The Leader

Issue date: 1/23/08 Section: Film

A cynic might tell you 2007 had a dearth of quality films. That same cynic might suggest that 2008 looks no better. Well, this cynic would argue that other cynic is a bitter, sour jerk. Last year had a few shining examples of quality cinema (The Darjeeling Limited, anyone?), and this year we can look forward to a multitude of fresh content promising to keep you returning to the box office window.

Cloverfield (1/18/08)
As any fans of Lost might argue, J. J. Abrams, the programs co-creator and executive producer, is a master of mystery, suspense, and humanizing otherwise superhuman circumstances. In what he calls his American monster movie, Abrams leads us through a crumbling Manhattan via a handheld camera that follows the frantic escape of several everyday citizens as they attempt to figure out what is attacking the city and how to avoid falling victim to its carnage. The teasers have gotten quite a buzz on the internet, and by the time you read this, the monster's secret should be revealed. This could both rival Godzilla and King Kong as one of the greats in the monster movie genre, or it could end up an over-hyped, Blair Witch mess that fades into obscurity shortly after its release.

Be Kind Rewind (1/23/08)
Helmed by Michel Gondry, the brilliant mind behind The Science of Sleep, this film promises heaps of creativity, charm, and quirky, deranged humor. After accidentally erasing all the video cassettes in his best friend's rental shop, Jerry (Jack Black) must scramble to recreate each and every film from scratch. Using low-fi video equipment, random junk, and the definition of human ingenuity, Jerry and Mike (Mos Def) not only remake some of history's greatest films, they also inspire a new revolution in grassroots filmmaking. If Gondry's past efforts are any indication, Be Kind Rewind ought to be an instant cult comedy classic.

Synecdoche, New York (N/A)
With films such as Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind under his belt, Charlie Kaufman's cinematic resume speaks for itself. Like his previous films, Kaufman's Synecdoche features a protagonist with a troubled creative mind, this time a theater director named Caden (Philip Seymour Hoffman), who attempts to create a brutal and honest play by reconstructing New York City inside of an empty warehouse and forcing all his actors and actresses to live out their character's lives within the fictional set. Synecdoche, similar to Kaufman's previous gems, plays with the notion of reality and explores the twisted, neurotic psychologies of its characters. As an undying fan of Adaptation's brilliant depiction of a self-deprecating, anxiety-ridden writer, I am more than excited to see how Kaufman's latest project turns out. That is, if it gets a release before the end of the year.

Harold and Kumar: Escape from Guantanamo Bay (4/25/08)
No, not all films have to have be artistic, present some philosophical or political thesis, or command our tears and sympathies by evoking history changing events. Some films are just about guys who like to have a good time and, okay, sometimes get car jacked by Doogie Howser. Some films are just funny. The brow might be knee-high on this one, but if it continues the brand of sick, whimsical, and spot-on drug culture humor the original debuted with, the next Harold and Kumar might be the perfect guilty pleasure film of the year.

Choke (N/A)
For all those who have read the novel, there is nothing more to say. On a budget of just $3.4 million, Choke has the potential to be the indie scene's answer to Fincher's 1999 fan favorite Fight Club. Then again, on a budget of just $3.4 million, it also has the potential to be on par with BBC Theater's appalling renditions of classic literature. Cross your fingers, Palahniuk fans.

Hellboy 2: The Golden Army (7/11/08)
For those who have seen Guillermo del Toro's visually stunning Pan's Labyrinth, you know the exceptional talent he has for careful and aesthetically pleasing storytelling, and it appears that trend will continue with the sequel to the film del Toro also helmed, Hellboy. In Hellboy 2 the world is once again threatened by evil mystical creatures bent on destroying the human race; naturally, only Hellboy and his ragtag gang of supernatural sidekicks can stop this impending threat. Okay, so the story stays true to its comic book roots. That's not necessarily a bad thing. It's just not a great thing. The important thing to consider here is that the first Hellboy was actually a good superhero movie. That kind of phenomenon is not easily ignored and tends to occur only when certain planetary bodies are perfectly aligned. Oddly enough, another superhero film landing this year looks to be equally impressive, proving not all comic adaptations have to be as nauseating as Daredevil. Of course, I'm referring to . . .

The Dark Knight (7/18/08)
Having established himself as a quality filmmaker with Memento, Christopher Nolan went on to recreate the world of Batman, a world adroitly crafted by Tim Burton on the silver screen before being mutilated by other, less adequate, directors. With Batman Begins Nolan proved he has what it takes to handle what is arguably a sacred franchise to its legions of fans. In this intelligently titled sequel -do we really need to slap the number two after everything? - The caped crusader again comes face to face with his arch nemesis, the Joker, this time played by Heath Ledger. The result is an epic battle on the streets of Gotham City between a bat and a clown, each with a persona inversely related to their stance on good and evil, justice and crime. Nolan has gained the trust of Batman fans, and if he plays his cards right, he might come away with a sequel that even outshines the already revered original.

The Box (N/A)
Richard Kelly impressed a lot of people with his debut film Donnie Darko, which he wrote and directed. It proved he had a knack for unique plots, odd characters, and a capacity for clever social commentary. While he has not wowed audiences since, he maintains a status that is hard to dismiss. Although Domino, which he penned, and Southland Tales, which he wrote and directed, both failed to reach the level of critical acclaim that Darko found, his upcoming film, The Box, looks to be a return to the dark, strange, and magical combination that made his first effort so popular. After a mysterious box is delivered to the suburban doorstep of Norma and Arthur Lewis, they quickly learn that by pressing a button on the cube they will be granted untold riches. Unfortunately, they also discover that if they press the button, an unknown person will die instantly. With only a limited time to make a choice, they find themselves between a rock and a hard place. Continuing the mildly philosophical nature of Darko, Kelly again challenges his characters and his audience, forcing us all to think about what we might do in a similar circumstance, and whether or not allowing the death of a stranger somewhere in the world can be thought of as murder.

Guerilla/The Argentine (N/A)
Perhaps fatigued with the drudgery, fun as they may be, of the Ocean's films, Steven Soderbergh has dedicated himself to two films that follow a large portion of the revolutionary Che Guevara's life. While Walter Salles' Motorcycle Diaries revealed a younger, curious Guevara, Soderbergh's Che, played by Benicio Del Toro, will be knee-deep in the Cuban uprising and revolution before tackling his ultimately fatal work in Bolivia. Together, the two films cover some of the most important years in Ernesto "Che" Guevara's life. As a labor of love, and starring a notable cast, Guerilla and The Argentine will likely end up shining stars amongst the faux-activist, revolutionary crowd who strut about in their flip-flops proudly, their chest branded with the unfortunately exploited visage of one of the 20th century's greatest men of action. I, for one, am electric with anticipation.

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