excellent examples of superhero hype. On the other hand, the season’s sole sequels (so far) have proved that sometimes, you can go back to the well one too many times. Comedy continues its battle for non-Apatow oriented relevance, and in a turn of events that will make Luddites lose their lunch, CGI has delivered three of the Summer’s best efforts.
Of course, the next two months bring on even more delights. Will Smith’s Hancock is already generating debate among fans and critics alike, while Guillermo Del Toro’s Hellboy II promises to finally elevate the Mexican maverick into the Peter Jackson/Stephen Spielberg category (where he truly belongs, frankly). Christopher Nolan will uncork his latest revisionist Batman draft, while August promises two unusual takes – The Pineapple Express, Tropic Thunder – on the old laugh fest routine. Who will wind up #1? It all depends. To put things in perspective, SE&L has gone back over the 16 major releases it experienced since a certain Marvel metalhead arrived in theaters, and has ranked them from best to worst. Review links have also been provided in case you’d like to read more. Enjoy!
Speed Racer
It is destined to go down as the Summer of 2008’s biggest flop. Too bad it’s also the season’s most ambitious and brilliant film. The brothers Wachowski, still smarting from one too many dashed Matrix expectations, embraced the original series’ anime origins and delivered a live action cartoon brimming with imagination and pizzazz. Why audiences have avoided it remains a solid mystery.
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WALL*E
When they finally fall, when they finally create a movie that makes the general public yawn instead of jump for joy, Pixar will have a long way to go before hitting rock bottom. This masterful sci-fi allegory continues the company’s incomparable hot streak, and once again raises the bar on a genre that they seem to constantly refashion with each new release.
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Wanted
In a close tie with the film following it, Russian filmmaker Timur Bekmambetov’s US debut is nothing short of breath-taking. Sure, it borrows liberally from both The Matrix and Fight Club, and avoids most of the mythology created by the narrative’s graphic novel origins, but when the action is as amazing – and stylish – as what’s offered here, how it got there is not that important.
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Iron Man
Jon Favreau has always been a fascinating filmmaker, but this excellent adaptation of the second-tier comic hero finally announces his ascension into the big leagues. Blockbusters don’t get more vital than this terrific take on the saga of Tony Stark and his transformation from weapons dealer to crime fighter. With Robert Downey Jr.’s revelatory performance in the title role, a new franchise is born.
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Kung Fu Panda
Amazing – two excellent CGI efforts in less than two months. Pixar’s place was more or less a given, but who knew Dreamworks could up their game this way. Relying more on the Shaw Brothers and the entire martial arts genre than overly cute comic characters and pathetic pop culture references, this delightful adventure is one of the best kung fu films of all time – animated or not.
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Indiana Jones and the Kingdom of the Crystal Skull
After 16 years, there were a few cobwebs. And George Lucas’ manipulative future marketing stratagem is smeared all over the screenplay (less Marion – more MUTT!). Yet thanks to the always reliable skills of one Stephen Spielberg, and the man’s limitless sense of wonder, everything here works. While circumstances are set up to continue the franchise, let’s hope this is Dr. Jones’ last adventure.
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The Incredible Hulk
If you’re counting dollars, this revamp of Marvel’s big green monster man is doing as well (or slightly less gangbusters) than Ang Lee’s 2003 version. But fans are far happier with Louis Leterrier’s take on the tale of Dr. Bruce Banner and his out of control cellular structure, and that’s all that matters. Oddly enough, Edward Norton makes a good popcorn protagonist.
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You Don’t Mess with the Zohan
Another summer disappointment – another misunderstood gem. Adam Sandler’s misguided Middle Eastern character may be too inside for mainstream moviegoers (reportedly, Israelis LOVE it), but the invention offered here puts other examples of so-called big screen comedy to shame. Besides, any movie that can re-sexualize Lainie Kazan (oh so smokin’ hot in the ’60s/’70s) deserves a special reward.
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The Chronicles of Narnia: Prince Caspian
There’s a lot of blame going around both within and outside the Narnia camp. This film failed to match its predecessor’s box office figures, and everyone has a theory as to why it didn’t deliver. Here’s a possible answer – the movie was subpar Lord of the Rings flash fantasy. With a plan to make the remaining five films still a go, here’s hoping things improve dramatically.
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Get Smart
Producers, pay attention. Steve Carrel may just be the next big office draw. So far, in two summers, he’s elevated a pair of miserable, mindless comedies into turnstile twists. While no one will trumpet Evan Almighty‘s cost benefit ratio, Smart will sit pretty as a sizeable hit – and for no other reason than The Office actor’s graduated good will. The movie’s awful, after all.
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The Strangers
Dull, derivative, and never as inventive as it thinks it is, the only thing terrifying about this home invasion hooey is the number of people who actually declare it a legitimate thrill ride. Fear is like humor – everyone has their own tolerance/preference level. Clearly, some people are scared by this formulaic fright. As genre efforts go, it’s all bark and no bite.
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Sex and the City: The Movie
This movie may just signal the next phase in moviemaking and marketing. Take a show with limited appeal, make sure you keep the fanbase clued in on a possible big screen reunion, advertise the update as the second coming of sophisticated urban girl power, and watch the receipts roll in. No need for broader audience appeal. Playing to an underserved demo will overcome the weakest of cinematic elements.
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What Happens in Vegas
If the RomCom is really dead, it’s a movie like this that is dancing all over its freshly dug grave. Cameron Diaz continues her decent into Meg Ryan’s career, and Ashton Kutcher elevates his smug smarm attack into something akin to inverse cool. Together, they play mismatched mercenaries trying to outwit each other for a million dollar jackpot. Turns out they’re unarmed, wit wise.
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The Happening
Hello hubris! This is either the biggest joke ever perpetrated by a one time rising filmmaker on a gullible fanbase, or a really large b-movie turd. Either way, this supposedly scary R-rated thriller about plants paying humans back for their lack of environmental focus is just plain dumb. Nothing about it works, and by the end, it just gives up.
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The Love Guru
It’s been six years since Mike Myers brought his particular brand of live action comedy to the screen, and it now feels as dated as a mean spirited minstrel show. Everything here is pitched to a lack of audience sophistication, and in an era where Judd Apatow’s slacker farces find undeniable hilarity in the horrors of real life, this crotch level cleverness is dated…and disgusting.
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