Frank Langella and Michael Sheen in Frost/NixonSo you've got my 10 favorite movies and 20 least-favorite movies for 2008 ... but what about the 139 that landed somewhere in between?

Glad you asked!

 

Taraji P. Henson and Brad Pitt in The Curious Case of Benjamin ButtonTHE CURIOUS CASE OF BENJAMIN BUTTON

Visually arresting and wildly ambitious, The Curious Case of Benjamin Button is a tough film to dislike. But I'm giving it a shot anyway, because while director David Fincher's 165-minute opus is spectacular in lots of small ways, it's frustrating and fundamentally unsatisfying in much, much bigger ones. Given several days to reflect on the experience, I no longer hate the movie the way I initially did, yet I remain convinced that what could have, and should have, been a magical, lyrical piece of work is instead a graceless, obvious, and frequently maddening one.

Meryl Streep in DoubtDOUBT

Based on his Pulitzer Prize-winning play, writer/director John Patrick Shanley's period drama Doubt - set in 1964, and concerning a nun who suspects a priest of sexual misconduct with an altar boy - isn't much of a movie. Shanley's previous directorial effort was 1990's Joe Versus the Volcano, and it's a shame he wasn't able to get in more practice over the last 18 years; in an attempt to gussy up the visual blandness that accompanies most theatrical adaptations, Shanley opts for a series of high- and low-angle shots and symbolic thunder, lightning, and wind effects that oftentimes make Doubt resemble a satire of a low-budget horror flick. And it's still visually bland.

benjamin-button-small.jpgAs 2008 exited, withered and old and tired, The Curious Case of Benjamin Button was birthed into theaters, fully formed as a Best Picture favorite. Among the major contenders, it's the only conventional Oscar bait to have been given a wide release at this point. (Ignore The Dark Knight and WALL·E, which are first and foremost popular movies that just happened to garner a lot of passionate praise, and hence Oscar potential after they were released.)

slumdog-millionaire-small.jpgEarlier this month, I noted that no 10th-place-gross movie has ever won the Box Office Power Rankings title.

That's still true.

But Danny Boyle's Slumdog Millionaire ? which expanded to 589 sites this past weekend and landed in eighth place in overall box office ? could have finished in last place and still won this week's crown.

Jim Carrey and Terence Stamp in Yes ManYES MAN

It feels as though the teasers for Yes Man have been running since the first Bush administration, so I'm assuming everyone is aware of the film's 10-word comic premise: Jim Carrey always says "no," then learns to say "yes." If you're thinking the setup sounds an awful lot like the conceit behind 1997's Liar Liar, you're not wrong, and in his one-joke role as a depressed loan officer who decides to embrace life by acting against his natural impulses, Yes Man also requires Carrey to goose the proceedings with the sorts of rubber-faced buffoonery and "spontaneous" madness that the actor can pull off in his sleep. Unfortunately, that's exactly what he appears to be doing here.

delgo-small.jpgIf you've heard of the animated Delgo, it's most likely for its infamy. Opening this past weekend in 2,160 theaters, it barely grossed $500,000. Its per-theater revenue was $237, meaning that with an average ticket price of $7 and five screenings per day, a little more than two people showed up each time the movie was exhibited.

Needless to say, Delgo does not show up in this week's Box Office Power Rankings, won once again by Bolt, which is feasting on weak competition such as The Day the Earth Stood Still, a bomb that looks like The Dark Knight compared to Delgo.

This past Friday, larger movie markets saw the debuts of John Patrick Shanley's Doubt, Clint Eastwood's Gran Torino, and Steven Soderbergh's Argentinia epic Che.

Our market, meanwhile, only got The Day the Earth Stood Still, Nothing Like the Holidays, and Delgo.

Sigh. Let's dive in, then.

Jeffrey Wright in Cadillac RecordsCADILLAC RECORDS

At roughly 105 minutes, writer/director Darnell Martin's Cadillac Records is so jam-packed with character, story, incident, and musical interludes that it sometimes feels as though six or seven movies are being projected on the screen simultaneously. This is not meant as an insult. Films that overreach oftentimes give audiences too much of a fine thing, yet Cadillac Records is just enough of a really fine thing - a soulful, impassioned, beautifully enacted drama that delivers all the pleasures of the musical-bio-pic genre without the obviousness and sanctimony.

Adrian Brody and Jeffrey Wright in Cadillac RecordsCadillac Records opened this past weekend with a respectable $5,023 per theatre, and got good reviews. It came in second place in this week's Box Office Power Rankings behind only Bolt, the unstoppable force that nobody cares about.

But because it was only in 686 theatres, it couldn't make a box-office splash, earning $3.4 million overall and landing in ninth place. And because it was in 686 threatres, it was too big to be one-of-those only-in-major-cities movies that generate buzz and huge per-theatre numbers. (Think Milk.)

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