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Year-end '99 -
resolutions, recaps and rack-ups
by
Ian Waldron-Mantgani, December 29, 1999
1999 was a pretty darn good year for UK cinema
releases. There were a lot of slow patches, and, like every year, I think
we all got a little more weary and cynical about the masses of crap that
are forced upon the moviegoing public. But the summer blockbusters, even
the bad ones, were of a far higher class than usual, and I saw at least nine
great films over the course of the year.
I might have seen even more than that significant
number, had I been committed to seeing as many films as possible, or had
I made a greater effort to travel outside the city of Liverpool. At the time
of writing this article, I still have not seen any of the following promising
titles: "After Life", "Analyze This", "Beloved", "A Bug's Life", "Cookie's
Fortune", "East is East", "Festen", "The Honest Courtesan", "The Limey",
"The Muse", "Onegin", "The Red Violin", "Rushmore", "Tango", "True Crime",
"The War Zone", "West Beirut", "Wintersleepers".
Some of those movies I had no opportunity to see,
as they did not get nationwide releases or were released when I was revising
for exams. But in most cases I just couldn't be bothered making the effort
of going to another city to see them, or I thought going drinking would be
a better venture than a cinema trip.
I'll try to work harder in the year 2000, provided
the Y2K bug does not cause a nuclear holocaust, or wipe out the internet.
I'll review at least two or three movies per week, or four if I can manage
it. And I'll review them the weekend they open, updating my website every
Sunday -- this should keep me from lagging behind, and saying to myself,
"Er... nah... I'll review it next week."
Still, as I said, 1999 was generally productive.
My writing style is improving, people tell me, and I've had praise from such
prestigious folks as Pulitzer Prize-winning critic Roger Ebert and internet
legend James Berardinelli.
One of the year's happiest film-related events
was Steven Spielberg's "Saving Private Ryan" losing the best picture Oscar
to the infinitely superior "Shakespeare in Love". Spielberg had made "Ryan"
with the cynical goal of garnering the prize in question, and even though
his picture won five other awards, perhaps the failure to scoop top honours
will make him return to creating films that come from the
heart.
It was depressing, however, to lose some great
showbiz personalities, especially Gene Siskel, the wonderful film critic
for the Chicago Tribune, and Stanley Kubrick, the Brooklyn-born director
of "Dr. Strangelove", "A Clockwork Orange", "2001: A Space Odyssey", "The
Shining" and "Full Metal Jacket".
I will not be writing any "top 10 of the year"
article, as I missed so many movies, and wrote a crap piece last year. Allow
me to suggest, however, that it's hard to go wrong with the following 11of
this year's films, listed in alphabetical order:
"The Blair
Witch Project"
Heather Donahue, Joshua Leonard and Michael Williams all deserve Oscar
nominations for this, the most affecting film experience of the year. Playing
three film students making a documentary about urban legends, their charming
naturalism and wit commanded our care. When the trio get lost in the woods,
and argue and panic and fear, our involvement with the situation leads to
overwhelming anxiety. Skilfully written, directed and edited by newcomers
Daniel Myrick and Eduardo Sanchez, "Blair Witch" deserved every penny it
grossed though its unexpected box-office success. The fact that many people
found it boring is proof of how dangerously low attention spans are
falling.
"Eyes Wide
Shut"
Kubrick's last work confidently juggled such grand themes as jealousy, fidelity
and obsession, to send star Tom Cruise on a twisted journey of sexual confusion
around New York City. The structure of the story was simple, clear, and,
most importantly, an effective vehicle for some fantastic set-pieces. This
movie makes sense as a whole, in some crazy dream-like way, but is a masterpiece
for the way it finds the freedom to show off the director's sense of visual
genius. Unforgettable images of neon-lit streets; a costume store with skeletons
in the closet; a millionaire's Christmas ball and a sinister masked
orgy.
"Felicia's
Journey"
Like "Blair Witch", this work from Canadian director Atom Egoyan is able
to terrify us because of the care it earns for its characters. Elaine Cassidy,
a pretty, wide-eyed newcomer plays a vulnerable girl in search of her unborn
child's father. Bob Hoskins is the seemingly pleasant monster who entices
her into a very false sense of security. What begins as a tender character
study in the tradition of Egoyan's "Exotica" and "Sweet Hereafter" slowly
reveals itself to be a nightmare. Ranking with "Psycho" and "Silence of the
Lambs", "Felicia's Journey" should be studied carefully by anyone trying
to make a psychological thriller.
"Fight
Club"
David Fincher's epic packed serious themes into an exciting rush of images
-- it was another study of the crazy mind, as well as an unsettlingly
understandable portrayal of how fascists win over their subjects and a cheerfully
subversive satire of modern consumerism. I could use the cliché that
it has to be seen to be believed, but even after you've seen it, "Fight Club"
might not sink in, thanks to fast pacing, multiple themes and plots, and
a head-spinning final twist. Easy to reject, impossible to
forget.
"Life is
Beautiful"
Beloved Italian comedian Roberto Benigni, the main star and director of "La
Vita E Bella", played a delightful fool who protects his son from the horrors
of the Holocaust by pretending it's all a big game. Simple delights and grand
horrors, in a humorous and poignant tragedy that won three Academy Awards,
including one for Benigni as best actor.
"Little
Voice"
Mark Herman's musical comedy kicked off the year in style. There were grand
show-stopping scenes, as the title character went onstage to loudly imitate
the stars of yesteryear, and quiet moments that infused a predictable plot
with the spontaneity of life. Jane Horrocks was touching as a shy girl frustrated
at her background of cruelty and tragedy. She also performed some amazing
singing numbers.
"The
Matrix"
The plot was a substandard version of 1998's "Dark City", but the gunplay
was superbly fluid in this dark sci-fi thriller, directed by former comic-book
creators Andy and Larry Wachowski and starring Keanu Reeves. The rhythm was
reminiscent to "Star Wars", so perhaps we should expect an even better
sequel.
"Pleasantville"
Cynicism is thought of as practicality in our world -- an attitude Gary Ross's
film urged us to change. Two teenagers from the 1990s were transported through
their television set into an impossibly antiseptic 1950s television show,
and in the ensuing culture clash was a superb examination of how arrogance
and prejudice must give way to rational open-mindedness if any society is
to function. It was funny as hell, too, and beautiful to look at as people
in the TV show allowed themselves to change and the monochrome images bloomed
into glorious colour.
"Return to
Paradise"
So many Westerners have been stitched up on ridiculous Asian drug charges
that most of us have ceased to care. This powerful drama, a career-best directing
job by Joseph Ruben, was a sincere, believable reminder of the reality of
such situations and everything that goes along with them. Vince Vaughn, Anne
Heche, Joaquin Phoeniz and David Conrad deliver surprisingly engaging
performances.
"Run Lola
Run"
The fast-paced editing style of MTV was appropriately employed in this
breathtaking German import, to try and keep up with its thoughts. As a gorgeous
woman named Lola runs past various people on the way to save her criminal
boyfriend from danger, the film keeps asking "What if?", exploring the possible
effects of tiny actions on those people's lives. Intelligent and
exhilarating.
"Shakespeare
in Love"
Speculations about the Bard and his mystery woman and charming twists on
the structure of "Romeo and Juliet" in this high and low comedy from director
John Madden, which sharply satirised the entertainment business and rejoiced
in the beauty of romance. Great performances, witty dialogue, sun-baked
photography and a sweet score. Magical.
The nicest surprises of the year:
Deep Blue Sea,
Entrapment,
Inspector Gadget,
Life, Orphans,
Return to Paradise,
South Park: Bigger, Longer
and Uncut
And to the ten WORST UK releases
I saw this year, also in alphabetical order:
8mm, Guest
House Paradiso, The Legend of
1900, A Night at the
Roxbury, Ravenous,
Rogue Trader,
Swing,
The Thomas Crown Affair
(remake), Virtual
Sexuality, The
Waterboy
Big disappointments:
Affliction,
Austin Powers: The Spy Who Shagged
Me, Happiness,
Pushing Tin,
The Sixth Sense
Number of 1999 releases I wrote full-length reviews
of: 82, I think, and I'm not counting again
Number of positive reviews: 38
Number of negative reviews: 44
I'll be back with new reviews on Sunday, 9 January,
2000. Thanks for reading over these past twelve months, and have a happy
and prosperous new
year.
COPYRIGHT©
1999 Ian Waldron-Mantgani
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