2000 TOP TEN: MOVIES
1.
ALMOST FAMOUS: Some people knock this movie for viewing the seventies
through
rose-colored granny glasses, but, hey, it IS told from the point-of-view
of a
very, very
happy 15 year old kid who not only gets to write for Rolling Stone, but
also
loses his
virginity to a trio of sexy groupies! For me, the hero's starry-eyed
wonder was
the whole
point: it's a rare movie that can honestly make me remember how exciting,
innocent
and mysterious life (and, for that matter, show biz) seemed before I became
such a
cranky old man. Plus, I've always gotta give props to a Hollywood
movie made
with such
heartfelt emotion, humanity and attention to detail. All that and
Phillip
Seymour
Hoffman as Lester Bangs (maybe one of my favorite movie characters of all
time),
a good role for Fairuza Balk (for a change), that cool-ass stewardess outfit
worn
by Zooey
Deschanel and the luminescent Kate Hudson as the embodiment of the Great
Unattainable.
(Also, it gave me a nice, optimistic catchphrase for 2001: "It's
all
happening!")
2.
CHUCK & BUCK: Funny, touching, creepy and unnerving is a rare
combination
of elements
to find in one movie, but that's what we're talking about, here.
The
characters
(especially the socially-retarded, maturity-impaired "Buck" and the tough
old
broad he
befriends at a children's theater) are just great, and there's not a false
note in
the whole
story. Best of all, I had NO idea what the ending was going to be
(or even
what KIND
of ending to expect)...and just TRY to get that damn
"Oodily-oodily-oodily"
song out of your head after the film's over (trust me, you'll know
the one
I mean).
3.
STATE AND MAIN: Although David Mamet is one of my favorite writers,
his
movie direction
is usually stiff, clunky, and lifeless...except, I guess, when he's got
an
ensemble
cast this good and a script this funny. As the writer and director,
respectively,
of a Hollywood
production that invades an impossibly quaint New England town,
William
H. Macy and the ubiquitous Phillip Seymour Hoffman have a great time playing
normal
people for a change, and Alec Baldwin (as a jerky movie star) gets props
for
providing
my SECOND favorite catch-phrase for 2001 involving the root-word
"happen"
(you'll know it when you hear it). I dunno how funny all the show
biz in-jokes
will be
for non-show-biz-obssessed types...but, hoo-boy, for us addicts it's a
frickin'
hoot.
4.
CROUCHING TIGER, HIDDEN DRAGON: You'll laugh! You'll cry!
You'll
wish you
knew karate...although the fight scenes in this movie are closer to ballet
(or
fireworks)
than, say, even the most kinetic Jackie Chan fight scenes. At first,
I worried
I was going
to have to sit through a lot of subtitled dramatic exposition to get to
the
"good stuff,"
but eventually I realized the yearning, mythical romantic drama WAS the
good stuff,
and the fight scenes were just gravy.
5.
WHAT PLANET ARE YOU FROM? For some reason, nearly every critic in
America
felt the need to beat this funny, touching allegory to a bloody pulp.
Sure, I can
understand
a knee-jerk reaction against a movie starring a t.v. comic as an alien
with a
buzzing
penis who comes to Earth through an airplane toilet looking for sex.
Sounds
like some
horrible Saturday Night Live vehicle, right? But it's not...for one
thing, it's
actually
FUNNY, and (more important) it somehow captures the tricky landscape of
romantic
relationships with a clarity missing from any number of "respectable" films
on
the subject.
And the main reason is Annette Bening, whose sparkling performance as
the tough
but vulnerable alcoholic love interest is equal to (and maybe even BETTER
than) her
celebrated work in American Beauty. No, really...I'm SERIOUS!
6.
THE SPECIALS: This came out for about five minutes in L.A., and I
only saw it
because
the New Times and the L.A. Weekly raved about it. They were both
right for
a change,
and so now I'm spreading the love in case you ever spot this in a video
store.
The premise
is similar to Mystery Men - i.e., an ensemble comedy about a team of
low-rent
superheroes - but The Specials is less a genre parody than a look at the
group
dynamics
of co-workers who just HAPPEN to be superheroes (although for most of
the movie,
they could just as easily be doctors, musicians or real estate salesmen).
REAL "indie"
filmmaking at its best, the movie features sharp, funny dialogue and
performances
that put most 2000 Hollywood product to shame.
7.
CHICKEN RUN: It's a weird year when some of the most sophisticated
characters
and dialogue are in movies about aliens, superheroes and dancing chickens,
but I'll
take the excitement, suspense and (British) patriotism of this utterly
charming
children's
movie over the sadistic violence of The Patriot, the overblown, hollow
spectacle
of Gladiator or the clunky by-the-numbers predictability of U-571 any day
of
the week.
8.
ERIN BROCKOVICH: I love movies that break new ground, take my breath
away and
make me look at the world in a whole new way...but, barring that, I'll
settle
for Julia
Roberts' cleavage. No, wait...what I meant to say was that in a year
filled with
so much
lazy studio crap, I'll always root for something like Erin Brockovich,
the kind
of solid,
well-built mainstream product Hollywood is SUPPOSED to be making (what
with all
the frickin' money they get paid, fer chrissake!). Plus, Albert Finney
is just
flat-out
great by any yardstick, and it's always nice to see "the little people"
stick it to
"the Man"
(in Fantasyland, at least).
9.
X-MEN: Yep, more superheroes. Oh, sure, I could've picked something
classier
to put
on my list here, like Croupier or Quills, or I could've picked something
more
"indie"
like High Fidelity or Groove or Ghost Dog or The Tao of Steve or The Virgin
Suicides
or The Way of the Gun...but all those movies wind up on the honorable
mention
list instead of the #9 spot because...well, they were all plenty enjoyable
-- but
nothing
more -- and none of them wound up being top-to-bottom, full-throttle
"gotta-see-it-opening-night"
movie EVENTS. X-Men earns its spot if only because it
didn't
disappoint me (in a year of disappointments), because it was a lot more
clever
than it
needed to be, and because it briefly made me feel like I was 12 again (in
the
good, uncynical
moviegoing way). That's good enough to make the list in 2000, I
reckon.
10. BRING
IT ON: Again, I suppose this spot could easily have gone to one of
the
(arguably
more deserving) movies in the Honorable Mention section, but, come on...like
I'm gonna
say no to fabulous babes in cheerleader uniforms! And, to be honest,
this
movie WAS
perfect in its own cheerfully goofy way, like, I dunno, The Sanford &
Son
theme or
a Cherry Garcia bar. As with, say, The Virgin Suicides or Croupier
or Ghost
Dog or
Groove - it's not really ABOUT anything, and exists mainly as a mood piece
-
and I sure
left the theater in a GOOD mood. Also, as enjoyable as High Fidelity
was, I
can't really
remember anything in it as vividly as, say, the really funny opening dream
sequence
cheer in Bring It On...so what the hell. It's my number 10 film.
It's that kind
of year.
2000 HONORABLE
MENTION: The Virgin Suicides, Ghost Dog, Groove, Road
Trip, Saving
Grace, Croupier, High Fidelity, The Way of the Gun, Best in Show,
Charlie's
Angels, Quills, Billy Elliot, Traffic, Time Code, The Tao of Steve, Dr.
T & The
Women,
Shadow of the Vampire, 50% of The Perfect Storm
WILD CARD:
O BROTHER, WHERE ART THOU? - The biggest challenger for a
spot on
my 2000 top-10 is this latest Coen Brothers film, which I won't get to
see until
2001.
I've heard from plenty of people who HATED it, but, heck, I loved The
Hudsucker
Proxy (which, until now, was the most reviled Coen Brothers movie), so
there's
no telling what I'll think of this baby.
WORST MOVIES OF 2000
WORST MOVIE
I SAW: REINDEER GAMES. Oh, sure, Requiem for a Dream
and Blair
Witch 2 were both awful in their respective ways (see below), but at least
they were
TRYING to do something, whereas this one infuriated me for being so
aggressively
lazy and mediocre in every way, a perfect representation of everything
that
was wrong
with the 2000 movie year.
WORST MOVIE
I DIDN'T SEE: THE FAMILY MAN. There were plenty of awful
movies
I DIDN'T see this year (Hanging Up, Pay It Forward...egad), but even the
commercials
for this one make me want to throw up. Gee, what a dilemma...to be
super-rich
and bang a different super-model every night or be utterly adored by a
gorgeous
wife and cute kids in a gigantic upper-middle-class home? Nice to
see
Hollywood
tackling the tough issues.
MOST OVERRATED
FILM OF THE YEAR: REQUIEM FOR A DREAM, or
Trainspotting
for Dummies, as I like to call it. So, okay, the rave reviews are
for...what,
exactly?
The daring, controversial idea that...gasp...drug addiction is bad?
The hokey,
sub-MTV
visuals? The cartoonish, one-dimensional characters? The sneering
condescension
towards poor, sad, lonely people? Oh, I know, it must be the achingly
self-conscious,
utterly humorless pretension! I mean what is the point of this exercise
in
grim hopelessness,
exactly? The characters are just as pathetic (and DULL!) when
they're
sober as when they're fucked-up (they never even seem to get any pleasure
out
of their
drugs of choice) and there's no solution or alternative to all their misery...it's
like
the art
film equivalent of a Friday the 13th movie: you meet some paper-thin
characters
with one
trait each (one's sulky, one's pouty, one's black and one wants to fit
into an old
red dress)
and then wait for them to get knocked off, since it's the only interesting
thing
that's
likely to happen. (And, excuse me, but wouldn't a trained medical
doctor dealing
with a
pill-addicted middle-aged woman try, I dunno, placing her into a 12-step
program
or something before zapping 50,000 volts into her frontal lobe? Ooh...but
that
wouldn't
be EDGY!)
BIGGEST
DISAPPOINTMENT: BLAIR WITCH 2: ELECTRIC BOOGALOO.
I'm not
ashamed to say The Blair Witch Project scared the bejesus outta me.
Maybe
I'm just
overly paranoid and excitable, but I literally couldn't walk down a certain
dark,
tree-lined
street one night after seeing it (and, yes, I felt stupid about it, but
logic and
self-aware
irony are no defense against a sudden, drastic case of the creeps).
So I was
looking
forward to the big budget, 35mm sequel, and for the first five minutes
I thought
it was
gonna be great...but halfway through, I realized BW2 was the most
jaw-droppingly
awful, amateurish crock of shit this side of Battlefield Earth (a gem of
Hollywood
craftsmanship by comparison). Making it worse, as has been noted
elsewhere
by the esteemed Senator Von Doviak, is the fact that the director, who
defended
kids accused of murder mainly 'cuz they dressed weird (in the documentary
Paradise
Lost), here condones the very same "weird-looking-people-must-be-killers"
attitude
he slammed in his earlier, far superior outing. BW2 is utterly repulsive,
shrill
and terrible
in every way.
WORST EXPERIENCE:
DANCER IN THE DARK. The end of this movie had a
scene so
excruciatingly painful to watch that I felt like I'd been punched in the
ribcage,
and I was
furious afterwards. Which is not to say it's a bad movie, exactly.
Which is
not to
say it's a good movie, either. I have to give a certain amount of
respect to a film
that produces
such a visceral reaction in me - but, then again, I had a similar reaction
to
the infamous
bootleg videotape of a politician shooting himself in the head at a press
conference.
Like somebody said once, it's easy to get a reaction out of an audience:
just strangle
a puppy. But that don't necessarily make it art.
COMEDY PHRASE
OF THE YEAR: "Ass to ass! Ass to ass!" -- Requiem for
a
Dream
MOST EMBARRASSING
MOVIE LINE: "You the man now, dog!" (or whatever)
-- said
by the embarrassingly white Sean Connery to some embarrassed-looking black
kid in
the ad for Finding Forrester.
2000 T.V. TOP TEN
1.
Survivor
2.
Survivor
3.
Survivor
4.
Survivor
5.
Survivor
6.
Survivor
7.
Survivor
8.
Survivor
9.
Survivor
10. The
Sopranos (Big Pussy and Nancy Marchand, R.I.P.!)
THEATER
BEST PLAY
OF THE YEAR: Not that I saw much theater in 2000, but SIDE MAN
(with Edie
Falco, a.k.a. Tony Soprano's wife), the story of a hepcat fifties trumpet
player,
the wife he drives insane and the kid who grows up in the war zone between
them, is
hands down one of the best productions I've ever seen on stage OR screen.
Funny,
harrowing and deeply moving.
MUSIC
Sadly, I
seem to buy less music the older I get (or maybe there's just less good
music
out there
nowadays), but the following CDs (not necessarily 2000 releases) got heavy
rotation
in my own personal radio station this year:
MOBY, Play
P.J. HARVEY,
Stories from the City, Stories from the Sea
AIMEE MANN,
Bachelor #2 (or the Last Remains of the Dodo)
U2, All
That You Can't Leave Behind
ALMOST
FAMOUS (Soundtrack)
GROOVE
(Soundtrack)
and, of
course,
SOCKBOX!
BOOKS OF
THE YEAR (Again, not necessarily released this year, but all worth
checking
out):
THE GIANT'S
HOUSE: A beautifully written story about the relationship between
a
spinster
librarian and a thoughtful young man who grows to be a freakish giant in
fifties-era
Cape Cod. It sounds strange, but it's actually a wry, heartfelt love
story.
Kudos to
John and Jana for bringing it to my attention. Highly recommended!
SURVIVOR: Loved the crew's-eye perspective!
BLACK MASS:
Horrible but fascinating true-life story of the F.B.I.'s corrupt
relationship
with former Boston crime honcho Whitey Bulger.
WITH NAILS:
Very funny show biz ruminations by British actor/gadabout Richard E.
Grant.
HIGH FIDELITY:
I liked the book better than the movie (except for the ending, for
reasons
too bitter to go into right now).
PREACHER:
The first graphic novel series I've been hooked on since, oh, say the
early nineties.
Lots of sex, gore and blashphemy, and God makes frequent guest
appearances.
THE LAST
DAYS OF DISCO (WITH COCKTAILS AT PETROSSIAN
FOLLOWING):
For those (like myself and, um, well, I don't know anyone else) who
couldn't
get enough of the original Whit Stillman movie.
PSYCHOTIC
REACTIONS AND CARBURETOR DUNG: Thanks to Almost
Famous,
I finally got around to reading this, and, yes, that rascally Lester Bangs
fellah is
pretty
durn lovable.
KEYS TO
THE KINGDOM: All kinds of Michael Eisner-related show biz
skullduggery,
for them what like that kind of thing.
Anyway, here's wishing you all a Happy New Year (and better movies in 2001)!