The Boy in the Striped Pyjamas (2008)

Written and directed by Mark Herman, this is an adaptation of a novel by John Boyne set in Poland during World War II. 

The eight-year-old son of a Nazi officer disobeys his parents and befriends a child held prisoner in a death camp. The story hinges on the boy not understanding what the place is (he thinks it’s a “farm”), and it’s painful to see the consequences of his naivety play out to their inevitable conclusion. 

Vera Famiga isn’t at her best playing the child’s mother, and David Thewlis doesn’t really excel as his Nazi father. It’s a somewhat simplistic account of events that seems geared towards younger viewers. And it was criticised for framing the tragedy around the officer’s family rather than the wider tragedy of the true victims of Nazi persecution.

Vantage Point (2008)

A so-so political thriller that’s built around an interesting idea. We see the events leading up to (and away from) an assassination attempt on the US president at an engagement in Salamanca, Spain. The film adopts various perspectives, and we see the same action played out again and again from the "vantage point" of different characters.

Dennis Quaid, Matthew Fox, Forest Whitaker, William Hurt and Sigourney Weaver all feature, but there’s too little character development and too little dialogue for us to get much of a sense of any of them. Weaver in particular is underused, as if she only had a day available for filming and did it as a favour to the director (Pete Travis). 

I was expecting a mind-bending plot twist that never arrived, and overall it’s oddly unsatisfying.

Doubt (2008)

Compelling drama adapted from the stage play by John Patrick Shanley. 

It’s 1964. At a catholic school, the priest, Father Brendan Flynn (Philip Seymour Hoffman) is slandered by Sister Aloysius (Meryl Streep), who accuses him of an inappropriate relationship with a black student. Meanwhile, a young and impressionable history teacher, Sister James (Amy Adams), is inadvertently drawn into this tangled mess.

Viola Davis plays the child’s mother with depth and empathy. 

It’s fascinating stuff, and you are quickly drawn in by Streep’s intensity as a terrifying, vindictive, almost witch-like fanatic.

I felt slightly disappointed by the ending, although I’m not sure how else it could played out.

Bitter & Twisted (2008)

Written, directed by and starring Christopher Weekes, this is a brilliant Australian drama with flashes of comedy. 

A couple struggle to come to terms with the death of their son, whose brother and ex-lover have also been profoundly changed by the bereavement. 

It’s terribly sad: you see a family trying and failing to make sense of the inexplicable, losing themselves in overeating and off-the-rails behaviour. It’s a low-budget affair that works brilliantly because the script is so sharp. 

The acting is superb. The only thing that doesn't quite work is the title, which somehow isn't right.

Gran Torino (2008)

Excellent drama directed and produced by Clint Eastwood, who stars as Walt Kowalski, a grumpy, racist old Korean War veteran who slowly begins to confront his prejudices. 

Eastwood is ideal in this role, which is perfectly tuned to his career-long preoccupations with violence, machismo and protocol. 

Bee Vang and Ahney Her are excellent as the Hmong teenagers living next door to him in Michigan. There’s humour and compassion in the way that Kowalski first clashes with them and ultimately wants to defend them from the forces of oppression that he sees taking over America.

Sunshine Cleaning (2008)

Absolutely superb drama. 

Sisters Rose and Norah (Amy Adams and Emily Blunt) go into business clearing up after suicides and murders. This, in turn, leads them to contemplate their own mother’s suicide and how it has affected their lives and social interactions. 

Various sub-plots are expertly woven in, involving their father (Alan Arkin) and other relationships. Especially good is Mary Lynn Rajskub as Lynn, who Norah follows and then befriends after she learns that she too is the daughter of a suicide. (Director Christine Jeffs also directed Sylvia, suggesting that female suicide is a recurring theme in her work.)

The writing is subtle and sophisticated. There’s real warmth in the acting. Amy Adams delivers an incredibly sensitive and nuanced performance. You really feel what she’s feeling because she makes it seem so believable. 

It’s gently funny, as well. A real gem.

Definitely, Maybe (2008)

A sweet and tender romantic drama directed by Adam Brooks. 

A young girl (Abigail Brealin) quizzes her political consultant father (Ryan Reynolds) about his love life prior to her birth and his subsequent divorce. In flashback, we see three interconnected romance stories – his relationships with his college sweetheart (Elizabeth Banks), a friend she had a brief fling with (Rachel Weisz) and a fellow worker on the Bill Clinton political campaign (Isla Fisher). 

Structurally, it’s reminiscent of a Woody Allen film and could even be seen as a sort of homage. In lesser hands it could have been formulaic, but it’s actually very touching. I found it romantic and hugely enjoyable. 

The closing theme, Badly Drawn Boy’s ‘The Time of Times’, strikes exactly the right note of reflection and poignancy.

In Bruges (2008)

Directed and written by Martin McDonagh, this is a drama that also functions as a black comedy and a tense thriller. 

Two hitmen (Brendan Gleeson and Colin Farrell) travel to Bruges to await instructions for their next job from their boss Harry (Ralph Fiennes). While passing the time as would-be tourists, they try to come to terms with who they are and what they do for a living – until a call from Harry changes everything. 

It’s brilliantly written – a superb character study with some very funny lines. It’s also extremely sad, as we see the pair wrestling with their consciences and questioning whether they are entitled to strive for a better kind of life.

Mamma Mia! (2008)

Deeply strange film of the stage musical that’s built around songs by Abba. But whereas in the stage show the songs are all performed by the cast, the film mixes cast vocals with “pop video” sequences to jarring effect. 

It’s possibly the weirdest film I’ve ever seen. 

The flimsy “plot” is simple: a girl called Sophie (Amanda Seyfried) is getting married and wants to invite her father. But she’s unsure which of three possible contenders he is. So she invites them all to the Greek island hotel owned by her mother in order to find out.

Meryl Streep is surprisingly good in the main role, and sings pretty well. Pierce Brosnan comes across oddly and sings badly. Colin Firth is likeable but given little to go on in terms of the script. 

Most notable are the visuals. The lighting doesn’t look real and I don’t think it’s even meant to. It creates a kind of multi-coloured hyper-reality of its own. Some of the casting is peculiar, too. Julie Walters seems an odd choice for one of Streep’s best friends, and her “fun-loving” character is coarse and difficult to endure. Even worse is Sky (Dominic Cooper), Sophie’s unappealing fiancé.

I spent most of the film in shock, unsure what I was meant to be thinking or feeling. The Abba songs are great, of course, but did they need to be used to soundtrack a fairly banal romantic comedy?

The Other Boleyn Girl (2008)

Trashy historical drama. 

Scarlett Johansson plays Mary Boleyn. Natalie Portman is her more famous sister Anne, the second wife of Henry VIII. The story details the two sisters and their ill-fated relationships with the king, who desperately craves a male heir. 

It’s a work of fiction, adapted from a novel by Philippa Gregory, rather than a slice of history. This allows it to explore what might have happened rather than what probably happened.

There are some entertaining moments. Portman is unusually strong in her role, while Johansson is typically weak. There are also solid performances by Kristin Scott Thomas and Eddie Redmayne. What lets it down is Eric Bana as Henry VIII. For the plot to work, he needs to be charismatic and magnetic. Bana is none of these things. You cannot believe that this rather weedy figure has so much influence because he completely lacks gravitas.

Milk (2008)

Biopic of Harvey Milk, who campaigned for gay rights in California until his assassination in 1978. 

Sean Penn is superb in the main role, with a fascinating twitchy energy and a set of mannerisms that make him incredibly watchable. Josh Brolin is excellent as Dan White, a San Francisco city supervisor and political rival. 

The assassination is referenced right at the start, so you know what’s going to happen. As such it’s painful to watch the film proceed to its inevitable conclusion.

Deception (2008)

Thriller. 

Jonathan McQuarry (Ewan McGregor) is a dull, socially withdrawn accountant who befriends Wyatt Bose (Hugh Jackman), a charismatic lawyer. Bose introduces McQuarry to “The List”, a secret club for people who crave the excitements of “intimacy without intricacy”. But it turns out that McQuarry is being scammed, and soon finds himself a murder suspect. Meanwhile, he falls for a mysterious woman (Michelle Williams) who goes missing. 

It’s tense and keeps you guessing. There’s a distinct Hitchcock influence to the plot, especially in the way we see McQuarry learn that everything he thought he knew was just an illusion devised to trick him. 

The three leads are all strong and McGregor performs better than usual, with more presence and a more believable character. The only thing that doesn’t quite convince is his character transformation. He’s too easily turned into a different kind of person for the final part of the story, which makes the ending seem a little silly. It’s also a shame that the plot thread about the investigating detective (Lisa Gay Hamilton) isn’t better developed.

Frost/Nixon (2008)

Historical drama detailing a celebrated set of 1977 TV interviews between David Frost (Michael Sheen) and US President Richard Nixon (Frank Langella). Adapted from a play by Peter Morgan, it’s directed by Ron Howard. 

The film focuses on the relationship between the two men, who undertake a sort of psychological boxing match as Frost tries to get Nixon to acknowledge his wrong-doing and law-breaking during the events that famously became known as Watergate. 

It has character and depth, with both men emerging as more complex figures than they first appear to be. 

One major anachronism is a character using the phrase “comfort zone”, which – according to the internet, was not coined until 2009. 

The only other flaw is that Frost’s girlfriend (played by Rebecca Hall) has very little to do. But maybe that’s intended as a comment on gender roles in what was clearly still meant to be a men’s world.

The Happening (2008)

Comically bad disaster film starring Mark Wahlberg and Zooey Deschanel as a couple on the run from a mysterious airborne virus that has something to do with wind and trees. 

The logic doesn’t really make sense. There’s a theme about planet Earth being angry at the way we’ve treated it. But the story can’t seem to tell the difference between the chemistry of trees and the weather that causes the wind that makes them move. 

The two stars are poorly directed and end up seeming laughable. It’s a shame because the premise – people in parks inexplicably kill themselves – could have been an interesting one. 

Somehow, The Happening grossed $163 million worldwide.

Slumdog Millionaire (2008)

The plot is a little tricky to explain, so here’s what it says on the internet: “A teenager from the slums of Mumbai becomes a contestant on the show ‘Kaun Banega Crorepati?’ When interrogated under suspicion of cheating, he revisits his past, revealing how he had all the answers.”

This clever premise allows us to see, in flashback, the life story of Jamal Malik (Dev Patel), his brother Salim (Madhur Mittal) and his friend and lover Latika (Freida Pinto). This includes being orphaned, being exploited by a gangster who blinds children so they can beg for him, and dabbling with the criminal underworld. 

It becomes incredibly gripping, as well as often painful to watch. The intensity is such that I felt quite shaken by the end of it. The DVD box has a quote calling it “the feel-good film of the decade”, but for most of the time it’s actually fairly dark and disturbing. 

Director Danny Boyle’s usual visual energy is in abundance. Initially I felt that his high-speed, high-colour treatment was trivialising the drama, but then I came to understand that this approach perfectly evokes Jamal’s lifetime of vivid recollections. It’s a memorable and often brilliant film.

Taken (2008)

Former CIA operative Bryan Mills (Liam Neeson) has to track down his teenage daughter (Maggie Grace) after she’s kidnapped by Albanians in Paris. (She’d gone to follow U2 on tour around Europe.)

There’s not a great deal more to it, beyond a lot of fighting and shooting. Director Luc Besson prioritises violent action over everything else. Fast edits and jumpy cuts give it a visual energy, but those effects soon become wearisome. Likewise, there’s something blunt and one-dimensional about the whole thing compared to the Bourne or Bond thrillers. It’s not subtle or sophisticated and it’s probably not intended to be. 

Neeson has a certain unlikely charisma, but his character – a tough thug who loves his little girl – isn’t very well developed. 

It’s arguably quite racist, and it’s morally all over the place, with Mills engaged in torturing villains while still being portrayed as one of the good guys. 

Two sequels followed but I’m not sure I need to see them. Then again, if I find them in another three-DVDs-for-£1 offer I might just be tempted.

Body of Lies (2008)

Intelligent Ridley Scott CIA thriller that’s extremely gripping. 

The CIA operative on the ground is Leonardo DiCaprio and his superior is Russell Crowe. They are attempting to track down a terrorist called al-Saleem. 

Mark Strong plays the head of Jordanian Intelligence. Oscar Isaac is a CIA field operative in Iraq. And Rahavard Farahani plays a nurse who DiCaprio falls for and thus endangers. 

All of these actors are superb in their roles. 

It’s a complex web of connections and locations. It’s extremely violent for a “15”, with scenes of torture and close-ups of shootings. The use of drone-sourced visuals gives it an appealing tech-heavy feel.

Passchendaele (2008)

Gruelling depiction of two battles in 1917. Paul Gross wrote, produced and directed, as well as starring as Canadian soldier Michael Dunne. 

The middle section details a love story involving Dunne and a nurse called Sarah (Caroline Dhavernas). Their relationship is complicated by her troubled brother David (Joe Dinicol), who Dunne vows to protect. The narrative wrestles with notions of responsibility and duty set against the redemptive possibilities offered by love. 

It’s moving and harrowing. The film faithfully depicts the gruesome mud bath/bloodbath that saw 5,000 soldiers killed in 16 days, and the battle scenes look all too real. Only one thing doesn’t quite convince: you can see sunny skies in the background, even though it’s permanently raining. I wondered if that was an aesthetic choice, but the “making-of” feature on the DVD confirms that it was filmed in Canada and that the “rain” was just water being sprayed over the set.

Man on Wire (2008)

Documentary directed by James Marsh that details Philippe Petit's iconic 1974 high-wire walk between the Twin Towers of the World Trade Center in New York City. Adapted from Petit’s own memoir, To Reach the Clouds, it reconstructs the complicated plans and schemes leading up to the big event. The narrative is presented like a crime story, introducing the various characters who worked with him – often against the law – to gain access to the towers and help make the carefully plotted sequence of events come together. 

Petit’s descriptions and recollections are fascinating, but he seems prone to a degree of self-mythologising. Perhaps surprisingly, it’s the accounts of his colleagues that really bring this story to life. It’s especially notable how emotional they feel about the wire walk – a moment that clearly took on symbolic significance beyond mere hair-raising spectacle.

Ghost Town (2008)

Ricky Gervais stars as Bertram Pincus, a mean-spirited English dentist in New York who briefly “dies” on the operating table. When he recovers, he’s suddenly able to see the spirits of dead people. Not only that, but these spirits also want him to communicate with their living friends and relatives to resolve a matter that’s keeping each of them in spiritual limbo. Pincus is pushed by dead businessman Frank (Greg Kinnear) to break up a relationship between his Egyptologist widow Gwen (Téa Leoni) and a pompous human-rights lawyer (Billy Campbell). But inevitably he begins to fall in love with her. 

It’s not a bad premise at all, but the problem is that it’s simply not very funny for the first half. It improves considerably in the second half as the surreal ghost story resolves into a romantic comedy. But throughout the story, Gervais seems somewhat miscast and he’s far less funny when he’s reading other people’s lines. 

Kristen Wiig is entertaining as a surgeon who’s preoccupied with her fake tan, and the brief scenes with her tend to come alive. 

The film works round to a satisfying conclusion despite some annoying music (romantic scenes are more affecting with instrumental tracks than with someone singing “earnestly”), but it’s uneven and could have been so much better.