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Three
Colors: Blue (93)
The first film of Krystof Kieslowski's
Trois Colours (Three Colors) Trilogy is a subtle and beautiful masterpiece. It
tells a story of deep emotional, spiritual, and political truths in such a way that the
silences speak as loudly as any of the dialogue.
Juliette Binoche's face becomes a canvas for pictures of grief,
suffering, anger, fear, courage, strength, and redemption. She plays the wife of a
famous composer who may or may not be involved in the composition of his world-renowned
work. In the beginning of the film she suffers a devastating tragedy, and then must
shoulder an awesome responsibility to herself, her friends, her family, and her husband's
audience. Most challenging of all, she must discover and accept some difficult
truths about her husband's imperfections, which will give her an opportunity to choose
either revenge or forgiveness.
Zbignew Priesner's most masterful soundtrack is appropriately grandiose; he was given the
task of composing music for the film that would represent the music of the composer in the
film, who is called in the film
"the world's greatest living composer." The soundtrack is very very
impressive indeed, an anthem that in the film represents hope for the peaceable
unification of Europe.
Binoche's
character is a metaphor for Europe in the dawning of a new age; she has suffered terribly,
she is broken, and she stands in the doorway of a new life. How will she behave?
What choices will she make? What from the past is valuable, and what is the
best way to start again? Overlooked and often misunderstood, Kieslowski's work
requires repeated viewings, patience, and close attention before its true genius can be
perceived. It continually reveals itself, like the best poetry.
The Fisher King
(91)
Many disagree with me, but I
think this is Gilliam's best film. He's never had a stronger cast; the foursome of Jeff
Bridges, Amanda Plummer, Mercedes Ruehl, and Robin Williams work absolute magic. There
should have been a special Oscar designed for them. The story follows the fall of a
proud man and his rehabilitation through the friendship of a half-mad vagrant.
Williams' turn as the wanderer that fancies himself to be a knight on a holy quest is one
of his best performances; yes it's warm and sincere, but this isn't just the usual
Williams sentimental manipulation. And Bridges has never been better. The
balance between the fantasy world in the poor man's head and the glitz of the rich man's
own fantasy-world life is a wonderful tension. Gilliam's sleight of hand transforms
Manhattan into a world of unassailable fortresses and fiery ghosts on horseback without
losing track of the story in special effects. .
The Double Life of
Veronique (91)
Director Krystov Kieslowski leads us through the
mysterious paralleling of two strangers with the same face and the same name in a poetic,
surreal tale of the spiritual ties that connect us inexplicably to each other. One
Veronique follows her strange affinity for singing until someone recognizes her gift and
gives her an extraordinary opportunity; the other Veronique is seeking a connection with a
kindred spirit, and just might find it with a mysterious puppeteer who issues a most
unusual invitation. I don’t want to say much more than that; Kieslowski has
created a spiritual mystery for the viewer to unravel. If you don’t demand answers at
the end of a movie the first time through, you’ll delight in exploring the
possibilities of all how these signs and subtleties are linked. Irene Jacob gives a
wonderful performance that won her Best Actress at Cannes.
Pulp Fiction
(94)
On the surface it seems an
indulgent, foul-mouthed, overly-violent shock-a-thon. But pay attention. Each
one of the central characters, as egotistical and cruel as they are, are brought to
a place of intense moral decision, where they must continue their headlong plunge into
chaos and crime, or take their first step towards virtue, grace, and light. Some of
them make the wrong choice. Some of them open their eyes and see a better way.
For all of his pomposity in interviews and reckless behavior about town, Director
Quentin Tarantino's script and cinematography are truly revolutionary, making this the
brightest and most colorful film of the decade. He draws better performances from Bruce
Willis, Samuel Jackson, and John Travolta than we knew possible at the time; they set
themselves a standard that they have rarely matched since. And I challenge you to
name a film which uses a radio-hits-retrospective soundtrack more effectively. Some
will say the film glorifies criminals. I think it actually makes them look like so much
hot air, tough talking idiots who have to put down their guns and learn responsibility and
compassion in order to better themselves. Not for the squeamish or for children, but
not to be written off or underestimated. This film will (and it's already happening)
inspire as many spinoffs as "Star Wars", or more.
Secrets And Lies
(96)
Reportedly Mike
Leigh and his cast made this film up as they went, working with only the sketchiest
outline. What they ended up with is nothing short of miraculous... a film so real it
makes us feel as though we're watching a candid camera documentary on the down-and-out in
England. It's searingly honest about the consequences of lies between family and
friends. Leigh is one of moviemaking's strongest talents today, showing up Hollywood
for its frequent hollowness by breaking our hearts without any perceivable manipulation or
tricks. It's just storytelling and acting as good as they get.
Dead Man
Walking (95)
Director Tim Robbins has crafted Sister Helen
Prejean's bestseller into a rich, rewarding picture that is worth seeing more than once.
The movie summarizes Prejean's experience and role in the lives of men on death row. Susan
Sarandon deserved her Oscar for her part as Prejean; compassion and resilience carry her
like a guardian angel through the sterile prison and allow her to perform a sort of
spiritual open-heart surgery on the prisoner as the hours until the death penalty swiftly
count down. Sean Penn could have walked away with an Oscar of his own for his
sweat-rage-and-tears portrayal of Matthew Poncelet, accused of rape and murder, on "a
greased rail" to execution.
Barton Fink
(91)
Barton Fink is a courageous and horrific glimpse
through the ego and courage of the human spirit into the frailties, the sins, the
emptiness of even the kindest human being’s heart. John Turturro delivers a nervous,
hysterical performance as Fink, a playwright sensation who is brought to Hollywood to
write for "the pictures". His drive to create a "new theater for the common
man" is stifled when he is assigned his first script — a formula B-movie
wrestling picture. His frustration with writer’s block is only agitated by the visits
of a noisy, overfriendly neighbor (John Goodman) who seems to be a "common man"
with needs of his own. Is Barton really interested in understanding the common man? Or is
he really only interested in writing about his own pain and delusions? Is there any such
thing as "art for the common man", or are artists just tooting their own
maddening horns? For Christian viewers, perhaps the film illustrates just how little we
have to say, how empty are our hearts, when we forsake love for self-centeredness. See it
if only to see just how great an actor John Goodman really is; his work on TV’s
"Roseanne" only scratched the surface of this marvelous actor’s abilities.
Fargo (96)
Not the Coen Bros.’ funniest film, but
definitely their most accomplished film. McDormand’s Sheriff Marje is an
unforgettable, completely unique movie hero. Dark, stupid dealings in the simple snows of
North Dakota contrast with the virtues of a loving, dedicated and hard-working marriage.
At last the Coens find a character with a moral heart in the madness.
Magnolia
In this 3-hour tangle of numerous short
stories, reminiscent of Robert Altman's "Short Cuts", Paul Thomas Anderson puts
his strengths and weaknesses as an amateur filmmaker on display. He falters in that
his dialogue is rather bland and cliche-ridden, and his script is basically a progression
of big speeches about morality and responsibility. But aside from this,
"Magnolia" is an ambitious achievement that succeeds--in fact it excels--on many
fronts. These stories echo each other, which some critics considered annoyingly
redundant. I found it to be a portrayal of the commonality between all types of
people; how no matter what level of worldly success or knowledge we have attained, the
simple questions and trials of life are the same, and we all need help, forgiveness, and
mercy. Almost all of the cast are impressive here, even though they're all
overacting. (In fact, the ALWAYS over-the-top Tom Cruise has finally found a movie
in which he does not stick out. For what it's worth, in '99 he has given two
admirable and memorable roles more refined and accomplished than any of his other work,
ridding me of my Cruise-phobia.) I was also amazed at how present God is in this
movie; he is an active character, manifesting himself in the ways he lures people into
dealing with the crimes of their past, and them making a startling and bewildering
intervention in this fractured community that has his unmistakeable signature.
Anderson made some bold choices here, including some strikingly experimental uses of the
soundtrack songs by Aimee Mann. Anderson is very young, but his instincts make his
work comparable to the most ambitious films of Martin Scorcese and Robert Altman.
His career will be exciting to watch. If given a choice between a film by a
passionate amateur director and a film by a reknowned and critically acclaimed filmmaker,
I'll go with the passionate amateur anyday. Besides, Anderson isn't the first
preacher to speak to the masses in starkly drawn parables, hoping that those with eyes to
see will see. I can't help thinking he has a kinship with "Bannerman", the guy
who holds up the John 3:16 signs at sporting events; hey, it may be an extreme way of
getting people to look back at the Bible, but isn't it better to go to the Bible out of
curiosity than just because you've been pressured into doing so?
Saving Private
Ryan (98)
Okay, it has some major flaws, worst of all the
opening and closing scenes that are so stylistically inconsistent and sentimental that
they probably should have been dropped entirely. But this film has brought to my mind and
heart and understanding of the cost of my freedom. (A fellow in an Internet discussion
group I visited this year summed it up nicely—"We are all Private Ryan.")
Lectures and books do not have the power to make us so painfully aware of what we’re
doing when we go to war. Things that seem simple when presented by the evening news become
frighteningly uncertain and downright nonsensical out on the battlefield. And with actors
as strong as Tom Hanks and Jeremy Davies bringing us personalities and faces that reflect
fear and vulnerability rather than bravado, the film’s realism achieves a
documentary-like quality. At this writing, I think this is Spielberg’s most important
film, and second only to "Raiders of the Lost Ark" on my Spielberg favorites
list.
In the Name
of the Father (93)
Jim Sheridan's gutsy retelling of the story
of the Guildford Four does fiddle with the historical details. But this is a film based on
a true story, meant to bring to life the conflict between England and Ireland, to show the
destructive power of hate on both sides of the fence, and to show how love, a listening
ear, and compassion can bridge the gap. Daniel Day-Lewis, as the reckless Irish lad
Jerry Conlon whose mischief makes him the prime candidate for accusation, gives one of his
greatest performances (he's never unimpressive), disappearing into the character the way
he did in "My Left Foot" and "A Room With a View". When Conlon and his
friends are mistakenly identified as Irish terrorists, Conlon's father fights to free them
and ends up in prison as well. And things get worse. Conlon's father (Pete
Postlethwaite, in his finest role), unsure of his son's innocence, is loving nonetheless.
Sheridan has a lot more on his mind than evidence and courtroom drama. It's the
relationship between father and son that remains the film's heart. The boy Conlon has a
lot of growing up to do, and the father needs to learn something about communication and
love as well.
Schindler's List (93)
It is as though Spielberg decided to put
his very best effort into wrestling with his worst nightmares, and the towering
achievement that resulted is "Schindler's List". The central figure of
Oskar Schindler becomes a moral battlefield, where compassion does battle with pride and
ambition. Liam Neeson gives his finest performance as the complicated, intimidating
German who is moved ever so gradually to heroic measures, and the supporting work of Ben
Kingsley and Ralph Fiennes is extraordinary as well. While Spielberg may go a
bit far with the melodramatic finale, this is easily forgivable for all the power of the
story and the film’s jarring craftsmanship.
The Iron Giant
(99)
"The Iron Giant" an instant classic, if
there is such a thing, belonging on the shelf with "E.T.", "The Black
Stallion", "Beauty and the Beast", and "Star Wars". The story of
the boy Hogarth and his discovery of an enormous wayward robot speaks to every human
being's desire for friendship, fear of being alone, fear of being different, desire to
overcome a bully, and longing to be trusted, loved, and believed. Starting with a
powerful, seemingly simple storyline from a Ted Hughes story, director and animator Brad
Bird built "The Iron Giant" with perfect voice-casting, bright bold animation,
and a powerful Michael Kamen soundtrack. By placing the story cleverly in the 1950s era of
paranoia and post-war idealism, and by evoking our nostalgia for comic books, Norman
Rockwell images, and a time when life was less complicated and full of dreams, Bird is
able to speak to anyone at any time without compromising his story's historical setting.
Yet, there's a highly-caffeinated energy to this movie that will hold the
attention-deficit-disorder generation that's filling the theatre. This is, after all, a
Warner Brothers cartoon.
Toy Story 2
(99)
"Toy Story 2" joins the short lists of sequels
("Empire Strikes Back", "Gremlins 2: The New Batch", "Star Trek:
The Wrath of Kahn", "Terminator 2") that are superior to their
predecessors. And we have John Lasseter and the Pixar team to thank for it. There are a
lot of big questions here, challenging to adults and kids alike. Who doesn’t want to
be remembered for all time? But who doesn’t want to be loved? This is a story about
the importance of appreciating our belongings for their meaningfulness to us rather than
for their monetary value. One could also pursue these questions to a higher level. Do the
choices we make reflect a drive to be known, to be immortal, to be successful? Or do they
reflect our desire to be responsible, to be loving, to be people of integrity? While this
seems like an ambitious exploration for an animated film, "Toy Story 2" never
gets preachy, and neither did the original. This is key to its success, and shows up the
failures of other children's’ storytellers who manipulate their tales in order to
instruct (or worse, evangelize.)
You would think that a team so committed to technological innovation would stumble
when it comes to storytelling. Why then are they the best storytellers around?
The Crying
Game (92)
"The Crying Game" takes the audience on as unusual a
journey as they're likely to find among big screen thrillers, and is one of the most
peculiar morality plays ever told. It begins when IRA terrorists hold hostage a
British officer, and the conversations between the prisoner and his guard take on a
probing and personal nature, revealing the insecurities and fears at the heart of the
terrorist. While it's clear who's holding the gun, it's also clear who's controlling the
conversation. When the terrorist walks away from the ordeal, he's made a promise...
to find and care for the prisoner's loved one. Hoping that he can clear his
conscience with this simple act of kindness, the terrorist quickly learns that his promise
will put a test upon his virtue far more strenuously than he had anticipated, and he
learns that love is often extremely difficult, requiring humility, courage, and
discernment. Many conservatives rejected this film as being blatantly condoning of
immoral sexual behavior. While the characters do cross certain inappropriate boundaries,
the story is not about condoning immoral behavior; it's about learning to love our fellow
human being in spite of their flaws and weaknesses, about being compassionate and caring
no matter how repulsed we might be by any particular person's failings. It is, and
not in the romantic sense of the word, a powerful and harrowing love story.
A River Runs
Through It (92)
With the grace and beauty of a fishing line arcing
through a sunlit Montana landscape, Redford directs the MacLean story from glory to
tragedy. Skerrit, Scheffer, and Pitt do fine work, and the cinematography is magic. A
beautiful, old-fashioned, solid piece of work.
Babe
(95)
Chris Noonan has created one of the finest family
entertainments of all, one that disproves a long-held belief... that you can't make a good
movie about a talking pig. Told with resourceful creativity and astounding animation
and animal direction, "Babe" gives the audience that rare feeling that they're
reading a classic children's book. What even further astounds me is that the sequel,
"Babe: Pig in the City", was similarly astonishing, while telling a completely
different kind of tale, taking the characters in challenging new directions, like only the
very best sequels do.
Out of Sight
(98)
Steven Soderbergh creates the best
cops’n’robbers movie of the year. In fact, it’s the best film about
not-so-good cops and not-so-bad criminals since Midnight Run, a classy, stylish
action comedy with a charming romance, vivid characters, an unpredictable script that
makes you work to fill in the missing pieces, and a fantastic ensemble cast all of whom
are at their best. George Clooney finally found a suitable role. If only the ending
didn’t lean towards the characters’ weaknesses instead of their strengths….
The Apostle (97)
One of the most powerful films about how God can use
flawed human beings to bring good into the lives of others. Without stereotyping or taking
a judgmental or condescending tone towards any of its characters, this story boldly
depicts an often ridiculed segment of American culture. Robert Duvall gives the best
performance of his career and gets good work from Miranda Richardson and the rest of his
cast. Sometimes it becomes almost a documentary, the recreations of Southern
lifestyle are so convincing. Moreover, its realistic depiction of the heart of
southern evangelicalism shows, to the amazement of most anti-Christian audiences, that
these people, for all of the overblown emotionalism and sensationalism of much of their
religious tradition, can be noble, hardworking, admirable people.
Three Colors:
Red (94)
A seemingly simple Krystov Kieslowski morality
play between an aging judge (the brilliant Louis-Trintignant) and a kind young woman (the
luminescent Irene Jacob at her best). A retired judge who has lost his faith in justice is
caught listening in on the phone conversations of his neighbors. The young woman who
catches him in the act strikes up a tense, interesting friendship with him. Her goodness
and her revulsion at his voyeuristic habits are accompanied by light — literal,
divine visitations of sunlight and beauty — to bring about a change of heart in the
bitter old man. Kieslowski avoids flashbacks as the judge reflects on his life, and
instead, with a brilliance that is characteristic of any Kieslowski work, he gives us
glimpses of the story repeating itself in the life of a young and ambitious legal student
who is, himself, betrayed, and must face a difficult struggle to maintain hope and faith.
The climax will reward viewers who have saved this installment in the Three Colors trilogy
for last, as the events therein not only conclude this episode, but add epilogue to the
previous stories Blue and White.
- Naked (93)
"Naked" stars David Thewlis as a
selfish and bitter man who lives to lash out at God, at life, at people. It's a series of
conversations between this dangerous and spiteful man and his various "victims"
along the road. But he's not exactly a violent man in the normal sense; his goal is to
destroy people philosophically, because he can make no sense of life on his own. He meets
them, sizes them up, chats with them in a polite and normal small-talk manner, finds their
weak spots, their doubts, their insecurities, and then plunges in the knife, working them
over so hard that they're left in shambles, not sure what hit them, having lost whatever
confidence or conviction they had. And yet it's not all hopeless and bleak... there are
good souls in the world, and even one who might find pity for this poor man. But will he
allow himself to be helped? I find David Thewlis' performance to be one of the most
awe-inspiring I've ever seen; he's never been better before or since. Mike Leigh's
willingness to trust his actors' instincts allows us to be led through a fascinating and
revealing examination of the nature of evil and the importance of living as lights in a
world of lost souls.
The Piano (93)
There is a moment half-way through The
Piano that sums up the film’s dilemma. The camera slowly zooms in on Holly
Hunter’s conservatively braided hair, and as we are drawn into the weave and the
darkness, the picture becomes an image of the trees of the New Zealand jungles, through
which we are now being drawn at the same rate. The suggestion is this: This woman is like
this jungle. Some men seek to protect her and save her from the damaging hands of Men of
Progress; others seek to own and possess her, and in the process, cut her down. That is
the story of Ada, a woman stricken mute by the mysterious loss of her first husband, now
being offered in marriage to a sophisticated man of society, and loved by a simple,
brutish man of the woods. Holly Hunter’s performance is so beautiful and
three-dimensional, the viewer’s sympathies are with her fully, although she never
speaks a word. This is quite an accomplishment, and she well deserved her Oscar. Harvey
Keitel is tender, funny, and winning in his role as the jungle guide that understands Ada
enough to respect her gifts and protect her treasure, the piano through which she
expresses herself. And Sam Neill is frightening, and yet also attractive in his occasional
efforts to try and understand his wife. The story of Ada’s sexual awakening at
the hands of the jungle guide is a story of the joy a person feels when another person
understands them and values them. It should be a lesson to everyone, but especially to
husbands. In this age where two-thirds of marriages end in divorce, what better message
could we preach than a message of love, sensitivity, and valuing another person more than
ourselves?
The Insider
(99)
A man who must tell the truth, even when he risks
losing all that is precious to him, builds a perilous friendship with a TV
journalist who refuses to compromise, even when the network that he works for becomes
uncomfortable with the consequences that telling this story might bring. Good, evil,
tough moral dilemmas, believable characters, masterful cinematography and unforgettable
performances. Michael Mann direction makes an action movie out of hushed meetings,
legal fracasses, and internal debates. There's never a dull moment, thanks to
stunning camerawork and riveting performances from veterans Al Pacino and Christopher
Plummer. And Russell Crowe shows he can stand up to them with a mesmerizing turn as
a man torn between responsibility and fear. A friend of mine asked,
"What on earth makes "The Insider" interesting? What drew that powerful
cast to such a mundane, already-worked-over subject." Good question. But
Michael Mann's 157-minute Event Movie is much more than an exploration of a media
scandal. Mann found a subject that affects any and everyone: Trust between friends
during a firestorm of trials. This is a war movie. The big strikes are
lawsuits. The battlefields are men's consciences. And the heroes are putting
themselves on the front lines for the sake of telling the truth. The
casualties? Integrity and reputation. Family. Lifestyle. Futures
and dreams.
- What's Eating Gilbert Grape?
(93)
A young man’s patience is tried when
his responsibilities as the Oldest Child grow heavier. How many movie heroes can you name
whose prime motivation was "to be a good person"? Johnny Depp is a warm, winning
Gilbert, whose love for his sick mother and handicapped brother transcends family crises.
Poetic and real. This film contains Leonardo DiCaprio's greatest performance.
- Quiz
Show (94)
Ralph Fiennes is tempted to compromise his own moral standards
when he becomes the star contestant on the popular television game show "21".
Based on the true-life scandal that tarnished the reputation of television and
betrayed the press's ability to mislead the public, "Quiz Show" is one of Robert
Redford's finest achievements, a tense and fascinating examination of conscience, and the
falls for which the prideful are destined. Excellent supporting performances from
Derek Jacobi, Rob Morrow, and John Turturro raise many scenes to the level of
Shakespearean drama.
Sense and
Sensibility (95)
Ang Lee brings his patient observation to a Jane Austen novel,
and finds grace, beauty, and drama without the usual melodramatic and sentimental
enhancements. If it wins tears, it earned them. Emma Thompson and Kate Winslet
are sisters caught up in the trials and fears of new love and the lack of it. Alan
Rickman is the dignified gentleman who may not be strikingly attractive at first, but his
virtue stands at the edge of the proceedings, ready to step in and save the day. Lee's
attention to detail brings this family and their environment to life in the best Austen
adaptation so far.
Fearless (93)
Peter Weir tells us the story of a plane crash survivor who
believes that he's immune to death. Jeff Bridges gives a gutsy performance as a man
who wants to test his limits, to tempt fate, and to live by rules other than those that
now seem so ridiculous to him. He still has lessons to learn though, especially
about those who remain unchanged, those to whom he bears responsibility, those who love
him and cannot follow him to the place and perspective he now has. I think this is
Weir's most accomplished film.
Strictly Ballroom (92)
A quirky, exhilarating comedy that takes
conventional premises---the underdogs who make it to the championship, the ugly duckling
who gets to dance with Prince Charming--and turns them upside down with such over-the-top
performances and enthusiastic music that it's guaranteed to win you over, no matter how
many times you think you've seen it before. Few films this decade utilized such
vivid color and inspired cinematography. Absolutely hilarious fun for the whole
family.
JFK (91)
People will argue forever about the accuracy of historical
detail in this film. They will also bicker about the merits of the work of Oliver Stone.
This is one person’s exploration of the problem of a government that can conceal the
truth, if it wants to. Whether or not it actually did in the case of J.F.K. is an
important question for our nation, but not the final judgment on whether or not this film
achieves its goals. Stone wants to share his opinion, and I’m sure it’s
not wise to just swallow everything he says without some serious research. But more
importantly, we need to listen to why exactly he made this film. Is it to spread a
scandal? Or does he want to challenge us to be thinking citizens? There may or may not be
holes in his history book, but the lessons we can learn are profound either way. Like
Shakespeare’s plays based on historical event, this is a powerful story, and should
be treated as such. From this film, we are shown that a nation that refuses to hold
authority accountable will fall victim to the corrupting nature of power. Governments are
made of human beings after all, and all human beings are vulnerable to the Enemy’s
seductions. Even if only 10% of Stone’s facts are true, that 10% should be enough to
send shivers up every American spine.
- Exotica
(94)
It's set in a strip-joint, so be
cautioned that this is not appropriate for all audiences. It is, however, a fascinating
play about the nature of intimacy, and how no one can guess what gestures and signs carry
meaning between individuals. Jealousy and self-imprisonment have rarely been so
effectively pictured. A strip-club DJ becomes jealous as one of his dancers seems to
give unusual attention to a customer at the club. His jealousy leads him to
intervene, and he finds himself stumbling between two individuals who share a painful
secret. Meanwhile, in a parallel but seemingly unconnected plot, a young homosexual
man risks opening himself to a total stranger. He discovers in the end that he
cannot be intimate and still hope to conceal his private crimes. It's a story of sin
and consequences, but also of the dangers of judging people by their appearances, and how
grace, love, and compassion can be found in the darkest places. Director Atom Egoyan
avoids indulging in the decadence of the story's setting, which contributes to the film's
poetry and intensity. Can you name an American director who could pull of such a
highwire act as this? I can't.
The Silence Of The
Lambs (91)
Jonathan Demme strikes a chilling tone from
beginning to end in this modern horror classic. Anthony Hopkins becomes one of the
movies' most memorable villains as Hannibal Lecter, an imprisoned murderer famous for
eating his victims. Jodie Foster gives her best performance as Clarice, an ambitious
but naive police officer who investigates a series of grisly murders and must turn to
Lecter for help in tracking down the serial killer. Their relationship becomes a
fascinating study of the predatory nature of evil, and how a villain need never lay a hand
on his victim to hurt them. From his cage, Lecter seeks the weakness of his visitor,
and seems to turn the tables on her, imprisoning her with his wit and vicious
deceitfulness, drawing from her personal secrets that give him entrance to her mind and
her subconscious. The theme seems to be that conspiring with the devil, no matter
how good your intentions may be, will not lead to a happy ending, no matter how much good
you accomplish along the way. No thriller since has been as breathtaking or
well-composed. Caution: This is a bloody and disturbing film.
Good Will
Hunting (97)
Matt Damon delivers a breakthrough performance as Will Hunting,
a young man with the potential to be the next Einstein. Will's a genius, no question
there, but he's also reckless, with a flair for getting into trouble as he runs away from
the memories of a dark childhood. When a college professor discovers the potential of this
brilliant young man, he quickly learns as well that therapy will be essential to
rehabilitation before Will is ready to "use his powers for good." Will
hesitates, but a perceptive therapist (Robin Williams) begins the long hard process of
cracking the tough-guy exterior and giving him the love and compassion that he needs.
Williams gives one of his best performances, and he is in good company; Stellan
Skarsgaard, Minnie Driver, and Ben Affleck are also quite good. Damon and Affleck's
script elevates this above sentimentality; the characters are believable and the
conversations taut and vigorous. Elliott Smith's Simon-and-Garfunkel-esque songs are
a perfect accompaniment to this delightful picture. (Warning: The frank, realistic,
and dirty talk of Will and his Generation-X friends may shock a conservative audience, but
it is honest and representative of the language of many young people today.)
The Ice Storm
(97)
I cannot think of a film that portrays more
effectively how parents' actions affect their children, how irresponsibility begets
irresponsibility, how a lie is not isolated but only the beginning of destruction, and how
love through commitment and family provides order in the chaos of a downward-spiraling
culture. Ang Lee's direction is perfect. He does not clobber the viewer with a
moral. He merely tells the truth… Affairs are not glamorous. Marriage is difficult.
Children are extremely fragile. And those we love will not go unaffected by what one
thinks is a personal, private sin. With excellent performances by all of the actors
(especially Allen and Ricci), a minimalistic soundtrack, an meticulous recreation of the
early 70's, and camerawork that makes the most of the gorgeous icy landscapes of
Connecticut in deep winter, Lee has done for the Rick Moody's novel the same favors he did
Jane Austen's classic "Sense and Sensibility". Chock full of immorality on
display, The Ice Storm is a morally-responsible film, and a profound one.
The Dreamlife
of Angels
Erick Zonca's first feature
film is a heavy and intimate piece of work. It tells the story of two strangerswho become
fast friends and then struggle to maintain that friendship the more they learn about each
other. Isa is a young spontaneous spirit who moves into Marie's flat, only to find out
Marie is living there while the regular tenant lies in a coma in the hospital. Isa's
optimism leads her to interesting jobs and to the bedside of the comatose Sandrine, and
her story is one of kindness and good deeds. Marie, however has different desires, and
they lead her to a very different place, until she and Isa clash over their different
ideas about life. The performances are uniformly excellent. The last shot of the film
clearly suggests such tragedies and triumphs can be found in anyone, even the stranger
sitting next to you.
- Bullets
Over Broadway (94)
Dianne Wiest, Jim Broadbent, and John Cusack are
just three of the performers who make this such a strong ensemble piece. Cusack
plays a playwright tempted to compromise his long-held standards of artistic integrity
when an egotistical actress (Wiest) seduces him and wants to alter his script to give
herself a better spotlight. Woody Allen has made this the best of his movies in
which he didn't give himself a role (although it's clear that Cusack is basically playing
a younger Woody Allen part.) Wiest deserved her Oscar. It's a hilarious comedy and a
wise and witty portrayal of some of the most dangerous temptations waiting for artists
when they have opportunity for fame and fortune.
- The Thin Red Line (98)
This film is not so much a story as
it is a philosophical contemplation. It opens, appropriately, with footage of a
crocodile swimming with quiet beauty through and exotic jungle landscape—the perfect
picture of the film’s central dilemma. What is this deadliness, this cruel beast
housed in this beautiful world? What is it doing here? How did it grow in our hearts? Are
we all destined to live under its terrible influence? Why this contradiction of good and
evil living in everything we see? Terrence Malick’s eye for natural beauty emphasizes
these questions. Even as we brace ourselves for scenes of war and bloodshed in the
battle for Guadalcanal, we are given visions of the startling grandeur of nature; in fact,
even in scenes of violence, the light of explosions and the power of the weapons take on a
beauty that is unsettling in view of what they are accomplishing. We drift from one
soldier’s perspective to another, seeing the struggle for hope, the surrender to
hopelessness, the fear and the courage, the way one man endures the trials by looking for
the good in the hearts of the men around him. The crucible of war brings out the best in
some, the worst in others, and a mix in others. Some critics have complained that the
device doesn’t work because these internal monologues are rather simplistic and
crude. I would argue that to have raised them to a higher level of poetry would have been
inconsistent with the characters through whom we are encountering these moral and
philosophical quandaries. These are simple men, some of them confronting life’s
biggest questions for the first time. It is right that they should seem awkward, even
fumbling at times. Sean Penn’s performance as First Sgt. Edward Welsh, a soldier who
at times resembles the crocodile of the opening scene, is perhaps the most memorable. His
character seems to house the contradiction at the center of the film. While he shows
himself capable of risking his own life for the sake of others in act of astonishing
bravery, he refuses to search for the good or the hope that might bring him some comfort.
Jim Caviezel provides us with a thoughtful, introspective, likable character—Private
Witt—who has an alternate perspective. Witt looks for and tends to the strange glint
of grace, kindness, and hope in everyone. Like Christ, he is there in the thick of the
conflict, but his purpose seems to be to protect, to heal, to defend something higher than
just the "cause" for which they are fighting. He seems to fight to keep the
spark of hope alive in each man, to stoke the fires of faith.
Toy Story
(95)
"Toy Story" outdid "Jurassic
Park" to demonstrate just how computer animation would change the movies. Fortunately
for us, it also set a new standard for memorable, unpredictable, and interesting
storytelling in family movies. The script passed through some good hands and became more
than just a string of clever toy-oriented jokes (although the humor is much sharper and
funnier than you’d expect); it became a great story about pride, jealousy, and
identity. Tom Hanks gives voice to Woody, the favorite toy of a young boy named
Andy, who finds his authority challenged and his place as "favorite" threatened
by a new toy named Buzz Lightyear. When the spaceman’s arrival gains the awe and
attention of the masses of other toys, Woody resorts to inconsiderate measures to regain
his popularity. Classic children’s toys like Mr. Potato Head and the
Etch-a-Sketch come to life in a wonderful array of distinct personalities. Buzz Lightyear
and Tim Allen are the most perfect match of animated character and voice since Sterling
Holloway became Winnie the Pooh; Tom Hanks is also an inspired match for the exasperated
cowboy Woody. The most common killers of the animated movie — the songs —
turn out to be fairly well-written (by Randy Newman) and are entirely appropriate. What
nobody expected was that the sequel would be an even better film! (See Toy Story 2,
above.)
The Celebration (98, released
in the U.S. in 99)
A family reunion turns into a most unpleasant
affair when a son toasts his father at the dinner table and goes on to reveal deep dark
family secrets. Tempers flare as sins are brought out into the open and the truth,
while ugly and painful, overcomes the lies. Thomas Vinterberg's refusal to indulge
in expensive special effects or a traditional soundtrack makes this an intimate and
enlightening experience.
Chasing Amy
(97)
"Do movies really NEED to have so
much bad language and sex in them?" The answer is yes, sometimes. For
director Kevin Smith to accurately reflect the slice of culture that is the context of
this story, he had to honestly portray the way young people talk today in the gay bars and
at comic book conventions. So be warned, this film gives frank portrayals of people
confused, lost, and searching for love in all the wrong places. They talk frankly about
sexual matters and with language most will consider extremely crude, they engage in
illicit sex (heterosexual and homosexual), and they behave inappropriately. Yet, Smith's
objective is to show how a few characters gain a greater understanding of responsibility
and commitment. At the heart of this picture there are lessons about love and
forgiveness to be learned. While he deals with characters that are homosexuals, he
is not out to preach that homosexuality is good or bad; he's here to teach us to be loving
and forgiving towards everyone, no matter what their flaws, no matter how colorful their
pasts. This strikes me as very Christ-like. And I believe that there are many
striving to be like Christ today, dining and talking with folks like this in situations
like this. It's an important thing to consider, however off-putting it might be for
conservatives to watch. Smith really won my respect with this picture, which remains
his best to date.
The
Unbelievable Truth (90)
Audrey is a pessimistic young
womanl who spends her days scanning the skies for nuclear bombs. But when a
kind-hearted ex-con comes to town, she strikes up a tense and volatile friendship
with him and fins herself lured slowly back to optimism and hope. Meanwhile, all
around her people are trying to make her decisions for her, motivated by their own selfish
means; Audrey's father himself is a shifty fellow who can't decide whether he thinks
college is such a good idea for her, unless there's something in it for him. When
the town begins buzzing about the shadowy past of Audrey's new friend, she's forced to dig
up the truth for herself and make decisions that may make no sense to the community around
her, but are the only way she can be sure of the path she is taking. Hal Hartley
found his voice with this quirky and hilarious comedy. His dialogue has a distinct
character to it, as unique and memorable as Woody Allen's.
Rosencrantz and
Guildenstern Are Dead (90)
Minor characters in Shakespeare’s "Hamlet"
apparently had a lot more (or less) going on in their heads than the bard ever knew.
Working with Tom Stoppard from his brilliant play, Gary Oldman and Tim Roth have a fine
time hamming it up as Hamlet’s two trusted friends, the minor characters of
Rosencrants and Guildenstern. As "Hamlet" fails to reveal much of their
inner lives, Stoppard saw the opportunity to fill in the blanks and raise a lot of great
philosophical questions along the way. Rosencrantz and Guildenstern seem to have been born
into existence at the moment "Hamlet" begins, two wandering souls with a vague
sense that they were "sent for". They have as hard a time figuring out which one
of them is which as they do figuring out who sent for them, why, and what they should do
about it. It plays like an intellectual’s Who’s On First?, full of
brilliant wordplay and clever staging. Oldman and Roth resist the temptation to over-act,
and thus display why they are two of the best actors working today. (Oldman has become
unfortunately typecast as a villain in action movies that fail to demonstrate his range.)
Richard Dreyfuss, in my all-time favorite of his performances, brings a cheerful, bawdy
spark to the proceedings. Who knows, maybe this will spawn a new genre —
Shakespearean subplots? (Stoppard also had a hand in "Shakespeare in Love".)
If you like "Hamlet", you must see this film. It makes revisiting
the original play that much more intriguing and even hilarious.
Delicatessen
(91)
A stranger fantasy you will not find
in the 90's. In a world where hard times have driven poverty-stricken townsfolk to
extremes, a young circus clown looks for employment at a hotel and finds himself caught up
in a macabre adventure where the neighborhood butcher hides a terrible secret, and where
any inhabitant of the hotel might have mysteriously disappeared by morning. Filled
with moments of surprise and genius, "Delicatessen" is as delightful as it is
eerie. I sincerely hope they work together again and bring us more visionary worlds
like this one.
-
Unforgiven (92)
An ex-killer-for-hire is
tempted to do one last job and compromise his vows to clean up his act. While the
target he is asked to kill is certainly deserving of such punishment, he is forced to
realize that such justice never leads to a happy ending, and revenge does not make a hero
of a man. This is Eastwood's finest hour in a Western that stands starkly against
the stereotypical story of the gunslinger that Eastwood himself cemented into Hollywood
mythology..
Edward
Scissorhands (90)
Tim Burton's best film is a fairy tale about a
strange and alien visitor to the 'burbs. Edward was created by a genius inventor who
lived in a mansion on a hill, but when the inventor died, Edward was left unfinished, with
scissors where his hands were meant to be. When the boy wanders down into town, he
is so different from the norm that the dull and narrow-minded neighbors first attempt to
make him conform to their ideas of what is good, then they try to use him for their own
selfish ends, and in the end they reject him and, yes, hurry him on to a sort of
crucifixion. Christ-allegories are inescapable, but Edward, in all of his kindness,
is also an allegory for all of us who at some time feel that we don't belong, that we
aren't complete, that we're falling short of what we were meant to be. Johnny Depp
is brilliant as Edward, and Dianne Wiest gives an unforgettable performance as the one
person who accepted and cared for Edward from the start. Burton's imagination has
created some wild fantasy worlds from "Beetlejuice" to "Batman
Returns" to "Sleepy Hollow"... but none of them have been as disturbing and
profound as this all-too-familiar neighborhood of fearful American families.
- The Truman Show (98)
Peter Weir’s flashiest film is also a
paraphrase of all of his past films… the story of a man submerged in a world in which
he is the outsider, the alien, the prisoner. Unfortunately, where Weir’s other films
questioned the responsibility upon the character’s shoulders when he escapes his
boundaries, this one seems bent only on escape and nothing else. Still, it’s
brilliantly crafted, and Carrey is very good, with the strong support of Ed Harris at his
best.
- The Fugitive (93)
Like John Woo's
"Face/Off", "The Fugitive" succeeds because the actors take their
roles so seriously in what otherwise might have been a run-of-the-mill thriller.
Harrison Ford and Tommy Lee Jones haven't done anything as good as this film since.
Ford's sincere, anxious, burdened deameanor is perfect for the part of Richard Kimble, an
innocent prison inmate who escapes and gets the chance to prove his innocence and catch
the real killer of his wife. Tommy Lee Jones leads the FBI in the chase to catch
Kimble, but begins to have doubts about the truth of the matter as Kimble leads him to
interesting clues that contradict the evidence that imprisoned him in the first place.
Jones' performance has, sadly, been repeated so many times in subsequent films that
what was a striking and engaging persona now seems less so. But Ford earned a Best
Actor nomination for playing Kimble, and if he's ever better than this I'll be
flabbergasted.
- Babe: Pig in the City (98)
After the initial reviews came
out, warning parents that this was a terrible, dark, bleak, violent, ridiculous sequel to
the family classic, Critic Roger Ebert stood up and said 'HOLD IT!" He defended
the film as perhaps the best commercial film of the year, an art film with boundless
imagination and visionary genius. Other critics (like Ebert's
"two-thumbs-up" buddy Gene Siskel") began lining up to agree with
him. So I finally marched out, saw the film, and fell in love with it. Indeed,
it is darker, like The Empire Strikes Back is darker than Star Wars, but
it is filled with hope, and actually tells, at heart, a Christ tale. Babe the pig,
with his innocence and his belief in the value of all individuals (no matter how ugly, or
vicious), must travel into the city to help Mrs. Hoggett save the farm. Along the
way, he finds shelter in a hotel for all manner of beasts (an "Animal House", if
you will. There, he teaches them the value of love, humility, forgiveness, and
servanthood. There's even a sort of "communion" scene where each starving
animal lines up, partakes of food that Babe made possible, and religiously thanks
him. I was blown away, both by the playfulness, the delightful mishmash of styles
(everything from Brazil to Edward Scissorhands to The Great Muppet
Caper), and the powerful story that was told inside the confines of such a simple
outline. Sure, some of the wild spectacles get a little out of hand (Remember, Babe
films come from the director of Mad Max: Beyond Thunderdome) and turn
self-indulgent with their hilarity and abundant slapstick antics, but that is a minor
glitch in a relentlessly surprising and enjoyable film. Roger Ebert, thank you for
saving this film from obscurity!
The Secret of Roan
Inish (94)
One of the best-kept secrets of the 1990's was
John Sayles, a cinematic storyteller with few peers. This is my favorite of his
films, a mystical, charming Irish fairy tale about a girl wiser than her elders who dares
to visit a mysterious island that holds important family secrets. Reality and myth
overlap as she goes looking for her brother, a child that was pulled out to sea and never
seen again. Propelled by Mason Daring's vigorous Irish folk soundtrack, "Roan
Inish" is a perfect evening's entertainment for the whole family.
The Hudsucker
Proxy (94)
A young, naive, warm-hearted, unemployed man named
Norville Barnes finds himself abruptly hired as president of Hudsucker Industries.
What he doesn't know is that the Board of Directors and the wicked Vice-President
Mussburger are using him in a ploy to deceive the public and make millions off the stock
market. But what the Board of Director's doesn't know is that Norville has a
childlike genius just waiting to burst out, which will upset their plans in grand
anti-establishment Frank Capra fashion. Tim Robbins is winning and fun as Barnes,
and Paul Newman is very strong as Mussberger. If Hudsucker had a few more
moments of heart, it would be a better film; for the most part it’s more concerned
with visual cleverness and the usual Coen-style quirky scripting that machine-guns
brilliant comic dialogue at the audience. But that’s really no big
problem. Hudsucker’s relentlessly inventive style and cinematography, not to
mention the over-the-top performances from Jennifer Jason Leigh and the rest of the cast,
make this a feast for the eyes and a barrel of laughs, closer to their early hit Raising
Arizona than the subversive Barton Fink. Much of the humor will fly
right over the heads of the younger viewers, but if the whole family is there,
there’s enough color and light and laughs to keep everyone thoroughly entertained.
- Smoke (93)
Harvey Keitel plays the owner of a smoke shop on
a corner in the Bronx. His corner is the kind everybody would like to have in their
neighborhood, like "Cheers"... a place where everybody knows your name.
Wayne Wang trusts his actors to introduce us to wonderful characters, and a lot of their
interactions have the authenticity of improv. William Hurt plays a solitary writer
lured out from his solitude by a young black man who saves him in the street from an
oncoming bus. To repay the boy's kindness, he gives the boy a place to rest for a while,
and is drawn into the boy's life in unexpected ways. The boy has unfinished business
with family, which brings us to another story. And that's the way it goes.
That's the lesson. Look in here...yep, there's a story waiting for you. All
you have to do is ask. This is some of Keitel's best work. "Smoke"
is a genuine pleasure, and if you think you'll miss these characters when they're gone,
there's an even more unpredictable companion film called "Blue in the Face",
which allows you just to hang out at the smoke shop and talk to folks.
RUNNERS-UP:
The Prince of
Egypt (98)
Katzenberg has created one of the finest
animated films of all-time in that he has pushed the technology to an astonishing new
level and defended the art of storytelling. His actors—all in impressive
form—give perfect voice matches to exquisitely designed characters. And his
adaptation of the Moses story, while taking drastic shortcuts (like the elimination of the
role of brother Aaron), is an admirable attempt to glorify humility, courage, and faith in
the face of adversity. The Moses story is, after all, another great little-guy vs. big-guy
story in which the hero turns out to be God rather than the little guy, and the little
guy's admirable trait is that he opens himself to be a vessel for God's
"wonders" in spite of his own fears and doubts. That stuff is intact here,
making the most important points of the movie quite powerful and moving. Alas, DreamWorks
reached only high and not higher; they still felt compelled to include a very silly and
unnecessary song, and at a few points the old-style animation does clash noticeably with
the new. Overall, though, a transitional film that, in spite of its disappointing box
office performance, will make Disney and other animation studios work all the harder to
match them stylistically. For that, audiences is already reaping wonderful rewards.
Heat (95)
Michael Mann's epic about cops and
robbers is a serious contemplation of what drives criminals and what drives the men who
commit themselves to catching them. The further you look, the more similar the two
characters become. And Pacino and DeNiro are the perfect choices to portray these
men who go to extremes at great cost to their families and ultimately themselves.
The City of Lost
Children (95)
As bizarre a fantasy as any the cinema offers, the
cast of characters in this Jeunet-Caro world has a witty disembodied brain, a cranky
geezer stealing kid’s dreams, an assasin flea, wicked witch siamese twins, and a
hoarde of hilarious midgets. "City of Lost Children" outdoes
"Brazil" & "Blade Runner" combined for astounding visual genius, a
twisted melting pot of nightmares and Grimm Brothers' storytelling. While its
ambitious themes make it bigger and more bewildering than "Delicatessen", it
remains an unforgettable and astonishing accomplishment.
Antz (98)
One of the best all-computer-animation film yet made. People thought it
was too adult, too monochromatic. I thought it a relief that the adults had plenty to
enjoy, and that the dark colors were used to brilliant effect, rather than distracting us
from the story, which was very strong. It’s far far better than the unoriginal
cheap-joke-filled "A Bug’s Life", which boasted brilliant end credits but
few memorable characters. Woody Allen, Dan Akroyd, Jane Curtin, Sharon Stone, Sylvester
Stallone, Christopher Walken, and Gene Hackman were all perfectly cast as distinct
engaging personalities that make this, inadvertently, the best Woody Allen movie since
"Bullets Over Broadway".
Henry Fool (98)
Henry Fool is a mysterious stranger who drifts
into the life of Simon, a young garbage collector. Henry talks about a suspicious past
which he's memorializing in his autobiography, which he promises will turn the world
upside down when he gets around to finishing it. He encourages Simon to write as well, and
Simon does, getting down to it like a house on fire. Simon's book-length poem
inspires very different responses. A mute woman begins to sing after reading a few lines.
Others fly into outrage, calling it pornography. When Simon begins finding
commercial success, Henry gets mad.
There are a lot of moral allegories going on in this picture, which,
like Simon's writing, is sure to inspire more cries of outrage than praise and admiration.
Populated with characters who exhibit disgusting sinfulness, of which Henry is the
worst offender, the film seems to lure you into liking the characters and then challenges
you to suffer through unexpected bouts of debauchery. There is implied child abuse,
a scene in which Henry takes advantaged of a weakened older woman, and several scenes of
harsh scatalogical humor. Hartley's working with heavy stuff here in an attempt to
portray how sublime and sickening impulses may exist side by side in our all-too-human
natures, and "Henry Fool" indicates that making art is one of the few means we
have for sorting these out.
Thomas Jay Ryan is brilliantly brusque as as the title character, and James
Urbaniak is strange and bird-like as the contemplative, insecure Simon. Henry is the
biggest, grossest character you're likely to ever see. Hartley originally conceived
him to be Mephistopheles himself, come to stir up chaos. But in this final draft he
challenges you to look instead at a very fallen and lost human being, to find sympathy for
this devil. You might in the end pity him, or you may loathe him... but whatever
happens, you won't forget him, and you'll find yourself thinking about him more than most
any character you're ever likely to meet.
Dark City (98)
The first time I watched it, I didn’t care for
it. The second time, I was totally enthralled. Why? Maybe I just needed to get used to its
breakneck pace and consider the questions about freewill and identity at its heart. Dark
City is the most beautifully designed sci-fi film since Blade Runner, and
features Rufus Sewell lost in a maze of amnesia and alien conspiracy as he tries to find
his way out of a Twilight-Zone city in which the sun never rises and no one knows the way
to the beach. Philosophical and courageously relentless in its pace and presentation, Dark
City is one to watch more than once.
Jurassic Park (93)
One cannot help but assume the reason the
characters in the film are so scared is because they’re so poorly developed.
Spielberg was so excited about directing the dinosaurs that he forgot to check the quality
of the script. This is not such a bad thing, really. The corny dialogue and aspirations to
social and environmental relevance seem to suit this old-fashioned thrill-fest. Who comes
to this movie to be intellectually challenged? And OH MY GOODNESS, those dinosaurs are
scary! Jeff Goldblum is the only human interesting enough to distract us from the
creatures, which, I’m sorry, must be real. I don’t buy all this digital
animation jibberish… when you see the T-Rex, you’ll agree. That’s a real
dinosaur. (And while we're on the subject, Goldblum kinda resembles a dinosaur himself,
doesn’t he?) By the end of the movie, something called an "impact tremor"
will be a permanent part of your nightmares, the way a fin breaking the ocean’s
surface fried all our nerves in Jaws. The T-Rex should have been nominated for an
Oscar.
The Shawshank
Redemption (94)
Frank Darabont's inspiring prison
epic tells the story of a good man in a bad place who uses his wits and his heart to bring
hope to the hopeless.
35 Up (91)
Michael Apted's documentary series
has followed the growing up of several people from age 7 to the present, checking in with
them in a new installment every seven years. "42 Up" has just arrived and
I haven't seen it yet, but I'm confident it's as fascinating a study of human nature as
this one.
Nobody's Fool
(94)
Paul Newman plays a rambunctious
old man who is offered the chance to heal some of the damaged relationships he has with
family and community. Newman is wonderful in this, one of his most memorable roles,
and the community around him are as colorful and enchanting a bunch as any since Steve
Martin's neighbors in "Roxanne".
Beauty and the Beast
(91)
Disney's best traditionally
animated feature of the 90's did not work too hard to be funny or spoil itself with lousy
songwriting and an overload of pop-culture references, mistakes that almost every animated
picture since then has made.
Vanya
on 42nd St (94)
Julianne Moore and Wallace Shawn
join an impressive cast for this Andre Gregory stage production of the classic Chekov play
"Uncle Vanya".
The Remains of
the Day (93)
Anthony Hopkins and
Emma Thompson are brilliant in a story of a meticulous butler who is as strict and tidy
about his feelings as he is about his work, and as a result he risks losing his one chance
at true love.
Rob
Roy (95)
I preferred this heroic historical
epic over the self-important and over-long audience favorite "Braveheart",
largely because the hero here shows nobility and restraint instead of full-speed-ahead
vengefulness. While it is for the mostpart an engaging adventure, audiences should
be warned that there is a brutal and harrowing rape scene that caused many to leave the
theatre. I defend the director's choice to include the scene, though, as it is crucial to
understanding the characters' motivations later. It also increases our own desire to
see the hero take revenge, thus making his ultimate choices far more impressive and noble
than the usual angry showdown at the finale.
The Last Days of Disco (98)
A very moral film about a bunch of hopelessly lost
young adults looking for love and grace in a brutal singles scene.
Also, the best use of "Amazing Grace" in a film perhaps ever…. (At
least since L.A. Story.)
Shakespeare in Love
(98)
While there’s far too much bodice-ripping here than is
necessary, the script is brilliantly crafted by Tom Stoppard and Mark Norman, who earn my
Screenplay vote for the year. Gwyneth Paltrow is radiant, and Joseph Fiennes is impressive
if a little too brusque and hot-blooded.
Bram Stoker's
Dracula (92)
Francis Ford Coppola directs Gary Oldman in
an exaggerated and indulgent fantasy that makes this list because of its enthralling
visuals and over-the-top performances.
Into the West (92)
A wonderful and unique family film about two
Irish boys who find a magical horse that leads them on an adventure through their fears
and the grief of having lost their mother. Enchanting and deeply moving.
L.A. Confidential
(97)
This tightly wound cop thriller raises questions
about each character's motivations, so that in the end nobody is safe from selfish
ambition, and any corrupt villain is capable of turning himself around and doing the right
thing.
Life is Beautiful
(98)
Benigni's bittersweet comedy is
filled with Chaplinesque genius and it beats with a heart as profoundly affected by the
Holocaust as Spielberg's was in Schindler's List.
Three Colors: White
(94)
Heartbroken and aimless after his
true love betrays him, an awkward Polish man leaves France to return home and join his
brother's barber shop business. Along the way, he finds himself striking a deal to
help an aging man commit suicide. But something in his heart leads him to a shocking
decision that will change his fate forever. This is the only comedy in Krystov
Kieslowki's masterful colors trilogy, and while I prefer the dramas in the series, this
still stands as one of the finest foreign films of the decade, worth watching over and
over again.
Casino
(95)
Scorcese tells a story similar to
"GoodFellas", about the wages of sin in Las Vegas, where for all of the glory
you see in the casinos, there is equal punishment to be suffered for the crimes committed
there. While most prefer "GoodFellas", I prefer "Casino" because
it is told on a grander canvas with cinematography and performances that are more refined.
The
Usual Suspects (95)
A brilliant script and a perfect
performance by Kevin Spacey contribute to this effective thriller and its unforgettable
and shocking conclusion. I believe this film made out-of-the-blue surprise endings
trendy in a way that has challenged many screenwriters since.
Eat Drink,
Man Woman
A graceful and tender story about
three women and their relationships with men and with food, from the director of "The
Ice Storm".
Natural Born Killers
(94)
Yes it's over-the-top, and yes
it's violent. Any time a prophetic filmmaker makes an honest attempt to show where
the media-saturated United States is headed, the vision is going to be disturbing, dark,
and bloody. Director Oliver Stone tried to portray with graphic characature the kind
of future we can expect, and as a result, he's being blamed for it. Still, as
Flannery O'Connor believed, in a culture as numb as ours, you have to use heavy artillery
to wake them up and make them see.
Damage (92)
A chilling tale of adultery and
consequences, and one that wisely refuses to glorify inappropriate sexual activity.
The Age of
Innocence (93)
Scorcese's elaborate period
piece is about a war of passion that is carried on in the hearts of well-mannered people.
Daniel Day-Lewis is as brilliant as ever in a role that demanded he be passionate
but restrained, and Michelle Pfeiffer is glorious and energetic as the object of his
desires. Winona Ryder gives one of her best performances as the ultimate
well-mannered lady who uses her social influence both to conspire and manipulate as well
as to lend a note of much needed grace in the midst of chaos.
Ponette
(97)
A small child endures the loss of
her mother by wrestling with the baffling explanations that adults give her about death
and God. Almost documentary-like in its realism, "Ponette" will haunt you
and change your understanding of the wisdom and intuitions of children.
GoodFellas
(90)
Another Scorcese masterpiece about
crime, and just how badly it pays.
The
Butcher Boy (98)
When a child is not loved, that
child will become angry and will have little love to show to the world. Eammon Owens
gives an astonishing performance as a reckless hot-tempered Irish boy trying to tell the
world that he needs love, and leaving destruction in his wake. This is one of Neil
Jordan's best works.
Before the Rain (94)
A photojournalist on the front
lines of violent history all over the world comes home to find the same dangers lurking
among his own people, and learns that he cannot remain an objective observer. This
is a bewildering and beautiful film that challenges you to unravel its non-linear
storytelling.
Se7en
(95)
This is a harrowing journey into
big-city hell, following two cops on the trail of a serial killer that considers himself
God's hand of judgment. Few films have been more horrifying or bleak, in spite of
Morgan Freeman's portrayal of a cop who tries to fight the good fight. While it's
debatable whether the story leads us to any hope of redemption, the technical achievements
of this film are undeniable. Kevin Spacey is brilliant, again, and Brad Pitt
delivers an exhilarating performance as an idealistic but naive cop on the homicide beat.
This one will give you nightmares. You've been warned.
Bob Roberts (92)
Tim Robbin's
sharp-as-a-razor satire about political campaigning in America. In his portrayal of the
modern American politician, you'll see Reagan, Bush, Clinton, and so much more.
Malcolm X (92)
Denzel Washington gives a powerful
performance in Spike Lee's tribute to his martyred hero.
Ed Wood (94)
Tim Burton's most personal fim, a
tribute to bad movies and the pioneers that made them. Martin Landau is fantastic as
Bela Lugosi, a broken and desperate man who brings some of cinema's greatest monsters to
life.
Glengarry Glen Ross
(92)
A tour through the empty hearts of
men in the rat race of salesmanship. David Mamet's brilliant writing brings these
lost and broken men to life in a film that will make any salesman think about a career
change.
Menace II Society
(93)
An eye-opening story of a young
man lured into the dangerous and thrillseeking life on the streets. This film has a
big heart and a sincere mission to show us the truth and inspire us to wisdom and
responsibility.
The
Sweet Hereafter (97)
A town struggles to recover from a
terrible tragedy that took the lives of their children.
Star Wars -
Episode One:
The Phantom Menace (99)
I know, I know... Lucas has lost some of his gift for engaging characters and
storytelling. But he hasn't lost his flair for creating enthralling worlds and eye-popping
special effects. There's plenty of what I loved in the original trilogy here to keep me
happy. The pod race outdoes "Jedi's" speeder-bike chase; the lightsabre duel is
by far the most spectacular, and the worlds of Naboo are as elaborate and beautiful as any
in the whole series. Good vs. evil takes on new and complicated aspects in a movie where
the enemy truly is a "phantom", deceiving and manipulating the heroes in ways
that have not yet fully been revealed.
I think the biggest mistake Star Wars fans and critics make is to
judge each one of the Star Wars films as though it's supposed to be a separate story, like
each Star Trek film is a separate story. Star Trek films tell different stories about the
same group of characters; Star Wars tells ONE story, and "Episode One" is only
the first chapter. If people took the first chunk of The Lord of the Rings and
read it AFTER reading books 2-6 (Yes, Tolkien meant it as 6 books, not 3) they would find
the first chapter to seem unsatisfying, missing that sense of suspense and
"menace", and as the enemy has not fully been revealed yet, the chapter would
seem a bit flat. But when looking back on the whole Rings trilogy in the proper
sequence, Book One seems adequate to the task...nothing more, but nothing less. I think
that a decade from now, the new Star Wars trilogy will certainly still be seen as inferior
to the original, but Episode One "The Phantom Menace" will seem to belong in its
place, and we will understand better why Lucas has done what he has done. As an
introduction to the great epic, it has only a few flaws. But I've seen it six times, and
plan to do so many times more.
Whatever anyone says, I'd argue it's better than "Return of
the Jedi", which spent the first half of the film like an episode of an alien Muppet
Show and the latter half letting our heroes give up the spotlight to a bunch of teddy
bears.
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