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Mr. Beaks Names His Best Of 2002!! AICN'S LIST-O-MANIA BEGINS!!

Hey, everyone. "Moriarty" here with some Rumblings From The Lab.

The next 24 hours or so should see the publication of this list, my list, and Harry’s list. As I understand it, we’re waiting until Quint can count to 11 without being naked before we ask him to make a list, and ol'Father Geek got the jump on us all a couple of weeks ago with His List of 21.

Any introduction beyond that would probably entail me either agreeing with or disagreeing with Beaks on his choices, and that’s not why I’m here.

No... that’s why TalkBack is here. Lock and load, boys.

In the words of Alec Baldwin from STATE & MAIN, “well….. *that* happened!”

My 2002 moviegoing year began officially with McTiernan’s ROLLERBALL, and was closed out by Polanski’s THE PIANIST. In between these two films, I left New York City, spent way too much time in Ohio, and finally relocated to Los Angeles, a crazy town that I’m trying very hard to love. Due to the hectic tenor of my year, I found myself playing a wild game of cinema catch-up throughout December and into January, which, sadly, means that more than a few films went unseen. Before getting started with my recap, and in the interest of full disclosure of my delinquency, I offer this short list of notable pictures I missed (and their directors):

Trouble Every Day (Clare Denis)

Festival in Cannes (Henry Jaglom)

Les Destinees (Olivier Assayas)

Night at the Golden Eagle (Adam Rifkin) – Luckily, someone on this site managed to sufficiently cover this one.

Home Movie (Chris Smith)

ivans xtc (Bernard Rose)

Merci Pour Le Chocolat (Claude Chabrol) – Alas, the obligatory Chabrol film which I failed to see before it’s released on DVD/Video.

Tadpole (Gary Winick)

Full Frontal (Steven Soderbergh)

Alias Betty (Claude Miller)

8 Women (Francois Ozon) – Easily, the most egregious omission of my year, considering my love for the director, and complete infatuation with Virginie Ledoyen and Ludivine Sagnier.

Bloody Sunday (Paul Greengrass)

Personal Velocity (Rebecca Miller)

Morvern Callar (Lynne Ramsay)

If you feel my list is lacking owing to the omission of any of the above films, please feel free to lobby for them in the talk back.

Now, let’s move on to what I *did* see this year, though you’ll excuse me if I don’t discuss all 131 of them. This number is referring only to 2002 releases, most of which, honestly, I viewed over the last month, which has resulted in a kind of prestige-film malaise. By the time I reached THE PIANIST, I was praying for some kind of frivolous cinematic reprieve, something that wasn’t trying to provide profound commentary on the banality of evil, or the bloody making of America in Manhattan’s filthy Five Points, or, Nipsey forbid, the quiet desperation of women in loveless relationships, scored oppressively by Philip Glass. Which means that this list – as with any other list I make, or any viewpoint I may hold on a specific film – might shift around in the coming years. In particular, it will be interesting to see how the film I’ve named the Best of 2002 will age as we move farther away from the horrifying event that pervades its every frame.

A word on my terribly complex methodology: before settling on my top ten, I whittled down my list a number of times; first, to eliminate those films that haven’t a chance of contending (i.e., anything released by Warner Brothers); secondly, to sift out those films about which I didn’t feel *really* strongly. This left me with a list of twenty-two pictures worthy of something more than muted praise. I’ll begin with the honorable mentions, ranked in no particular order, meaning that some came closer to the final ten than others.

ENIGMA (d. Michael Apted, w. Tom Stoppard) – An exceedingly intelligent spy game that couldn’t have found a more fitting adapter than master playwright, Tom Stoppard, who once again finds a stirring human poetry in the cracking of complex mathematical equations (read his brilliant ARCADIA to see how he unites the seemingly disparate likes of Quantum Physics and Lord Byron). Ultimately, it’s a tad too restrained emotionally, but this isn’t for a lack of trying on John Barry’s part, who contributes a typically lush score that makes you wish he didn’t work so infrequently nowadays. (As if I needed another reason to madly anticipate it, Barry is listed as the composer for Brad Bird’s THE INCREDIBLES.)

HELL HOUSE (d. George Ratliff) – Reviewed. I expected this film to more of a lightning rod for controversy, but maybe, when it’s nominated for Best Documentary (hint, motherfucking, hint), it’ll start getting talked about. If you get the chance, do not pass this one up.

THE RING (d. Gore Verbinski, w. Ehren Kruger & Scott Frank) – Reviewed. Though many nitpicked the film’s plot holes, I found the logic held within the oppressively eerie world conjured up by Verbinski, who, hopefully, will return to horror after the horror of directing THE PIRATES OF THE CARRIBEAN. Extra points must be given for the tattered copy of YOR, HUNTER FROM THE FUTURE hidden on the shelf in the hotel manager’s office.

JACKASS: THE MOVIE (d. Jeff Tremaine, w. Kingsley Amis) – Reviewed. Not only the funniest film of the year, but probably the most relentlessly hysterical motion picture since AIRPLANE! Oh, and after receiving a mountain of email last week either praising or excoriating me for loving ROAD HOUSE, Moriarty has no idea how close he came to experiencing Bam Margera’s fireworks-in-the-bedroom prank firsthand.

MULE SKINNER BLUES (d. Stephen Earnhart) – I caught this documentary on the Sundance Channel earlier this year, and have been recommending it to friends ever since. It’s very much a southern variation on AMERICAN MOVIE, with the irrepressible Beanie Andrew filling the Mike Borchardt role as he struggles to conceive and execute a horror film twice as inscrutable as “Coven”. To do this, he corrals the talents of his quirky North Floridian friends and neighbors, including an aspiring writer, a pair of feuding local rock musicians, and a nearly tone-deaf chanteuse whose voice, she says, “gets better with Schnapps”. What they end up with may not be high art, but it’s genuine, and their pride upon seeing their opus completed is undeniably touching. Don’t be surprised if Miss Jeanie’s anthem, “I Don’t Ever Want Another D.U.I.”, gets stuck in your head.

THE QUIET AMERICAN (d. Phillip Noyce, w. Christopher Hampton & Robert Schenkkan) – Reviewed. Michael Caine delivers the best performance of the year.

NARC (w. & d. Joe Carnahan) – Reviewed. A great actor’s director is born in Joe Carnahan. Lost in the well-deserved hype for Ray Liotta’s turn is Jason Patric’s absorbing work as an irreparably damaged cop inflicting more damage on himself as he attempts to close a case that might be better left open. Shattering.

CONFESSIONS OF A DANGEROUS MIND (d. George Clooney, w. Charlie Kaufman) – An immensely entertaining wallow in the muddled, partially (probably) fibbed life of Chuck Barris, who claims to have engaged in wetworks for the CIA while producing and hosting a series of successful TV game shows. If you can’t swallow that premise, it’s just as interesting if taken as a metaphor for a man unable to be faithful to women, or honest with himself. Add Sam Rockwell to the list of deserving actors likely to be snubbed by the Academy.

Did anyone else break down in tears when they saw that Gene Gene, The Dancin’ Machine lost his legs?

EQUILIBRIUM (w. & d. Kurt Wimmer) – When I saw this movie for the third time (I felt honor-bound to pay to see it after rallying y’all to see it back in early December), I found myself engaging in faux-gunkata outside the Universal Citywalk AMC multiplex with a fellow web critic who will go unnamed. One of the most pleasant surprises of the year, and, yes, it still holds the title for Best Choreographed Action of 2002.

SPIDER-MAN (d. Sam Raimi, w. David Koepp) – The year’s best pure popcorn film, and a more perfect origin film than Donner’s SUPERMAN (then again, I’ve always been more partial to the web-slinger). I can’t wait to see how the steadily improving crew over at Sony Imageworks (inexplicably shafted by the Academy for their work on STUART LITTLE 2) handles the f/x on the sequel. Michael Chabon’s draft is currently being re-written by Alvin Sargent (little surprise there, since he did uncredited work on the first film). Let’s hope it isn’t possible for there to be *too* much talent aboard this franchise.

THE PIANIST (d. Roman Polanski, w. Ronald Harwood) – An unflinching, unsentimental survivor’s tale of the Holocaust that is ultimately more exhausting than profound. What lingers most in memory is Adrian Brody’s haunting central performance as a man with barely enough strength to simply endure.

UNFAITHFUL (d. Adrian Lyne, w. Alvin Sargent & William Broyles, Jr.) – Ever the tragic romantic, Adrian Lyne turns his wistful gaze from the pathetic Humbert Humbert to the bored, unfulfilled Diane Lane, who is more than deserving of the Oscar buzz surrounding her great performance here. Richard Gere is every bit her equal as the jilted husband who’s done nothing but love his wife.

LATE MARRIAGE (w. & d. Dover Koshashvili) – Equal parts hilarious and exasperating, this Israeli import depicts the travails of Zaza (Lior Loui Ashkenazi) – a thirty-one year old Jewish man being paraded around Tel Aviv by his marriage-minded, tradition-bound parents – who’s trying to keep secret the torrid affair he’s conducting with Judith (Ronit Elkabetz), a slightly older divorcee who’s also carried over a child from her previous union. Drolly observed under the unobtrusive direction of first-time feature director Koshashvili, LATE MARRIAGE is a remarkably precise slice-of-life drama that makes no judgments on any of its many colorful characters, or the potentially stifling institution of arranged marriages. There’s conflict aplenty, but no villains; only individuals resisting, or acquiescing to a cultural practice that’s passed through countless generations. It’s a triumph of unforced naturalism, and nowhere is this more evident than in the film’s protracted sex scene that has been rightfully praised as one of the most realistic ever staged. If Koshashvili continues to capture such a searing intimacy from his actors, he is going to be a major filmmaker.

ADAPTATION (d. Spike Jonze, w. Charlie Kaufman) – The real litmus test with this sophomore effort from Jonze & Kaufman it turns out is not how one will react to the potentially alienating subject matter, but how well it stands up on a repeat viewing. I for this a while back, but took my time in taking another look, and while I didn’t find myself as disenchanted as some, I must admit that the shopworn mechanics employed by “Donald” to bring the film to a conclusion, while undoubtedly amusing, are a bit wearying the second time out. However, the reason the film still resides in my top ten is because, when we reach that dreaded, supposedly hackneyed moment where Charlie learns something profound about himself, it works beautifully.

It’s wonderful to have Nicolas Cage, the Actor, back in our midst (someone needs to consult Sean Penn on whether Nick is no longer a “performer”), and to see Chris Cooper ham it up as the gummy John Laroche, but it’s Meryl Streep who amazes most. At this late stage in her brilliant career, I’d have never thought her capable of revelation, but her playful, stoned-out reaction to snorting the orchid dust is just that.

LOVELY & AMAZING (w. & d. Nicole Holofcener) – Six years was a long time to wait, but Nicole Holofcener finally followed up her charming WALKING AND TALKING with a winning sophomore effort that defies categorization as a mere “chick flick”. This is a human drama focusing on four women – three unlikely sisters and one terribly insecure mother – who stumble through life dealing as best they can with shortcomings both self-imposed and involuntary. There’s not a saint amongst them, or a steadying voice of reason – like many of us, they’re brilliant at living everyone’s life but their own – but they’re never less than likeable, even at their shrillest.

Catherine Keener, at her abrasive best, capably anchors the ensemble, which also includes praiseworthy turns from Brenda Blethyn, precocious newcomer Raven Goodwin and Emily Mortimer, whose heartbreaking full frontal nude scene is one of the best-written sequences of the year; a doubly revealing moment that’s pure Holofcener. Here’s hoping she can halve that six-year layoff this time around.

CHICAGO (d. Rob Marshall, w. Bill Condon) – An absolute dazzler. Beginning with the unlikely sight of Catherine Zeta-Jones warbling “All That Jazz” – accomplishing the even more unlikely task of making some of us periodically forget about Bebe Neuwirth’s complete ownership of the Velma Kelly role – Rob Marshall’s CHICAGO surprises at every turn, thanks in no small part to the imaginative adaptation by Bill Condon, who fleshes out the narratively slender Fosse stage musical with an effortless élan. The result is a film that keeps topping itself as the familiar story of the sweet-faced Roxy Hart (the unstoppable Renee Zellweger) bops along its predetermined rise-and-fall trajectory. Unbelievably, for a film with this much stunt casting, the actors hit nary a false note, from the bawdy Queen Latifah to the tap-dancin’ Richard Gere, who puts a show-stopping cap on a career-best year.

If the movie musical is really back, then this is the new gold standard.

FAR FROM HEAVEN (w. & d. Todd Haynes) – Conjuring the Technicolor ghost of Douglas Sirk, Todd Haynes irresistible melodrama lays bare the subversive subtext of the German émigré’s best Hollywood work without descending into camp. Julianne Moore is tops, but the film’s best performances, courtesy of Dennis-es Quaid and Haysbert, are going somewhat ignored.

STANDING IN THE SHADOWS OF MOTOWN (d. Paul Justman) – Not only the best documentary of the year, but an important celebration of our musical heritage that asks us to reconsider who was really responsible for the Motown sound. If you walk out of this movie with any answer other than “The Funk Brothers”….. man, you weren’t listening.

CATCH ME IF YOU CAN (d. Steven Spielberg, w. Jeff Nathanson) – It shouldn’t be surprising that the most consistently entertaining movie of 2002 was directed by Steven Spielberg, but given the man’s spotty track record as of late (including this year’s MINORITY REPORT, which, as a friend is so fond of saying, “falls apart when ‘Mind of the Married Man’ shows up”), it seems a minor miracle. Throughout the film, I waited for the “mature” Spielberg to sabotage himself – indulging in some horribly self-important message-mongering, or tacking on an appearance from the real-life Frank Abagnale, Jr. tearfully laying flowers at his father’s tombstone – but, amazingly, it never happened. Instead, Spielberg, perhaps responding to Abagnale’s kindred childhood desire to escape the marital squabbles, and eventual divorce, of his parents, stays blessedly on track, providing two-and-a-half hours of cinematic bliss that’s light on its feet, yet anything but airy.

THE LORD OF THE RINGS: THE TWO TOWERS (d. Peter Jackson, w. Jackson, Frances Walsh & Philippa Boyens) – FELLOWSHIP OF THE RING came in as my number six film of 2001, so if things proceed apace from this year’s placing of THE TWO TOWERS (reviewed ) at number three, then RETURN OF THE KING should be a cinch as my number one for 2003. Taken as a whole, I have a feeling that THE LORD OF THE RINGS will be my favorite film series of all time. My condolences to Pat Proft and Neal Israel on being bumped from the lofty perch they’ve held since 1984.

FEMME FATALE (w. & d. Brian De Palma) – As the resident De Palma nut, did you expect anything less (read my review, indelicate title courtesy of Moriarty)? That people I know to be otherwise sane and rational human beings continue to willfully misinterpret his work befuddles me, but I’ve grown used to it by now. At the very least, I was pleased to be joined in my effusive praise by Harry and Moriarty, along with the usual gang of De Palma fans (i.e. Armond White, Charles Taylor and Manohla Dargis). I was all set to name FEMME FATALE the best film of the year, but something more audacious got in the way…..

25th HOUR (d. Spike Lee, w. David Benioff) – There’s always been something to be said for the way Spike Lee swings for the fences every time out, but, lately, little of it has been positive. Having run aground spectacularly with the stacked-agenda-in-search-of-a-coherent-film known ignominiously as BAMBOOZLED, I gave up hoping that the tough-minded auteur would ever reach the pinnacle of DO THE RIGHT THING or MALCOLM X ever again; simply getting in the neighborhood of HE GOT GAME seemed like it would be accomplishment enough.

From the ugly sounds of a dog being beaten to death over the Touchstone Films emblem, through the brazen opening credits placed against the spotlight memorial to the World Trade Center, I was hooked. Spike Lee’s films have always throbbed with the insistent pulse of New York City, but, by acknowledging the undeniable scarring of not only the city’s physiognomy, but its psyche as well, an unsettling arrhythmia has set in. That unease finds a perfect accompaniment in Monty Brogan (Edward Norton), a once-successful drug dealer trying to fit way too much activity into his last day of freedom before going to jail for seven years. His world, like the city in which he’s lived all his life, has been rocked to the core. Now is the time for him to put his house in order, but there’s a sense of dread hanging over his actions; an uneasy finality pervading his every move. In other words, Monty has a feeling that he may never be coming home again.

As a New Yorker, and a man who’s never shied away from controversy, no one should be surprised that Lee has chosen to place 9/11 front and center in his first post-tragedy work, but I bet many will be absolutely shocked that his take is so unabashedly compassionate. And contrary to some critics’ complaints, it is absolutely germane to the story being told. Lee’s after bigger game than some pat crime-and-punishment parable; he’s speaking to that part of every person who felt, for one terrible moment, like a New Yorker on that early-September day in 2001. He’s evoking that feeling of wanting to turn back the clock, to run some place safe, to do anything other than face an uncertain future. But in heading down that uncharted path, he’s also reminding us that, no matter how different we are, no matter how much we may hate each other at one time or another (masterfully encapsulated in the picture’s much-buzzed-about mirror sequence), we’re all in this fucking thing together. And, deep down, when the worst occurs, we’ll all be there for each other because, as Brian Cox says, “you’re a New Yorker”.

And that’s all the bitch done wrote! I’ll see you lunatics tomorrow with reviews of CITY OF GOD and KANGAROO JACK. Ah, the bitter and the sweet...

Faithfully submitted,

Mr. Beaks

Readers Talkback
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  • Jan. 15, 2003, 4:15 a.m. CST

    Attack of the Clones was a better popcorn film than Spider-Man

    by darthflagg

    Well, it was.

  • Jan. 15, 2003, 4:28 a.m. CST

    As always, pure brilliance MrBeaks...

    by -Dr.Strangelove-

    Missed you

  • Jan. 15, 2003, 4:57 a.m. CST

    Sneak Previews

    by Captain Dobie

    I know you guys get to see a lot of stuff way in advance but you saw all these in 2001....way to go!

  • Jan. 15, 2003, 5:47 a.m. CST

    Yeah, great list (whatever)

    by Lazarus Long

    While I commend the choice of the fantastic 25th Hour as #1, I automatically dismiss any list that not only does not include Gangs of New York in the Top 10, does not include Gangs in the honorable mention, and yet includes studio franchise crap like Spider-Man. Say what you want about staying truthful to the source material, SPIDER-MAN DOES NOT HOLD UP TO REPEAR VIEWINGS. To repeat the above poster, Attack of the Clones is a better popcorn film. While Spider-Man's "drama" scenes are well done, there's not one "action" scene worth watching again. I understand how some view Scorsese's film as missing the mark, not being the masterpiece we all hoped (but few should have expected). But how you can fail to recognize the greatness and genius contained in so many of the shots and scenes...well, it's just sad. You give Charlie Kauffman and Spike Jonez a free pass after admitting the ending is weak, champion YET ANOTHER genre exercise from Brian DePalma (which was cool, but let's face it, IT WAS NO MULLHOLLAND DR.), and you can't include Gangs? FUCK YOU, Beaks. And fuck anyone else who set their standards WAY too high and prevented themselves from acknowledging Scorsese's daring and execution. I saw this film for the second time today and like even more than I did before. The scenes I felt were truncated, the music I thought were out of place...well they are no Jar Jar. The complaints are nothing compared to what IS there. I paraphrase the film critic from the New York Times: this film may fall short of greatness, but it has more moments of greatness in it than any other film this year.

  • Jan. 15, 2003, 7:42 a.m. CST

    On your Spider-Man declaration

    by Halloween68

    Spider-Man, while I loved it, and I'm always a fan of anything Raimi, was in no way better than Donner's Superman. Come on! Spider-Man was more on calibur with Burton's Batman. I say the two are in a tie for second best comic book adaptation.

  • Jan. 15, 2003, 7:43 a.m. CST

    Minority Report

    by Mac Gargan

    What the hell is up with the continual slating of Minority Report? I thought it was excellent. I remember Harry's review and him having problems with the characters not being well-rounded. Is this really a problem that exists only in Minority Report? As for the supposed loop holes in the plot, explain this, if Sauron made the ring in the first place why doesn't he just make another one? In fact, why doesn't he make a shit load in case he loses one again? I'm sure some LOTR nut will have an explanation straight from the text about this, but my point is, I still ENJOYED FOTR and TTT. I just wish I could figure out what in Minority Report turned the AICN guys off it so much.

  • Jan. 15, 2003, 8:29 a.m. CST

    there should be more ties....

    by uberbill

    ...well there should be...

  • Jan. 15, 2003, 10:22 a.m. CST

    top 10 for '02, in descending order: _bloody sunday_, _y tu mama

    by duanejones

    most overrated: _narc_ (lurid, formulaic episode of _kojak_ with hand-held cameras, a self-satisfied ray liotta and, once more, an exceptional jason patric, which isn't enough to overcome the foregoing) & _about a boy_ (it's ok, just that). go eff yourself award to _variety_'s peter bart's pissy diss on film critics and their ostensible elitism. y-you mean...FILM CRITICS LIKE GOOD FILMS?!?!? why hasn't john ashcroft been warned? what bart sees as a liability -- so many critics groups giving so many different awards to so many different film/actors/directors/&c. -- merely exposes the former producer of _revenge of the nerds 2_ as a company man quick with the rimjob for the industry and quicker with lowbrow-beating of the community of film critics. he couldn't possibly aspire to elitism if he tried. and, far from a liability, the multiplicity of awardees (if not the multiplicity awards themselves) for '02 demonstrates a pretty vibrant year for filmmaking, despite everything going against it. it is, moreover, an indication that these "elitists" are giving american monoculture a literal run for its money. and there's still a ton of stuff (_derrida_, _two towers_, and on, and on), like senor beeque, i haven't seen and that i eagerly await on dvd. good show(s), you all. here's to an even better '03.

  • Jan. 15, 2003, 10:32 a.m. CST

    and, no, i didn't mean i'm going to wait until _two towers_ is o

    by duanejones

    ...i only meant there's still a number of films from '02 worth seeing that i haven't yet, in theaters OR on dvd. _two towers_ is getting the total abandoned arena-theater treatment, like 11:00 am some weekday, just as soon as i score that twenty-third hit of blotter...

  • Jan. 15, 2003, 10:32 a.m. CST

    Speilberg's Secondary Casting is his greatest flaw...

    by Fearsme

    If you look at Speilberg's most three recent films, AI, Minority Report, and Catch Me if You Can, they are all proficient films with great lead actors. I loved catch me, kinda like A.I., and Was irked by Minority Report. But if you look at the weakest aspects of a lot of these films, its the almost cartoonish secondary characters. In A.I. you had they guy who plays Elliot from Just Shoot Me doing this horrible little scene with Jude Law in the hotel, it was silly and poorly done, you had Robin Williams as the voice of Dr Know, literally a cartoon, but again, a goofy little joke that took you out of your suspension of disbelief. Same goes with Chris Rock's little Cameo and R Lee Ermy as robots at the Flesh Fair. They weren't characters, they were caricatures. In Minority Report you had they guy from Mind of the Married Man in a downright goofy performance, the black guy from the practice and the cop from Boomtown giving fairly cartoonish turns in their parts. Dont let me forget the guy who ran the virtual reality place Cruise takes Agatha to. The man was a step away from being a cel drawing. Even Max Von Sydow oozed that sort of 1950's Vincent Price-ian gusto that seemed out of place for the film. Catch Me if you can had the same thing going on, with the cartoonish James Brolin, Martin Sheen, the girl who played Martin Sheen's daughter, they came across rather one dimensional. It's like they put so much effort into getting quality leads that they forget about the supporting roles. They are mostly throwaway parts, and it seems as if they are treated as such by casting.

  • Jan. 15, 2003, 11:25 a.m. CST

    Full Frontal......

    by Peter Venkman

    was a piece of shit, no if's and's or but's about it. IT BLEW.

  • Jan. 15, 2003, 1:50 p.m. CST

    An answer for Duanejones

    by MrCere

    An excellent Two Towers question, now for an answer: Sauron actually put a good portion of his own self, his own power into the ring. This is why he cannot take form, walk out into the world and kick ass. The ring is almost...him. This may have been unwise, but it is what he did. He cannot further difuse his power or risk losing another ring.

  • Jan. 15, 2003, 1:53 p.m. CST

    Oh and...

    by MrCere

    I meant to mention that I love lists, especially for a year's worth of movies. It is all rather arbitrary, going from Jan. 1 to Dec. 31, especially with the way studios release these things, but fun all the same. I must chip in and say that "About Schmidt" is marvelous and probably overlooked. I wonder if AICN kids are too...uh...young to relate to it.

  • Jan. 15, 2003, 2:38 p.m. CST


    by mrbeaks

    I applaud Scorsese's daring, but his execution was, sadly, sorely lacking. When the scene that's repeatedly trotted out as a prime example of "classic Scorsese" -- the conscription tracking shot -- feels lifeless and telegraphed, I can't in good conscience include this film on any year-end list, save for Most Disappointing (as Moriarty did). I'm a huge Scorsese fan, and one of the biggest defenders of KUNDUN, as criminally underrated a film as there is, but he crapped out with this, his labor of love. Any "moments of greatness" were courtesy of Daniel Day-Lewis. And if you can't take a difference of opinion without getting rude about it, then fuck you with Wilt Chamberlain's petrified cock (now serving number 21,937).

  • Jan. 15, 2003, 2:56 p.m. CST


    by SamBlackChvrch21


  • Jan. 15, 2003, 4:14 p.m. CST

    GREAT MOVIES!!!!!!!

    by G-BOY

    I know I'll be in the minority, but I don't care. Minority Report and Catch Me if You Can were very good. There's so many of the one's ya'll have mentioned I've yet to see - but I'll definitely see them. The GREAT ones I've seen are ROAD TO PERDITION, ANTWOINE FISHER, THE ROOKIE & JOSHUA (Great Religious movie - rent it if you can). Panic Room was good and suspensful, enjoyed Spiderman and Star Wars - Attack of the Clones. The absolute biggest piece of crap I've seen this past year without a doubt, besides Robin Williams performance, was ONE HOUR PHOTO!!!! That movie sucked and went nowhere!!!!! Really want to see PUNCH DRUNK LOVE, THE PIANIST,ABOUT SCHMIDT, THE HOURS, LORD OF THE RINGS: THE TWO TOWERS (I know - I'm probably the only person on this web site that hasn't seen it - please don't attack me - I will soon), CHICAGO, ADAPTATION & FAR FROM HEAVEN. Also - I really don't see what the BIG DEAL is about MY BIG FAT GREEK WEDDING. Two movies I found MUCH funnier than that would be FRIDAY & OFFICE SPACE - Those both brought me to tears.

  • Jan. 15, 2003, 4:16 p.m. CST


    by twindaggerturkey

    Not complaining about Mr. Beaks's list, he can omit SA if he wants...Just thought I would mention it. Here, I'll mention it again! SPIRITED AWAYYYY!!! SEN TO CHIHIROOOOO!!!! (If you are anywhere near one of the theaters still showing this....see it!!!)

  • Jan. 15, 2003, 5:04 p.m. CST

    25th Hour as best of the year? I agree!

    by PumpyMcAss

    I have never been to NYC and my impressions of it are mainly from Spike Lee, Woody Allen and Martin Scorsese movies. With this film Lee might even surpass his last New York opus, Do The Right Thing. Oscars to Lee, Norton, and Hoffman and Maguire as producer. That would be a sweet Oscar night...but it ain't gonna happen. Sigh...

  • Jan. 15, 2003, 7:38 p.m. CST

    You kinda almost had me up until you mentioned a good word about

    by a goonie

    Seriously, the praise for this film on this site is inexcusable. The movie is trash. The acting is trash. The ending is quite possibly the silliest "twist" ending in movie history. De Palma is an idiot, guys. I can't believe anyone with half a brain (and Harry and Mori have proven on occassion that they do have one) would hail this movie as anything more than complete drivel. To quote EW's Owen Gleiberman: "About all that these characters have in common is Romign-Stamos' lips, which is part of the filmmaker's design, his way of demonstrating that a devious woman's identity is as malleable as her dye job. That's an idea that De Palma has 'borrowed' from Vertigo more times than he hasn't, yet it is taken to such preposterous extremes in Femme Fatale that he doesn't even seem to be playing Hitchcock anymore. He's playing dress-up Barbie." Words to live by, boys and girls.

  • Jan. 15, 2003, 7:40 p.m. CST

    For the list of movies you missed, Beaks, Full Frontal is one of

    by a goonie

    So yeah, Full Frontal should be seen as soon as possible.

  • Jan. 15, 2003, 9:30 p.m. CST


    by Broken_Hill

    Boy do all these movies suck. If you were wading through a sewer would you feel compelled to pick your Top Ten turds, too? Okay, admittedly, the fact that I haven't seen ANY of these films may lead some of you criticise this posting. However, I would counter by saying, can you honestly look me in the eye and tell me that all of these movies aren't fucking shithouse?

  • Jan. 16, 2003, 4 a.m. CST


    by Heleno

    Didn't that come out about a million years ago? Or maybe that was just the UK release. I have to say that, of the films so far released here in the UK on your list, that is the only one I find kinda mystifying. Otherwise, nice list. Here's hoping 2003 does as well or preferably better.

  • Jan. 16, 2003, 5:15 a.m. CST

    The "Unstoppable" Rene Zellwegger? WTF?

    by sparkdog

    Who's trying to stop her? Stop her from doing what? Is "Chicago" about people trying to stop Rene from going someplace, or doing something, jumping in her path, while she keeps leaping over them? What? How is that a compliment, "she's unstoppable in 'Chicago'" if I said that would someone nod and say "Hmm, now I want to see it"? WTF?

  • Jan. 16, 2003, 5:53 a.m. CST


    by Parla

    Nobody is doing the 10 worst!! This are some of mine 1. Crossroads 2. The sweetest thing 3. Rollerball 4. XXX 5. We were soldiers 6. Harry Potter and the chamber of secrets 7. 8 Women 8. Killing Me softly 9. The Sum of all Fears 10. The road to perdition 11.Panic Room

  • July 27, 2010, 10:01 a.m. CST

    This site has alot of lists

    by orcus