Moviegoing 2000

2001, Christian Sauvé

  1. THE BEST: Every end-of-year retrospective must have a top-ten list...
  2. HONORABLE MENTIONS: Definitely worth a rental
  3. NOT BAD: Worth a look when you've seen everything else.
  4. ALSO AVAILABLE: You might like them, or you might not.
  5. BOTTOM OF THE BARREL: The 1998 movies to avoid.
  6. A QUICK GUIDE TO OTTAWA-AREA THEATRES: For once, some regional content.

 

1. THE BEST

Without any sort of preamble, here are

My Ten Favorite Films of 2000

(in more or less random order; no real best-of-year for me in 2000)

1. CHICKEN RUN

Plot: Chickens decide to escape their coop in a parody of THE GREAT ESCAPE.

Why I think it's great: It's a joy to watch, and it's clever from one end to the other.  The quality of the jokes and dialogue is astonishing, and the references to other films abound.  As close to a perfect film that year 2000 has produced.

I hear your objections, but: Why not, an animated film as best-of-year? The whole family can sit down and enjoy CHICKEN RUN and that's an achievement in itself.

2. TRAFFIC

Plot: Three stories around and about the War on Drugs

Why I think it's great: Clever politically engaged films are depressingly rare, and so it's a relief to find such a well-made, controversial film waiting for us. Top-notch acting, a good script, good direction (despite a few flaws) and perfect editing make this a technically accomplished production, but they're all at the service of the story which is remarkably good and could conceivably hold its own against most novels published today. It's rare enough to see cinema work as a narrative medium that also provokes discussion.

I hear your objections, but: while some individual elements of the film don't work as well as the rest (the subtle-as-a-hammer color tinting, the daughter subplot) the overall film is very impressive in its intentions and ultimate effect.

3. THE PATRIOT

Plot: During the revolutionary war, a man takes arms against the British army.

Why I think it's great: I didn't expect much about the film (from the makers of INDEPENDENCE DAY and GODZILLA, ptui!), and was pleasantly surprised at how well it worked, how good the script was and how seamlessly it conveyed the flavor of the time. Good action scenes, acceptable patriotism, some great lines and an enjoyable performance by Mel Gibson. All told in a straightforward no-gimmicks style that's a joy to see, especially from director Emmerich. Good stuff!

I hear your objections, but: So what if it's a remake of BRAVEHEART? It's good enough as it is, and works much, much better than I expected.

4. CROUCHING TIGER, HIDDEN DRAGON

Plot: In historical China, a sword is cause for various drama.

Why I think it's great: Combining an interesting, dramatically powerful story with exhilarating action scenes, this is the film that many different audiences were waiting for.  The exceptional acting is a joy to watch (ah, to see Chow Yun Fat and Michelle Yeoh kick butt again...!) and the images are just stunning. Best of all is the quasi-American technical polish on the Chinese substance of the film, betraying neither culture but resulting in a film that crosses over to both audiences.

I hear your objections, but: Well, it does drag on during the half-hour-long flashback in the middle, and the ending is somewhat of a downer, but the rest of the film is quite exceptional. If you complain about the subtitles, please stop reading any of my words.

5. GLADIATOR

Plot: Russell Crowe is a butt-kicking Roman general.

Why I think it's great: YOU WANT A SPECTACLE?? This is it. Massive battle scenes coupled to historical intrigue, wrapped in romance and put on a standard revenge-story template.  Russell Crowe delivers one of the most impressive performances of the year, the historical details ring true and the film itself is a throwback to the epics of yore.  Hollywood blockbuster maybe not at its finest, but certainly above average.

I hear your objections, but: Yeah, the digital effects gimmicks and the incompetent editing get real annoying real fast. Still, the rest is very impressive.

6. FREQUENCY

Plot: A policeman is able to contact his father... thirty years in the past.

Why I think it's great: Well, any good SF film will get me enthusiastic, but this one is remarkable not as much for its SF elements (rather weak and fantastic, not to mention inconsistently handled in causal matters) than for its heart, a rare film about bonds between fathers and sons, baseball and other family values. 

I hear your objections, but: while the serial-killer subplot is somewhat weaker than the overall film, it was cause for some very good moments (eg; the wallet time-travel scene)

7. HIGH FIDELITY

Plot: A guy in his thirties reassess his priorities after a breakup.

Why I think it's great: I could just say "John Cusack and Jack Black" and that would be enough.  Otherwise, you can enjoy the great script, the good direction, the top-five lists, the irreverent approach to relationship issues (though the resolution is strictly conventional) and the wonderful Tim Robbins cameo.

I hear your objections, but: This is a film that gets better with time.

8 .CHARLIE'S ANGELS

Plot: Don't bother; there isn't one.

Why I think it's great: Because it epitomizes the currently Hollywood "event film" mentality to its logical, almost degenerate conclusion. Hot actresses, nonexistent plot, nonstop pacing, truckloads of filmmaking gimmicks...  "Over-the-top" doesn't even begin to describe the insanity of CHARLIE'S ANGELS, but "fun" certainly does.  Fortunately for itself, this film is so enjoyable that it practically defy us to criticize its faults, especially at is almost seems to self-consciously revel in them.

I hear your objections, and: I won't even argue if you call it the second-worst film of the year.  (My choice for worst one is definitive, though.  See below.)

9. SNATCH

Plot: A diamond is cause for criminal infighting.

Why I think it's great: It's mostly because I really like LOCK STOCK AND TWO SMOKING BARRELS, Guy Richie's first feature, and that SNATCH is more of the same.  Frenetic use of film techniques, enjoyable acting, fast pacing and a judicious use of time-shifting all make this a film that will certainly hold your interest.

I hear your objections, but: ...well, okay, it is more of the same, down to the incomprehensible English accents.

10. BRING IT ON

Plot: Cheerleading competitions!

Why I think it's great: It is, along with CHICKEN RUN and CHARLIE'S ANGELS, one of the most consistently enjoyable film of the year.  From the dynamite opening dream sequence to the bouncy sing-a-long end credit, this film is guaranteed to charm you. It might not be exceptionally penetrating in its insight in human emotions, but you're hardly going to notice. If anything, the script is a full notch above most movies released this year, and the direction is up to the task of following the cheerleaders.  Oh, and the babe factor is insanely high.

I hear your objections, but: Yes, it remains a teen romantic/sport comedy.  But one of the best I've seen in a long while.

 

One honorable mention goes out to HUMAN TRAFFIC, the token British effort of the previous year that couldn't make it in North America before this year.  As it turns out, it deserves a place on my top ten of 1999 or 2000, but I've decided to put up SNATCH here in an effort to avoid a similar situation next year.

Another honorable mention for "best trailer of the year" goes to the MISSION: IMPOSSIBLE parody trailer of CHICKEN RUN.  Excellent!

 

2. HONORABLE MENTIONS

Fortunately, 2000 had much more worthwhile material than simply a top-ten list. Here are a list of other rather good video choices, in rough order of release.

FINAL DESTINATION

U-571

SHANGHAI NOON

THE PERFECT STORM

X-MEN

BEST IN SHOW

SPACE COWBOYS

ALMOST FAMOUS

UNBREAKABLE

CASTAWAY

 

3. NOT BAD

Some okay films that you might consider renting, in rough order of release:

PITCH BLACK: Honest little Science-Fiction B-movie.  Interesting images, excellent cinematography, good performance by Vin Diesel marred by an unsatisfying ending and some ridiculous science.

BOILER ROOM: A mixture of family drama with a financial thriller, sort of a WALL STREET for post-teens. Dynamite cameo from Ben Affleck, and the technical details are mesmerizing.  Entertaining if not much more than good.

ERIN BROCKOVICH: Great film from the technical point of view, with plenty of cheer-the-protagonist moment.  Problem starts when you ponder what it's all about, and how hypocritical the film actually is.

THE WHOLE NINE YARD: Cute little black comedy set in Quebec. A few uncomfortable moments, but the rest of the film is slight but enjoyable.  Bruce Willis and Matthew Perry clearly have some fun.

MISSION IMPOSSIBLE 2:  Some classic John Woo action scenes mixed with a dull middle hour and a truly insipid script make this an uneven blockbuster action film.  Fast-forward to the last fourty minutes.

SHAFT: Mixed bag of good bad attitude, some interesting quirks about the antagonists, an average script that could have been a MIAMI VICE episode and some indifferent elements that add nothing.  At least Samuel L. Jackson is quite good.

SCARY MOVIE: Cut away the film's most gross jokes and graphic explicitness -maybe five minutes in all, without harming the film's continuity- and you'd end up with one of the funniest satires of the past few year.  Keep it in, though, and...

ROAD TRIP: You would have every right to expect nothing from this teen sex/road comedy, but you'll be pleasantly surprised by this film, which mixes a few good jokes with fun characters and some cleverness.  Not exceptional, but worth another look.

THE REPLACEMENTS: We've seen that story so many time already:  Misfits are brought together and learn to overcome their differences in order to win the big game. It still works, provided it's done with some skill.

CROUPIER: An independent British thriller about a casino heist... but don't get excited too much, by cinephile friend, because if it's reasonably entertaining, it's not quite as clever nor as meaningful as it thinks it is.

BLESS THE CHILD: You know, it's still possible to see a good B-movie about Satan kidnapping children and sacrificing them.  Granted, it still remains a B-movie without oomph, but there's something reassuring in knowing that they still exist.

TAXI 2: Sequel to 1998's French action comedy. Not as interesting nor as fun, but probably funnier, with bigger set-pieces and more self-assured (if less developed) characters.  Juvenile, but a good time at the movies.

GET CARTER: The empty script and the heavy-handed, self-conscious direction are the film's biggest problems. Otherwise, Stallone turns in one of his best roles in years, and Rachael Leigh Cook is as compelling as ever.

GIRLFIGHT: Tale from the 'hood plus romance plus sports drama plus coming-of-age story. Works well, especially for a first feature, but there's nothing in here that you won't see coming from a mile away.

BLAIR WITCH 2: BOOK OF SHADOWS: It's too easy to dismiss this as an atrociously commercial follow-up to an over-hyped film, but pay attention and you'll find a clever B-movie about reality / illusion and the first film's mythos.

BEDAZZLED: Never goes beyond the obvious gags and the easy jokes, but it's all done with such effortless fun that it's hard to begrudge its facility. Oh, and Elizabeth Hurley as the devil is a piece of can't-miss casting.

THE SIXTH DAY: While not the work of geniuses, this SF film still attempts a non-silly reflection on cloning, and if the action is somewhat pedestrian, it doesn't embarrass itself like most of Schwarzenegger's most recent films.

CECIL B. DEMENTED: It's a shame that such a cheerfully subversive film sporting such a cast of endearingly quirky characters couldn't achieve better than spotty polish and hit-and-miss humor.

HOW THE GRINCH STOLE CHRISTMAS: Fascist fantasy in which individuality is stamped out, but at least there are a few good jokes, and Jim Carrey is very good as the Grinch.

PROOF OF LIFE: Thriller with potential, but marred by unconvincing casting, long middle section and clear evidence of editing-room tampering.  At least the details, opening, end and Russell Crowe are all decent.

VERTICAL LIMIT: Pure action film that delivers the thrills along with bland protagonist, hypocritical attitude and a dumber-than-dirt script.  At least the directing is technically superb.

GROOVE: Decent portrayal of the rave culture, which unfortunately sinks under its very schematic plotting, average characters and under-use of music.  It's fun and informative, but all very formulaic.

 

4. ALSO AVAILABLE

I didn't find these films too engaging. You might disagree.

ROMEO MUST DIE: Below-average action film that spends too much time on a boring story and then too little time on the action scenes which are further mauled by excessive editing.
On the other hand: Jet Li rocks, Aaliyah is a major babe and some scenes work very well.

THE BIG TEASE: A gay Scottish hairdresser comes to America to win a world championship.  Laughs ensue, but not as many as you might think, nor as many hairdressing stunts.
On the other hand: Hey, Drew Carrey makes a cameo and some moments are actually somewhat humorous.

28 DAYS: A "writer" (who never writes) with addiction issues goes in rehab, but the others at the clinic are a bunch of talking clichés. The safest, least controversial addiction drama yet.
On the other hand: You can watch it easily enough; Sandra Bullock exudes charm.

TITAN AE: Space adventures for kiddies, with awful 2D character animation, an insipid plot and on-the-nose soundtrack.
On the other hand: Some of the 3D animation stuff is impressive.

SMALL TIME CROOKS: Woody Allen comedy that takes a major left turn twenty minutes in.  Most characters (especially Allen) are highly unsympathetic.
On the other hand: For some reason, it's rather entertaining.

THE BIG KAHUNA: Sort-of-drama, adapted from a play, that quickly loses itself in serious non-action contemplation of life's meaning.  Heavy-handed analogies, heavy-handed drama.
On the other hand: The dialogue, the actors are all very very good, and so are the first twenty minutes.

THE HOLLOW MAN: Atrociously clichéd horror film that forgoes SF extrapolation (and peeking at naked models) for a slasher splatter-fest that we've seen umpteen times before.
On the other hand: The special effects are spectacular.

GONE IN 60 SECONDS: A Jerry Bruckheimer film about car thieves that isn't filled with wall-to-wall car chases? A Nicolas Cage film that isn't insanely cool? Sacrilegious!
On the other hand: Car buffs will really like it.

GODZILLA 2000: Hey, come on... It's a Japanese Godzilla film.  How can *not* it suck? A really good Godzilla movie would be self-defeating.
On the other hand: Some of the wide action shots are impressive despite their lack of polish.

THE CELL: Weakest script of the year, barely supporting cardboard characters, a linear plot with no surprises and an overall lack of substance
On the other hand: The set designs are, granted, somewhat impressive.

RED PLANET: Screw scientific accuracy!  Blast dramatic intensity! To hell with logic and plotting, let's go to Mars!
On the other hand: Carrie-Anne Moss is superb, and a handful of special effects are nice.

NURSE BETTY: Psychotic, pretentious hit men graphically scalp a drug dealer in front of her wife, who turn psychotic and flees to Hollywood to be humiliated and tracked down. It's supposed to be a comedy, but I'm not laughing.
On the other hand: That Latino girlfriend is *hot*. Some scenes work fine.

DUNGEONS AND DRAGONS: A low-budget adaptation of a fantasy games shot in Europe with largely unknown actors and cheap special effects. How can it *not* be bad?
On the other hand: There is a decent half-hour starting at the ten-minutes mark.

THE TAO OF STEVE: Low-budget independent film by first-time director attempts to deconstruct male seduction techniques. It flops around more than it succeeds.
On the other hand: Intellectually, it's a cut above most romantic comedies.

DR. T AND THE WOMEN: Good actors try to make the most of a script filled with impossibilities, amazing coincidences, an awful ending and scores of unfulfilled opportunities.
On the other hand: Tremendous potential for comedy, and it remains interesting almost all the way through.

MEET THE PARENTS: Formulaic comedy of humiliation without surprises for the average viewers.  Can be predicted well in advance, complete with soppy ending.
On the other hand: Ben Stiller gets a good five minutes at the end where he gets to get really angry.

 

5. BOTTOM OF THE BARREL

(in no particular order)

Try to avoid those, if you can: (blurbs coming soon)

10. SUPERNOVA

9. FLINTSTONES 2

8. COYOTE UGLY

7. SCREAM 3

6. WAY OF THE GUN

5. WHAT LIES BENEATH

4. BIG MOMMA'S HOUSE

3. ME MYSELF & IRENE

2. MISSION TO MARS

1. BATTLEFIELD EARTH

 

6. A QUICK GUIDE TO OTTAWA-AREA THEATRES

(reprised and updated from 1999)

This was the year that theaters closed down...

(full article coming soon)