loosie: words: Cinema 2002

Cinema 2002

The year in movies.

by A. Rosenbloom | 2003.01.02

Unlike last year, this was a good one in the cinema. Though there was plenty of Hollywood trash to keep those trying to forget September 11th, the sinking economy, and our nimrod president occupied, the hit machine delivered a nice dose of art late in the year. Along with star making performances by Hollywood unknowns like Adrian Brody (The Pianist), Maggie Gyllenhaal (Secretary), and Viggo Mortonson (The Lord of the Rings) there were also performances that made us look twice at superstars. Adam Sandler redefined his man-boy role in Punch-Drunk Love and Jack Nicholson dropped the cool in About Schmidt, perhaps his greatest acting accomplishment yet. Well-known filmmakers regained our confidence, and there were some new faces that raised some eyebrows. Peter Jackson astounded once again with his second installment of his Lord of the Rings trilogy, and Spike Jonze proved that Being John Malkovich was no fluke in his second collaboration with the brilliant screenwriter Charlie Kaufman, Adaptation. Directors Steven Spielberg and Paul Thomas Anderson wowed again, and reminded us why we go to the movies.

Here they are. The top 10:

1. Adaptation-Charlie Kaufman, his fictional (maybe) twin brother Donald, and Spike Jonze team up for the most original American film since, well, since the last time they were paired for Being John Malkovich. Nicolas Cage turns in a career saving performance as Charlie and Donald, and Meryl Streep is brilliantly understated as the real life writer Susan Orlean. Most notably, though, is Chris Cooper who is finally gaining attention after brilliant but unnoticed performances in Lone Star and American Beauty. The craziest, and best film of the year.

2. Talk to Her-Pedro Almodovar manages to do the unthinkable: out do his mature turn of two years ago, All About My Mother. His heart-wrenching story examines the ways and reasons why we love, without preaching. His visuals are some of the most beautiful he has ever placed on screen, sometimes to the point were dialogue is unnecessary.

3. Far From Heaven-In his stunningly beautiful homage to Douglas Sirk, Todd Haynes uses the techniques and style of the 1950's melodrama to examine our own time. All three actors, Julianne Moore, Dennis Quaid and Dennis Haysbert, deliver perfectly crafted characters that are, in Haynes' hands, nostalgic and very much like the people who live in our world. Cinematographer Ed Lachman and composer Elmer Bernstein lend their talents to create a perfect film.

4. Punch Drunk Love-Paul Thomas Anderson and his very trustworthy team of filmmakers accomplish something extraordinary: make and Adam Sandler art film. Anderson creates a world around Sandler and his familiar man/child character, and it shines with life. A small supporting cast of Emily Watson, Luis Guzman and Phillip Seymour Hoffman, along with the brilliant cinematography by Robert Elswit and music by Jon Brion helped Anderson take home the best director award at Cannes.

5. Y Tu' Mama Tambien-Alfonso Cauron is high on life in his most mature film to date. Back in his native Spanish, he directs the three stars, Gael Garcia Bernal (Amores Perros), Diego Verdu and Maribel Verdu in the most energetic road movie in years. An omniscient narrator tells gives us the details and more, as the three set out on a journey to a fictional paradise, which may be more real than they imagine. The latest film in Mexico's most surprising film renaissance since the days of Luis Bunuel.

6. The Lord of the Rings: The Two Towers-Could Peter Jackson outdo the splendor created in the first in the Tolkien trilogy? The answer is an unequivocal yes. With less set up and more action, Jackson and his team of talented filmmakers create an epic whose scale has not been seen since Star Wars. He has found a way to integrate the special effects into the film so that one is unable to tell what is generated using computers, and what is real. Jackson refuses to sacrifice acting, production quality and storytelling in the name of effects. Though the film is a wonderful moviegoing experience, the bad news is that it leaves the audience with much to desire. The good news is that there is still one film left.

7. Secretary- Director Steven Shainberg comes out of nowhere with the strangest and most interesting love story of the year (excluding Talk to Her). Maggie Gyllenhaal and James Spader are fantastic as two lovers whose relationship is dependant on sadism and masochism. The film is set in our time, but the brilliant production design creates a world that could be 1955 or 1975. The love story is at the same time strange, and endearing.

8. Catch Me If You Can-Steven Spielberg had gotten a lot of bad press after his last two films for allowing the sentementalist in him to take over in the end. A.I. was a critical and commercial bomb because of its spastic tone, and Minority Report was headed for greatness until its rose colored concluding scenes. He must have taken some note, because his latest film is his most refreshing blast of filmmaking in years. Not since Schindler's List has he had so much confidence in his subject matter and actors, and the result is a film that is entertaining, interesting, funny, and sad. Tom Hanks is a bit of a cartoon at time, but Leonardo DiCaprio turns in a deep and heartfelt performance as real life con man Frank Abagnale, Jr. Spielberg and his frequent cinematographer Janusz Kaminski give us scenes that use all colors of the rainbow thoughtful and clever ways. The surprise success of the year.

9. Bowling for Columbine- Is it objective journalism? No. Does filmmaker Michael Moore even give his opposition a fair chance to speak their word? No. Is it the most entertaining two hours you will ever spend learning something? Absolutely. Moore is ruthless against those who disagree, and a
bleeding heart for his supporters in his most successful outing as a filmmaker and activist. While some of his statistics may be irrelevant, and his interviews with subjects like Charlton Heston unfair, he cannot help but make you think weeks after seeing the film. It was the first documentary in over 50 years to be in the official competition at Cannes, and shattered the box office records for a documentary. The filmmaker who previously held the record? Michael Moore.

10. The Kid Stays in the Picture- Documentary filmmakers Nanette Burnstein and Brett Morgan may have developed a new technique to make photographs three dimensional, but this is Robert Evans' show. The legendary (and possibly last great) movie mogul tells his stranger-than-fiction story from his days as a struggling actor, and through the golden age of Hollywood. If you listen to Evans, he is the only one to thank for films like The Godfather, Chinatown, Rosemary's Baby, Love Story and countless others. It may be inaccurate, self involved, and biased, but when it is as fun as The Kid Stays in the Picture, none of that matters.