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 During
the twelve months of 2002 I’ve managed to see 55 different movies.
Thankfully that number didn’t include a single film from the wretched
trilogy of box-office bombs that Eddie Murphy wrought onto the
world this year with Showtime, The Adventures of Pluto Nash,
and I Spy. Nowadays, with the ability to get a major film
produced such a considerable achievement, the fact that one single
person could star in three unconscionable failures in a single
year is such a rare feat that it’s almost cause for praise.
I’ve also managed to go the entire year without witnessing any
of the following: acting debuts from marginally talented and over-exposed
teen pop stars, Oscar-winning actors embarrassing themselves amongst
a flock of Snow dogs, box office stars laughable attempts at Russian
accents, remakes of seventies action films starring L.L. Cool
J, movies with “dot com” anywhere in the title, pairings of Shakespearean
actors with Chris Rock, films starring David Arquette and spiders,
sequels with the word “resurrection” in the title, exploitation
of deceased actresses in bad vampire movies, movies which feature
men dressing up as women as a comic premise, films starring The
Rock with or without a shirt, any movie starring/featuring/referencing/inspiring
Freddie Prinze Jr. and/or Matt Lillard, and, most importantly,
any film whose promotional slogan in any way uses the term “Ya-Ya.”
Yes, I’ve certainly dodged some bullets.
So what about those films I actually did get to see?
For starters, I got to witness the best feel-good ending since
Danny beat Johnny and the Cobra Kai in the original Karate
Kid when Eminem grabbed the mike in 8-Mile,
the revival of a promising career with Dennis Quaid’s blazing
roles in Far From Heaven and The Rookie, not to
mention Richard Gere murdering and singing in Unfaithful
and Chicago, respectively.
Or how about Adam Sandler and Val Kilmer, who showed they could
act when given a chance in Punch
Drunk Love and The Salton Sea? Or The
Ring, which proved you could still make another horror
movie featuring a spooky little boy and have it become a success.
Then there was Robin Williams, who was so determined to erase
the putrid stench of Patch Adams from the public’s mind
that he took on roles of a murderer and demented stalker, in the
process giving the performance of his career in One-Hour Photo.
And perhaps the most noteworthy event in cinema this year occurred
when a member of the Friends cast actually starred in a
good movie, as Jennifer Aniston demonstrated in The
Good Girl. Although, possibly at the sake of my own sanity,
I still hold out hope for Leblanc. (There were moments in Ed
when I truly believed he cared for that chimp.)
With the close of the year and the beginning of the awards season,
critics all across the country are toasting their favorite films
as the “best” of the year, producing countless top ten lists and
early Oscar picks. Of course, nobody’s opinion can actually be
proven or negated, and you’ll likely find as many die-hard fans
as ardent opponents of any given buzz-worthy film. So what exactly
is a smallish critic like myself to do? How exactly can I bring
something new to this saturated table of pretentious critic’s
picks? The answer is simple. With another top ten list, of course!
As always, with such a subjective listing, there were many deserving
films that didn’t make the cut, but still should be recognized.
Larry Fessenden’s eerie and surreal Wendigo was an intelligent
mix of supernatural and psychological drama, M. Night Shyamalan’s
Signs cleverly manipulated and
twisted a popular genre on its heels, Diane Lane lasciviously
possessed the screen in Adrian Lyne’s Unfaithful, Jason
Patric and Ray Liotta shined in the gritty cop drama Narc,
actors Denzel Washington and Bill Paxton proved they could also
direct in the poignant Antwone Fisher and creepy Frailty,
while the musical continued its resurgence with the lively Chicago.
This year produced many commendable films, especially those which
were released late in December, hoping for that coveted Oscar
hype. In compiling my list I was challenged to seek out films
which were connected by one guiding virtue. None of the following
movies are perfect, but behind each of their stories was a group
of filmmakers driven by a genuine sense of ambition. It is that
ambition, that energy, that tenacious desire to create and inspire
that joins them together as the top ten films of 2002.
 10.
Catch Me If You Can
There was a time when Steven Spielberg reigned as king of the
Hollywood blockbuster, responsible for such mammoth crowd-pleasers
as Jaws, the Indiana Jones trilogy and E.T. With
the exception of Jurassic Park and its sequel, Spielberg
has spent the last decade straying from mass entertainment in
favor of more challenging adult fare. Catch
Me if You Can still reflects his increasing maturity,
but more closely resembles those breezy, entertaining jaunts of
his past. He isn’t trying to change the world here, instead relying
on a remarkably truth-based story filled with colorful characters
and rich period details to explore the lengths to which a man
will go in pursuit of success. At once an engaging character study,
smooth cat and mouse caper and bittersweet drama, Catch Me
if You Can is another example of a talented storyteller still
yearning to tell another story.
9.
The Pianist
I’ve read some criticism lately in which a few selected writers
question the validity of the Holocaust film genre as being overused
and ultimately unnecessary. The idea is that we’ve seen so many
stories related to that horrific time in history, that their potential
emotional impact becomes limited. Personally, I’m offended by
any such claim, and director Roman Polanski’s return to cinematic
glory all but affirms my frustrations. Yes, we’ve seen these horrors
before, and, yes, we’ve perhaps been numbed by some of their appalling
images, but what Polanski has done with The
Pianist, adapted from the autobiography of pianist Wladyslaw
Szpilman, is create a meaningful personal story built on one individual
relentless drive to survive. Unlike Schindler’s List’s
epic scope, Polanski’s film concentrates on one man’s experience,
in the process leading the audience through a harrowing, disturbing
and ultimately life-affirming tale of the human will to survive.
Adrien Brody plays the lead with a valiant grace, as he shifts
from a man of intense aspirations to that of someone simply trying
to survive. It is but a single story, but one that is more than
worthy of telling, understanding, and above all else, remembering.
 8.
Gangs of New York
Martin Scorsese’s long awaited epic of pre-Civil War New York
City is a provocative journey into the depths of hell from which
our country rose to become a true democracy. Filled with flaws,
it remains a compelling film, propelled by an endless sense of
energy from Scorsese and a brilliant acting turn by Daniel Day
Lewis. Lewis’ portrayal of Bill the Butcher, a real-life figure
who once ruled the streets of Manhattan, is perhaps the best villain
to ever grace the screen, audaciously commanding each and every
frame in which he appears. Scorsese refuses to let the cliched
plot get in the way of a powerful history lesson, loaded with
numbing violence, glorious set pieces and an overriding sense
of desperation from a people yearning for freedom. Gangs
of New York could have turned into the disaster the press
predicted it would be, but in the hands of Scorsese, it has become
an impressive and ultimately important piece of work.
7.
Adaptation
A head-tripping, mind numbing journey of originality from the
writer of Being John Malkovich, Charlie Kaufman’s brilliant
screenplay expertly picks apart the actual idea of a screenplay,
in the process becoming one of the best satirical looks at Hollywood
ever put on celluloid. Blending together elements of fact, fiction
and fantasy, Adaptation is difficult to describe and impossible
to predict, creating a juicy challenge for an audience desensitized
from watching countless cliched and obvious story arcs from other
films. Director Spike Jonze is blessed with a stellar cast, including
a hilarious and touching turn by Chris Cooper and anchored by
an inventive and mesmerizing performance by Nicholas Cage, effortlessly
playing dual roles as two distinctly different twin brothers.
We always knew Cage could act, yet, ironically, he seemed to have
been held back by the very sort of film that is so energetically
lampooned here.
 6.
About Schmidt
Alexander Payne, along with his writing partner Jim Taylor, created
possibly the best satiric comedy of the nineties with 1999’s Election.
His follow-up, while slower paced and more existential in nature,
solidifies his reputation as a masterful storyteller gifted in
his ability to encapsulate life’s varying emotions in the simplest
of expressions and actions. For this journey of self-discovery,
Payne couldn’t have chosen a better actor than Jack Nicholson
to play the title character, a recently retired man who suddenly
wonders what has become of his life. Schmidt is tormented by his
seemingly unfulfilled existence, distraught with stinging visions
of regret, inspired by the chance to do anything to alleviate
his grief. We’ve grown so used to watching Nicholson play cocky,
self-assured characters throughout the years that it’s jolting
to see him lose all of those previous traits and submerse himself
in a character afflicted by a ferocious mix of doubt, despair
and loneliness. Nicholson’s performance is a milestone in a career
filled with memorable roles and characters. Schmidt may not be
the most flashy or exciting role Nicholson has ever played. But
in this touching, bittersweet look at the ramifications of regret,
it may be his most genuine, and above all else, his most real.
5.
Confessions of a Dangerous Mind
Forgoing the safety net of a broader and mainstream idea for his
directorial debut, George Clooney has instead chose this thoroughly
challenging story based upon the “unauthorized” biography of the
creator and host of The Gong Show, Chuck Barris. Barris,
who also created such infamous game-shows as The Dating Game
and The Newlywed Game, claims to have divided his career
between television producer and C.I.A. hitman. Adapted for the
screen by Charlie Kaufman (Being John Malkovich), the film
is a jolty, absorbing, entirely entertaining ride into the mind
of a man driven by his overpowering aspirations to succeed. Filled
with textured supporting roles by Julia Roberts, Drew Barrymore
and Clooney himself, the films true star is Sam Rockwell as Barris,
giving a staggering performance as a man haunted by his own legacy.
Clooney is without question a certifiable movie star and talented
actor, but now he can also be considered a bona fide filmmaker.
 4.
Lord of the Rings: The Two Towers
It is being described as the Star Wars of its generation,
and while I wouldn’t dispute that analogy, this fantasy epic is
gloriously emerging as a series without comparison, perhaps the
defining trilogy of all-time. The second installment leaves off
right where the first ended, immediately immersing the audience
back into the rich and complex fantasy world inspired by the great
J.R.R. Tolkien novel. Like the first, The
Two Towers is striking to witness, filled with stunning
and wondrous scenery, each frame beautifully photographed and
filled with meaning. Of course, none of that would matter without
a true story and characters, both of which we get here. While
all of the actors assume their roles admirably (including the
digital ones), as is the case is most epic tales, the film hinges
on the hands of its director. Peter Jackson’s daring and bold
choices pay off brilliantly as the film never fails to engage
its audience throughout its lengthy running time. The best compliment
this film can receive is that after watching it, you’d be hard
pressed not to be eagerly anticipating next year’s conclusion.
3.
Minority Report
Spielberg has always been a director blessed with the gift to
produce worthy films, but it’s his unceasing love and passion
for the craft that has helped lead him to the heights of artistic
success. Riddled with deep questions without the benefit of simple
answers, Minority Report
is challenging, thought provoking and visually arresting cinema,
led by a master filmmaker at the top of his game. Piloted by a
fearless performance from Tom Cruise as a man being brought down
by the very system he believes in, Minority Report is a
film that skillfully manipulates the science fiction genre in
order to explore the very essence of moral ambiguity. It manages
to entertain us with a thrilling story, but at the same time we
can’t help but become alarmed by its frightful view of a very
possible future.
 2.
Punch drunk Love
When I first heard that Paul Thomas Anderson (Boogie Nights,
Magnolia) was going to be making a romantic comedy starring
Adam Sandler, I was skeptical. After all, it seemed as off-kilter
a casting notice as Martin Scorsese making a movie with Rob Schneider
(no ideas, Martin, please). Then again, I should have known to
trust Anderson, who has proven his ability to elicit intense performances
from his actors, especially when it comes to the way his characters
reveal their seemingly masked inhibitions and foreboding fears.
Sandler turned out to be a perfect choice to play Barry Egan,
a man polluted with hidden desires and tortured by shameful anxiety
and aching shyness. Yes, this is a romantic comedy, but only because
there happens to be both romance and comedy within the confines
of an intoxicating roller coaster of a plot, in which the audience
is madly harassed by the never-ending tension on the screen. This
is a film in which you’re never sure what will happen next. A
film in which you could be laughing moments before you’re screaming.
A film which audaciously implodes a cliched genre, all while examining
the simple feelings of two people drawn to each other for no other
reason than because they are. It is a film made with the same
intense love with which it is about.
1.
Road to Perdition
Of all the films I’ve seen this past year, none moved me more
than this dark and moody tale, brilliantly brought to the screen
by director Sam Mendes (American Beauty). What begins as
a simple gangster tale soon unravels into a complex saga of a
father’s attempt to protect his son from the very life that may
end his own. Tom Hanks gives a painfully honest performance as
gangster Michael Sullivan, his quiet yet aching face expressing
more than any single word can. Both Paul Newman and Jude Law light
up the screen with a ripe, dynamic energy and Tyler Hoechlin is
heartbreaking as a young boy quickly forced to become a man. Filled
with memorable images, fueled by stirring and complex performances,
blessed with a subtle, challenging and poignant screenplay, it
is everything that is great about going to the movies.
Just a short while ago, the legendary cinematographer Conrad
L. Hall passed away after losing his battle with cancer. Hall’s
career spanned five decades, and he crafted some of the most enduring
cinematic images of all time, including Butch Cassidy and the
Sundance Kid and American Beauty, for which he won
his second Oscar. Hall was a man who devoted the better part of
his life to the art of cinema, and to the astounding power with
which a single lens could create. His images will endure forever,
his rich legacy impossible to dissolve. In a year where fearless
ambition paved the way to artistic greatness, I can find no better
example than Hall’s masterful work on the best film of the year,
Road to Perdition.
Don't forget to check out
Scott Mantz's 10 best of 2002 too!
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