| Films |
| Nowhere in Africa |
stunningly pictorial and with a new take on a popular subject; to me this was a more deserving oscar winner than the pianist. One could turn off the sound; it is enough to simply watch. |
| 13 Conversations About One Thing |
a clever and accomplished film which gradually builds momentum and context that enhances its shifting narrative style, and features a meticulous and understated performance by alan arkin |
| 25th hour |
this film builds from a slow start, and benefits from a masterly performance by ed norton and some exceptional work from a collection of accomplished actors. spike lee has moved past the shock approach of his early work (although there is a scene here far too reminiscent of do the right thing) and become a master storyteller. |
| the hours |
a stunning, delicately woven film -- the cuts itself are worth the admission. it is dark, it is depressing, but it's a hell of a movie. nicole kidman brings an intensity and depth to her role that sets her apart from the terrific cast. the unfortunate bombastic score by philip glass tends to overshadow the acting, but it's great art. |
| the quiet american |
a stunningly understated film, with michael caine in a masterful performance. the momentum of this film builds quietly, and the shock of violence, when it comes, is perfectly in tune and without melodrama or gratuity. and read the book |
| igby goes down |
a masterful study of teenage angst -- reminiscent of harold and maude -- with a startling and subtle acting by the usually drab and typecast amanda peet (well, not so subtle), bill pullman, and jeff goldberg. well worth having another culkin on the big screen. |
| the pledge |
sean pean directs, helped by stunning performances by jack nicholson and robin wright penn, and a brilliant cameo by benecio del toro, still, the best moments in the film are silent -- penn shooting a henhouse in chaos, or the stillness of a winter snow. |
| memento |
a strikingly inventive story, told in a hop scotched narrative from a man seeking revenge for an attack which has left him without short-term memory. guy pierce and the now ever-present carrie ann moss are compelling, but the star here is the editing and the script. |
| the limey |
stephen soderbergh does not make an uninteresting film: the editing and conversational shifts and lapses in the movie are fascinating enough; the presence of terrence stamp in the title role gives this movie a surreal yet beguiling effect. the flashback scenes to an earlier stamp movie add the the allure. |
| traffic |
| A good movie in a bad year, this is worth seeing if only for benicio del toro's stunning performance as a mexican cop treading boundaries of morality and loyalty. gorgeously filmed, the only flaw is a few over-the-top moments with michael douglas as the us drug czar, pulling some unlikely stunts in an effort to handle his drugged daughter. still, a fine and enterprising cast.
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| the contender |
| a searing look at American politics (all the more insightful due to it's timing at the nadir of the american political system) with charming performances by joan allen, gary oldman, and jeff bridges with the best imitation of bill clinton i've seen. ultimately a little too neat at the end, it still beats watching CSPAN.
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| requiem for a dream |
| This film was given a NC-17 rating, and it's a shame, for any teen who had the stomach to sit through it would be more persuaded about the agony of addiction than any this-is-your-brain-on-crack corporate pr job. the most powerful drug depiction since drugstore cowboy, along with some excellent performances by jared leto, jennifer connelly, and ellen burstyn. still, not for the apprehensive.
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| wonder boys |
| re-released for the holidays, this is a simple but engaging movie, director curtis hanson's follow-up to la confidential. not dramatic, not controversial, not epic; just a smart, persuasive film that lingers briefly.
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| black and white |
| it's hard to make any any art with the centerpiece of race, but director james toback has managed to make a surprising, occasionally searing, if uneven film that does just that, looking primarily at the co-opting of black character, gesture and language by young affluent whites. a film that will not appeal to everyone, but will reward those who are innately curious.
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| almost famous |
| while critical darling cameron crowe still has more bad movies than good ones, this is a fabulous look at rock culture; perhaps the best since spinal tap. with a point of view chiefly flavored by characters on the fringe of the action (a boy-journalist; a groupie), crowe brings to life a wealth of memorabilia.
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| the insider |
| like many, I am wretchedly sick of the subject, and imagine it can only be worse if it is vented by al pacino at full volume. this movie, however, is an engaging and lucid, carrying it's ample baggage with ease. a dramatic gem.
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| magnolia |
| paul thomas anderson's bittersweet valentine to the outlying neighborhoods and characters of los angeles and the san fernando valley; yes, it is long, tom cruise is unimpressive and the frog thing is a little much, but this as heartfelt and honest a movie as i have seen, pushed along by acting performances that are without peer. |
| american beauty |
| an early pick for the top film of the year; it's not that good, but with the exception of an over-the-top scene near the end, it combines stunning camera work with performances fully worthy of their hyped praise. |
| being john malcovitch |
| what is most remarkable about this remarkable film is that a studio actually dared to make it: a stunning script and meticulous acting color every frame. although it helps if you like john malcovitch, this film is transcendent. |
| summer of sam |
| an ambitious and surprisingly powerful film -- stretches are strained, and there is a lack of cohesion to the violence, but there are moments both compelling and surprisingly haunting, and the acting is superb. In a summer memorable for light sabers and flatulence jokes, to date, it's the most engrossing major film out.
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| the winslow boy |
| a shimmering period piece; its ambitions are modest, but it is spectacularly successful. david mamet extends his directorial range well beyond the con-game plot-twister of the spanish prisoner or house of games |
| election |
| can't quite believe I'm recommending a Mathew Broderick film, but it's cleverly done and full of small surprises
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| elizabeth |
| quite simply the year's best movie (1998) - merchant and ivory with guts. the performances of Blanchet, Rush, etc. match the dark, lacquered tone
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| the sweet hereafter |
| this is a searing and affecting look at a tragedy which resonates far beyond its viewing. a quiet and deserving nominee for best picture last year (1997)
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