2008: A summer of bats, ‘bots and bros

Iron Man

One of the most successful blockbusters of the summer, “Iron Man” has special effects and gadgetry that are more than justified by Jon Favreau’s tight script. But what really makes the film great is Robert Downey Jr.’s witty, uncommonly human take on the iconic superhero and his real identity, billionaire playboy Tony Stark.

— Chad Robinson


Wall-E

In “Wall-E,” Pixar’s latest ingenious animated feature, the lovable robot protagonist collects trash on an Earth long abandoned by human life. Although nonhuman, Wall-E has the drive to fall in love and inspire good with a passion that serves as an example to the bloated, self-absorbed humans who eventually find him. The presentation of technological dependency, mass consumerism and apathy makes it especially pertinent in this age of the Blackberry.

— Susan Xu


The Dark Knight

Director Christopher Nolan’s “The Dark Knight,” sequel to the already impressive “Batman Begins,” improves on its predecessor by miles. The film is blessed with a superb cast, most notably the late Heath Ledger, whose Joker is perversely enjoyable to watch.  The score shifts rapidly from eerie to thundering, perfectly complementing a screenplay filled with tension and emotional conflict. It’s a summer blockbuster experience that raises the bar for superhero movies and “popcorn” movies in general.

— Matthew Rogers


Frozen River

“Frozen River” is an indie that manages to create gripping suspense and a compelling story line without sex, foul language or graphic violence. Lead actress Melissa Leo gives a powerhouse performance as a desperate single mother who finds an unlikely source of income: human trafficking across the U.S.-Canadian border. Though a thriller, its subtlety and careful direction have won attention from the cognoscenti and even the sentiment-averse Quentin Tarantino.

— Abe Fried-Tanzer


Pineapple Express

“Pineapple Express” is full of potentially bad ideas. It’s the first-ever weed-action-comedy, it’s directed by David Gordon Green (“All the Real Girls”) and it stars notorious brooder James Franco. But it’s also written by Seth Rogen, who has proved that he can turn anything into a hit. The rollicking story of a process server and his dealer on the run from death-dealing drug lords is only superficial; the heart of the film is their friendship, which every explosion only strengthens.

— Annalie Gernert


Tropic Thunder

Lampooning everything from method acting and Oscar-bait to “Crunk Juice,” “Tropic Thunder” is a broad, exuberant satire. The tone is somewhere between “Hot Fuzz” and “Apocalypse Now” — a refreshing change of pace from a chatty Apatow comedy. Robert Downey Jr.’s black face pushed the envelope, and Ben Stiller’s “full retard” performance tore it in half, but the film survived to become something rare: an August hit.

— Yevgeniy Levich


Vicky Cristina Barcelona

In Woody Allen’s latest film, vacationing Americans Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) encounter the seductive Javier Bardem and his volatile ex-wife (Penélope Cruz) in a series of escalating romantic entanglements. Basically, everyone sleeps with everyone. Occasionally, the film feels hollow and uncreative, but ignore those moments, and it is sensual, smart and full of the melancholy resignation that marks so many of Woody’s best films. And to top it off, the scenery and the lighting are as lovely as the cast.

— Mel Zahnd