2008 Leaman Awards: Superlatives (Web Edition)

Most Disappointing Film of the Year
“Given to the film that falls the farthest below its expectations”
Winner: Synecdoche, New York
Runner-Up: The Curious Case of Benjamin Button

Comments: Writer/Director Charlie Kaufman is one of the best screenwriters working in Hollywood today, and his previous two films (Eternal Sunshine of the Spotless Mind & Adaptation) are two films that I own and watch on a consistent basis. However, the usual depth and wit present in a Kaufman film has worked against me in Synecdoche, because I just don’t understand the film. What makes it the most frustrating and disappointing for me is that I can’t tell if there is a whole world of depth to the film that is beyond me, or if I really do fully get the film, and that’s all there is to it.

Most Surprising Film of the Year

“Given to the film that soared the highest above its expectations”
Winner: Kung Fu Panda
Runner-Up: Rachel Getting Married

Comments: Outside of Pixar studios, Dreamworks is the only studio to put out quality animated films on a somewhat consistent basis; but that still didn’t keep me from having low expectations for Kung Fu Panda (in fact I didn’t even plan on seeing it). So it was to my surprise that Kung Fu Panda turned out to be a splendidly fun animated film. Kung Fu Panda features some lovely animation, a simply told story, and a real passion for the kung fu genre. It has all the lightness and charm of The Emperor’s New Groove combined with the kinetically choreographed action of The Incredibles, a true surprise.

(I chose this poster because it looks like Wall *E is saying, "Why pick on little ol' me")

Most Overrated Film of the Year
“Given to the Film that is consistently cheered when it should be jeered”
Winner: Wall *E
Runner-Up: Forgetting Sarah Marshall

Comments: How on earth do I put one of the year’s most critically acclaimed films as overrated? Certainly Wall *E is a decent story as well as a true triumph of art direction and sound design; but as anything deeper than a cute robot love story, I think it ultimately fails (and I realize how much it really is "I", as most of the world disagrees). I felt that while Wall *E’s basic storyline was entertaining, its underlying themes (anti-corporation, anti-consumer, and that humans are inherently lazy) and accusations against human nature not only rang untrue, but miss the truth about humanity all-together. Much like Slumdog Millionaire, I felt Wall *E is a competent and compelling story, just not one to think about too much.

Most Underrated Film of the Year
“Given to the film that is consistently jeered when it should be cheered”
Winner: Speed Racer
Runner-Up: Traitor

Comments: Lampooned by both the critics and the populace alike, Speed Racer was one of the biggest flops of the year. Several critics called it headache inducing and simply labeled it just another special effects laden film of the OCD age. To say that is to really miss the originality and creativity of the film and the genius that the Wachowski brothers brought to Speed Racer. On display here is a comprehensive new perspective on putting a film together; the writing, the editing, the cinematography, and most of all the direction perfectly cohere to compose a truly unique cinematic film. Aside from the creativity and the uniqueness of the film, it really is an enjoyable movie, with a great message about the importance of family. I hope the world gives this film a second chance, for its one of the standout films of 2008.

Synecdoche, New York Review

Overall Grade: C+

It’s hard to review a movie like Synecdoche because the film is (even after my very best efforts) nearly indecipherable. Just twenty minutes in and the film already begins to tip us off that there will be some time twisting and funny tricks going on, but what eventually happens in the film is not at all what I was expecting. The time twisting isn’t in the flavor of Tarantino, Nolan, or even something Gilliam would do, its time twisting that doesn’t serve any purpose storytelling or narrative wise, its primarily thematic and character driven.

In other words, Philip Seymour Hoffman’s character says its only been days since his wife left him, when other characters say its been over a year. There are several instances where the movie plays with the ages, voices, and names of characters in order to achieve this same goal. One of the character’s houses are on fire during the duration of the film, something that is never made mention of by anyone at anytime. Is this because Hoffman was drugged like in Fear and Loathing in Las Vegas or in a coma, or like in A Beautiful Mind to give us insight into how a disease works? Clearly not. So what exactly is it for?

This is probably the most frustrating aspect of the film for me. I don’t necessarily think that films should spell out completely what it is about, but at the same time, I don’t think that the film should feel so indecipherable and insular that it remains distant and hard to engage. Synecdoche definitely leans heavy on the undecipherable side. Clearly, there is a strong sense of nihilism that runs strong through this film. In fact, its this theme of nihilism that gives me my strongest Rosetta stone in trying to understand it. I feel like the movie is telling us that most of the things we experience in life (falling in love, falling out of love, grief, fear of death, selfishness, desire to love our kids, disappointment with others and life) is in reality vane and pointless. Synecdoche is not a film that endorses a nihilistic set of morals (although one could be extracted from it), but is more content to examine the meaningless of life and interpret it artistically. In this way, I think the movie has great merit.

However, your humble Part-Time Critic is more than willing to concede that there is probably much more merit to the film than I give it credit. In fact, there is probably mountains and mountains of meaning and purpose behind everything in the film. I, unfortunately, am not able to discern it.The fact that the movie doesn’t present a typical narrative and typical characters that presented me with a few likable features to them makes me hesitant to re-visit Synecdoche. It’s a disappointment for me because I am such a big Charlie Kaufman (he’s the writer of Synecdoche), with Adaptation and Eternal Sunshine of the Spotless Mind being two of my favorite films.

I’ve read several reviews that call it a masterpiece and a new achievement in art. If that’s true (and it probably is), then it’s one of those odd abstract paintings that people read so much into, yet remain remote and messy to me. If any of what I have said sounds interesting to you, then I recommend a viewing. In fact, a good rule of thumb might be David Lynch’s Mulholland Drive, if you liked that, then you’ll get a kick out of this!

Anyone else seen this film that can help this Part-Time Critic out? Your thoughts are most welcome!