It's that time of year again and, as always, I'm starting with the worst list and putting the entries in reverse order. I also have the strange Golden Globe nomination issue again this year, by which many of the films that are more likely to be considered for 2008's awards haven't come out in the UK yet. Last year it was 8 out of 13 Golden Globe (Best Picture) nominees I hadn't seen yet at this stage, and this year it's 6 out of 10. And the 4 I have seen are all from the Comedy/Musical category, so not a single Best Drama nominee has been released in the UK yet. So, yet again, we're most likely going to be spoilt for choice come January and February. As a final point I should say that some of the summaries do offer one or two spoilers, so avoid reading the ones for films you haven't seen if you don't wish to have them spoiled.


The Worst 10

The number of films I awarded 1 star was slightly down this year from last, though there were some absolute stinkers among them. Two films deserve the title of dishonourable mentions; those just not quite bad enough to be included on the full list. And those two films are Four Christmases and My Best Friend's Girl. What is particularly interesting about these films is that they share so many similarities. Broadly speaking, they are both romantic comedies. They both feature unpleasant characters and poor material, and they both had usually capable comic actors putting in poor work.

10. Love in the Time of Cholera

Was there a duller film this year than this chore from director Mike Newell? There have been worse films in 2008, but few can match this epic slog through a 19th century Columbia for sheer boredom. There's a solid cast on offer but they all make an absolute meal of it, including the Oscar-winning Javier Bardem. As an actor he seems to run almost completely hot or cold in any given film, and this was him on one of his chillier days. His awkward, annoying and unsympathetic performance epitomised the film's complete lack of emotional involvement with the audience. The only people who should watch it closely are make-up artists, so they can learn how not to make young actors look older.

9. The Accidental Husband

It's becoming something of a common thing for Colin Firth to be one of the few saving graces of the films he features in. This is a combination of him being both a charming and funny actor, and him continuing to select absolutely dire projects to be involved in. Moreover, whoever was responsible for the casting of Uma Thurman in the lead role should think about picking another career. A talented actress for sure, but one without almost any natural warmth or romantic allure; a problem made even worse by the general horribleness of the character she plays here. She can play sexy, but I'm unconvinced by her attempts to play nasty characters who become loveable. This film is a mess, and the worst romantic comedy of the year.

8. 88 Minutes

You get the impression when watching 88 Minutes that there might, just might, be a good film in there somewhere. You don't see any of it, but you suspect that with more competent hands in charge of the thing the results probably would have been different. As it stands though, it's an hour and half of watching Al Pacino on cruise control as he stumbles into a plot you don't give a fig about. It's an hour and a half of watching him ham into a mobile phone, and run around with his old lady hair bouncing all over the place. And then after that hour and a half, we are treated to quite possibly the worst five minutes of acting of the year, when Leelee Sobieski is unveiled as the killer. When I was 5-years-old I played a shepherd in a nativity play, and I had one line which I shouted too loudly and fluffed at the end. But I was still better than she was in this.

7. Welcome Home, Roscoe Jenkins

If I went to Hollywood with a script in which a load of black stereotypes spent nearly two hours swearing at each other, being loud, and which wasn't funny in the slightest, I'd - rightly - never get an opportunity to work there again. And yet someone, somewhere, saw the script for Welcome Home, Roscoe Jenkins and thought it was an excellent idea for a film, despite it being exactly the same as mine. Stereotypes can be funny, but the ones this film features are just lazy, and a white film-maker would have been absolutely pilloried had he or she relied on them for jokes. Rumour has it that in 2009 Martin Lawrence is going to put the fat suit on to play Big Momma once again, and in many respects that will probably represent a rung up on the quality ladder after this debacle.

6. Prom Night

Prom Night has been on the lists of quite a few reviewers and critics this year but, unlike me, most of them have had it at the top - or very close to the top. It's a bad film whichever way you want to look at it. Leaving aside the moderately pleasant young cast, it's not scary, it's full of logic gaps, its characters are thin, and it has clearly been made for a young teenager crowd. However, it's almost as though the things that make it bad also make it somewhat forgettable. Because the film is so half-hearted, so bland and so uneventful, it doesn't stick in your throat in the way that only really bad horror films often can.

5. Meet the Spartans

Saying that this is probably Jason Friedberg and Aaron Seltzer's best film since they stopped having anything to do with the Scary Movie franchise is very faint praise indeed. But, on balance, it's also true. Although awful, and packed with all the usual rubbish that makes their films so detestable to many, Meet the Spartans has more jokes that work in it than pretty much all their other recent films put together. We're still talking single digits here, but it's a start. However, Friedberg and Seltzer should read the rest of this list before they start celebrating.

4. Pathology

This slot on last year's list was taken by Captivity, so it's somewhat fitting for a film which has so much in common with it to feature here again. Like Captivity, Pathology seems to believe it's being edgy. With its mercilessly cold characters, its endless gore, and its continuously brutal behaviour, it sits there smugly assuming that it has hooked the audience. But in reality the excess violence neuters its effectiveness and the characters are either unintentionally comic or not worth caring two figs about. I don't think Pathology ever got a wide release in the US, which is both excellent and a shame. It's good because it meant fewer people saw it, but it also stopped it getting the sort of widespread drubbing it really deserved.

3. The Happening

And so the continual decline of M. Night Shyamalan's credibility continues. Once the darling of critics and painted as the next Hitchcock, Shyamalan now seems to be attempting to get himself out of a hole by digging downwards. The Happening has actually encouraged a certain degree of debate, with some arguing that it is supposed to be a complete joke; in the style of old B-movie horrors. It's not an argument I buy. There is evidence of Shyamalan having some fun in the film, but it's the moments which are - without doubt - meant to be serious which are actually the most amusing. Whatever goodwill Mark Wahlberg generated with his good turn in The Departed has essentially evaporated with his performance here as well. It's an absolute stinker, and only really worth seeing if you want to play some sort of laugh-related drinking game.

2. The Love Guru

And speaking of embarrassing declines, here is Wayne Campbell and Austin Powers himself - a man once compared with Peter Sellers - mumbling his way through a tired, unfunny and useless mess of a film. There's something positively tragic about watching a gifted comic actor like Mike Myers giving such a half-hearted effort in a film that feels like recycled scraps from his back catalogue. The Love Guru represents Mike Myers's first in the flesh appearance on screen for five years. Had he not recently been cast in Quentin Tarantino's upcoming WWII film - Inglourious Basterds - I think it's likely that we would have seen him disappear for another five years so that he could get his act together.

1. Disaster Movie

I came very close to missing Disaster Movie's theatrical run. I was away the week it came out, had too many intervening films to see in the weeks afterwards, and caught it the final day of the final week it was showing in most cinemas. And, in a way, I'm glad I did manage to see it. Disaster Movie really takes the Friedberg and Seltzer approach to film-making to a new level; of ineptness. It's not just the painfully unfunny jokes, the amateur acting and the awful production values; this is a film in which effort is almost entirely devoid. There's no plot, no story; it's just characters and things you remember from the previous year of film getting hit by stuff. It's my least favourite film of the year, and also happens to be Friedberg and Seltzer's worst film; which I think says something about how bad it really is.


The Best 10

There was plenty of competition for places on the list this year, not least because I thought certain genres enjoyed their best year in a while. So on that front you'll notice quite a few film on the list are from similar genres. As always though, I'd like to mention a few honourable entries that didn't quite make it into the final list. First of all, we have WALL-E. It remains the Oscar favourite, but it wasn't my favourite animated film of the year. That said, had the second half been as strong as the first it would have been in the top half of this list. Then we have Son of Rambow which was comfortably the best purely British film of the year. And in the final honourable slot I have picked the charming and exciting The Spiderwick Chronicles which I hope, at the very least, will pick up a nomination or two for its visual effects.

10. Iron Man

We get off to a good start with the second best comic book film of the year. In what in many ways has become the year of Robert Downey Jr., here we see him breathe real life into both a difficult character to play and a film which does have a few weaknesses. His charming personality, combined with his comic ability, makes his Tony Stark into one of the more memorable comic characters we've seen on the big screen. With a strong supporting cast and some fine cosmetic elements this time around, my hopes are high for the likely sequel. I gather there are some issues between director Favreau and the studio that are yet to be resolved, but in theory we should be in for a cracking follow-up.

9. Kung Fu Panda

I realise I'm in the minority, but I preferred Kung Fu Panda to WALL-E. The latter is still the hot favourite for just about every award going, but I'm sticking to my guns here. I even watched them both again to be sure of my decision. This isn't just the prettiest animation Dreamworks have ever produced; you could also make an argument for it being the best in other respects. I think it actually gives Shrek a run for its money in terms of which film is the more amusing. The casting of Jack Black in the main role was an inspired choice, and the supporting voices are generally very good as well. It might not be as refined as WALL-E, but Kung Fu Panda sets out its own terms and follows them to perfection.

8. In Bruges

The only way to have a more bittersweet experience than watching In Bruges would be to eat a bag of lemons dipped in sugar. But what is interesting is how the film's bittersweetness is actually a strength; it handles its more dramatic elements better than most films like it ever manage. And, on top of that, it's absolutely hilarious. The only problem I had was with some rather ugly conveniences and twists that really start to stack up as the film tries to conclude. Both Colin Farrell and Brendan Gleeson have received Golden Globe nominations for their performances, which is something I mentioned in my original review. These nominations are highly deserved; the only real shame being that they can't both win.

7. Charlie Wilson's War

This was one of the first films I saw in 2008, which was actually so long ago I had to rent it to remind myself of its strengths. It got plenty of nominations at the Golden Globes earlier this year, but just a lone one for Philip Seymour Hoffman by the time the Oscars rolled around. I think what makes it work is its accessibility. Rumour has it that Aaron Sorkin's script was heavily modified to make the film more palatable for all, but whether that's true or not the end result is very good indeed. It balances the political elements nicely alongside what is both a very serious and very amusing little story. Throw in some great performances - including the terrific Hoffman - and you have one of the most distinctive films of 2008.

6. Tropic Thunder

You have to hand it to Ben Stiller. Tropic Thunder had been the focus of heavy media attention almost since filming began, largely because of the controversial casting of Robert Downey Jr. as a white actor playing a black character. And when I say controversial, what I mean is 'idiots who didn't understand the film got all pissy'. So it's really quite amazing that, even aside from the brilliance of that performance, the film both met and exceeded expectations. It was a combination of so many elements that made it work; from its characters to its sharp dialogue; from its knowing sense of humour about Hollywood to some great cameos. It was just a comedy in which everything clicked, and I'm pleased that both Downey Jr. and Tom Cruise have picked up Golden Globe nominations for their efforts.

5. No Country for Old Men

Winner of four Oscars at the 2007 ceremony - including Best Picture, and beating my choice of Atonement in the process - the Coen brothers' film is a moody, atmospheric and incredibly tense motion picture. I confess the Coens are a bit hit and miss with me, but this was most certainly a hit. Dominated by the menacing performance of Javier Bardem as hitman Anton Chigurh, the film won plaudits and awards across the world. I have to say I still have issues with some elements in its final third, but the film's strengths are undeniable. I'm sure its more ardent admirers would like to see it higher, but 5th best out of around 150 films isn't bad going.

4. Gone Baby Gone

The reasons why Gone Baby Gone wasn't with us until June - despite a planned released date in 2007 - are well known, but I'm going to repeat them anyway. The film was delayed because of the Madeleine McCann case that dominated European media in the summer months of 2007, and I have said many times that this was a daft reason to delay it. But as I said in my review, the film was worth the wait. Ben Affleck has endured a rocky few years of late, but with his performance in Hollywoodland and his helming of this tense, thrilling and compelling film, he looks well on the road to recovery. Assisted by a strong and authoritative cast, this is the sort of film Hollywood should be so good at making almost by default, but at which they have tended to disappoint in recent years.

3. Cloverfield

Cloverfield was the first real event film of the year. With its content relatively shrouded in mystery, and a viral marketing campaign that seemed to go on forever, it seemed to split both viewers and critics alike - though it has to be said that more people ended up on the favourable side. As a cinematic experience, it was second to none this year. It smashed your ears in, transfixed your eyes on the screen, and even made you jump on a few occasions. There have been films with better acting and which have told better stories in a more compelling fashion. But if ever there was a film this year that was designed to be seen on a big, looming screen, Cloverfield was it. I have actually refused to see the film on DVD because I'm convinced the experience won't be nearly as good.

2. Body of Lies

There hasn't been a film this year that has been more ridiculously neglected and ignored than Body of Lies. It's a tight, entertaining and relentlessly absorbing thriller featuring two of the best actors of their generations. It's a great film from a visual standpoint, and features strong acting across the board. And yet people didn't see it, the critics weren't impressed, and it's currently running for nothing in the awards we have seen announced so far. I have already touched on the likely reasons for this in my review, so for the purposes of this list I will simply plug it again for anyone who hasn't seen it already. A very rewarding film, and one which I thoroughly enjoyed. And if it isn't - at the very least - nominated for some editing awards I'm going to have a mild internal explosion.

1. The Dark Knight

I said earlier that 2008 was the year of Robert Downey Jr, but in all fairness he really shared it with Heath Ledger. The Australian had just finished shooting his final scenes for The Dark Knight when he died of an accidental drug overdose back in January. It was a death that wasn't just surprising, it also robbed us of someone who looked like he was destined for great things. Whether he'll win any awards for his final performance is hard to say, but trophies and gongs are not the only sign of a great bit of acting. And that's what this is - a great bit of acting in a great film. It's a brooding, disturbing, powerful and gloriously epic superhero film; on a scale that few, if not any, have ever matched. This is the second year out of three that I have picked a superhero film to occupy the top slot on my list. The difference this year - as opposed to when I picked the excellent Superman Returns back in 2006 - is that a lot of other reviewers and critics have done the same. I hope that it will at least be nominated in the serious categories at the various upcoming award events, even if it doesn't win. But wouldn't it be glorious if it did?


As always, I hoped you enjoyed reading this, and I'd like to remind those angry people who complain to me about what I write that it's all just my opinion. In 2009 it's likely FilmJudge will experience a few changes in the way it operates, but more on that in the weeks ahead.

© David Mercier
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