Once again, Moriarity has come through like an evil master of the universe. This is a breakdown and look at what we know about the films... we are most looking forward to... at the moment, which is the last day of 1998. Coming up soon will be a breakdown list of the films I'm wanting info on for 1999 and beyond. It will become a feature on the front page under the top story where my pathetic plea for loot currently festers. But until then.... ANYTHING you can tell us or send about the following projects.... well... Do so with all urgency...
Hey, Head Geek...
“Moriarty” here.
As 1998 draws to a close, everyone seems to be rushing to print their list of The 10 Bests or The 10 Worsts. They can’t even wait for the year to be over before they begin to dissect what went right and what went wrong. Here at the Moriarty Labs, we’re working on our year-end lists as well, but we’ve still got at least six movies to see (SHAKESPEARE IN LOVE, BUFFALO 66, HURLYBURLY, AFFLICTION, THE GENERAL, WAKING NED DEVINE) before we can even start the official tabulations. Instead of looking back, we thought we’d take the initiative and look forward to the year ahead. 1999... the last year of the ‘90s... and the last chance this millenium for filmmakers to add their voices to that fray we call Hollywood.
With this in mind, I dragged out the time machine that I last used for this page when I reviewed THE MUMMY. I fired it up, set the gauge for “DEC 99,” and strapped myself in. Because it’s been a few months since I used it, I forgot just how painful time travel is. I want you to know that I broke ribs for you people. I am in serious pain just so I can bring you an accurate list of the 25 films we should all most keep our eyes open for in the New Year.
I’ve listed these films in my personal order of anticipation based on scripts I’ve read, things I’ve seen or heard, or the general buzz about the people involved. Your opinion about the order of ranking these films might be different than mine. Suffice it to say that wherever we differ, I’m right.
STAR WARS EPISODE I: THE PHANTOM MENACE
Well, duh. As many of you will remember from my review of the trailer, it was STAR WARS that first wooed a young Moriarty over to the ways of filmmaking. The idea that George Lucas is putting the final touches on the first new chapter in the series in 15 years even as I write this brings me no end of joy. Perhaps it helps that I’ve been privy to a fair number of the secrets of the film. I can tell you that whatever STAR WARS film you’ve been running in your head since first hearing the Prequels were coming has got to stay at home when you go to the theaters next May. Lucas is working on something very personal, a film with all the visual splendor of RETURN OF THE JEDI, all the sophistication and polish of THE EMPIRE STRIKES BACK, and the pure kinetic joy of the original STAR WARS. Yet the layoff has done Lucas a world of good. He seems to have brought a new level of maturity to his writing. He also seems to have been able to slip right back into this universe of his, as if no time had passed. No matter what personal gripes some fans will have, this is without a doubt STAR WARS. There’s nothing I’m looking forward to more in film this year that seeing Jedi Knights in action, or traveling to Otoh Gunga, or standing in the center of the Jedi Council, or bearing witness to a session of the Galactic Senate, or sitting ringside for the pod races. These are sights and sounds and places that we’ve never seen or heard or been to before, and we’re all going to be richer for the experience Lucas has planned for us.
EYES WIDE SHUT
What did we do to deserve this? First Malick releases a movie, then Lucas gives us a new STAR WARS, and finally Kubrick winds up with his much-debated, already controversial, long in production opus about sexual obssession and jealousy. Is the film going to be based on Schnitzler’s A DREAM NOVEL? Probably? Is there going to be a staggering amount of on-screen sexuality? Oh, yes. Was that awesome Harvey Keitel rumor true? Well, let’s keep our eyes peeled for a scene involving Sydney Pollack and self-gratification. What we don’t know about this film is pretty much everything. As much as I’ve managed to pierce the veil of secrecy around THE PHANTOM MENACE, I have been stymied by every attempt I’ve made at getting a glimpse inside this production. The key to real secrecy seems to be shooting with a skeleton crew. Kubrick’s reputation as a perfectionist is intact, with nightmarish stories of endless reshoots emerging from the 18 months of principal photography. Hollywood was almost ready to write off the eventual return of its royal couple, Cruise and Kidman, when Kubrick finally, improbably finished his movie. Word from the first few screenings for Warner brass that I’ve heard has been guardedly positive. It will no doubt be too much film for many people, but unlike THE THIN RED LINE, there will be plenty of heat to generate box-office here. The lure of seeing two of Hollywood’s prettiest movie stars in the throes of full sexual abandon will be too great to resist for most. And if it’s a great film, that’s just a bonus for the Studio That Can Do No Right. Personally, I can’t wait.
THE GREEN MILE
Any other year, this film would be number one on my list. Frank Darabont, the film’s writer/director, is a friend and a mentor to me, and his first feature, THE SHAWSHANK REDEMPTION, was one of the finest films of 1994. The screenplay adaptation he’s done from Stephen King’s wonderful serialized novella is smart, literate, moving, and magical. With a cast that includes Tom Hanks, David Morse (a god among actors), Doug Hutchison, Harry Dean Stanton, Graham Greene, Jeffrey DeMunn, Bonnie Hunt, James Cromwell, Barry Pepper, Sam Rockwell, Michael Clarke Duncan, and the cutest damn mice you’ve ever seen (Charlie Gibson deserves a special Oscar next year), this is going to be a well-oiled machine, the very model of what Hollywood filmmaking could be if it set its sights higher. I spent a fair amount of time on the set of the film, and I’ve seen a good chunk of the dailies, and there’s no weak link here. This is going to be a piece of pure, smart entertainment, another gift that Warner Bros. doesn’t deserve. Enjoy, friends.
MAN ON THE MOON
Jim Carrey as Andy Kaufman in a Milos Forman film with a script by Alexander and Karaszewski. Even if I didn’t know anything else about the film, that would be enough to make me drool from anticipation. Having read the script, though, I’m about to go nuts from the wait. For God’s sake, Universal, release some damn footage or a poster or SOMETHING!!! Make this a little easier on us, please. The bizarre stories that have leaked off the set of the film only confirm that Jim was the right choice. Only someone totally tuned in to the bizarre frequencies that Andy seemed permanently attuned to could have orchestrated new madness with Jerry Lawler and actually have the national press pick it up as fact. Milos Forman is a great filmmaker when given provocative, edgy material, and this story has it all in spades. With an excellent supporting cast, including the entire cast of TAXI reprising their roles, this promises to be one of the summer’s smartest, most unusual films, and a welcome alternative to the kind of thing that normally clogs the multiplex. Will America be able to embrace a film about a man they didn’t know what to do with when he was alive? I have no idea. To be honest, though, I don’t care. If they miss out, that’s their problem. Now... milk and cookies for everyone!
SLEEPY HOLLOW
The Andrew Kevin Walker script for Tim Burton’s new film is dark, violent, terrifying, surreal, and brilliant. I am so happy that this is the Burton ‘99 film, and not SUPERMAN. That never seemed like a comfortable fit for the oddball director, whereas this seems to be a perfect step forward, something we’ve never seen Burton do before. Although he’s always flirted with the dark in his movies, he’s never made a full-fledged horror movie until now. The Headless Horseman is running neck-and-neck with Darth Maul as the year’s most interesting villain at this point, and the news that Christopher Walken is playing him only makes the Horseman more attractive. Any time Johnny Depp and Christina Ricci and Walken all sign up for a Burton film, it’s a great sign. These people were born to be in Burton’s films. The early production art has all been fascinating. Overall, I can’t think of any reason to be hesitant about this one.
PRINCESS MONONOKE
I will admit that I’ve been rather slow to pick up on the work of Hideyo Miyazaki, but after seeing Buena Vista’s wonderful domestic release of KIKI’S DELIVERY SERVICE this year, I am a rabid convert. In fact, if that film hadn’t been made in 1989 (!!), it would make my list as best animated film of the year, even with A BUG’S LIFE and PRINCE OF EGYPT in the running. I’ve been offered several opportunities to see an import version of MONONOKE, but I’ve decided to hold out for the theatrical release this summer for a number of reasons. First, and most importantly, I still believe that any film is going to work better on the big screen. Second, I trust Disney to dub this film properly. They did a phenomenal job on KIKI’S, and they’ve hired Neil Gaiman to write the English translation script for this film. I know many fans are bitching that they want a subtitled release, but with animation as beautiful as the hand-drawn work that Miyazaki does, I want that whole frame clear so I can drink in the details. Finally, I’m curious as to what reaction the crowds will have to a film that defies conventional American thinking about what a “cartoon” can be.
THE FIGHT CLUB
David Fincher is rapidly becoming one of the foremost stylists in American film. His SE7EN is one of the finest films of the ‘90s, a bold and brutal vision of violence and morality. THE GAME was imperfect, but never anything less than interesting. Now, with THE FIGHT CLUB, there’s a real chance that he’s going to make something classic, brilliant, and totally original. This, like THE TRUMAN SHOW and THE CRYING GAME, is a great script that hinges on a secret of some sort. One of the challenges of marketing the film will be keeping that secret, especially since the film is based on a novel that’s already out there floating around with a major spoiler printed right on the back cover. If you want to be treated to a unique ride, then do your best to shut out any of the pre-release buzz. Just go in with your mind open and let Fincher work you over. I will admit that I’ve heard some terrible things from the set of this film, but great directors are frequently disliked by their crews. Not always (see Frank Darabont above), but often. Here’s hoping that Fincher is continuing to push the razor edge of his art that wounds.
DOGMA
I have a soft spot for the work of Kevin Smith. Hell, I gave one of my henchmen the marvelous Jay and Silent Bob action figures for Christmas. I have his scripts, and have enjoyed reading them. I do have one gripe, though. I don’t think he’s a great filmmaker. Actually, his work as director has been without any distinct style to speak of so far. That’s fine, since his scripts have so far been almost totally dependent on dialogue and performance, and he’s gotten consistently better at getting great work out of his talented young casts. This film, though, should be the real test of his growth, since all accounts indicate that this film is larger, more ambitious, and more dependent on visual storytelling than any of his earlier efforts. This is a script I’ve avoided reading so far for personal reasons. I’d rather see it onscreen. I like that it sounds like a big chunk of film right now, topping out well over two and a half hours in length. I like the announced cast, with George Carlin, Chris Rock, Linda Fiorentino, Ben Affleck and Matt Damon, and the ubiquitous Jay and Silent Bob, among others. All that remains to be seen is whether Smith has finally taken that leap and gotten comfortable with his camera.
eXistenZ
I’m a big David Cronenberg fan, and I make no apologies for it. I can’t think of a single filmmaker who has brought more intelligence and wit to the horror/dark fantasy genre. When I recently got a DVD player, the first film I purchased was VIDEODROME, which has never been letterboxed before. That film remains a fresh and menacing look at the way we service our addiction to television. As media changes, though, so does Cronenberg, and he’s about to release what will be, I hope, the definitive statement on virtual reality. With other films like THE MATRIX and THE 13TH FLOOR on the way, it’s possible that eXistenZ will get lost in the crush, but that would be a shame. The script for this film is sick, twisted, layer upon layer of deceptions. Jennifer Jason Leigh hasn’t done much genre work, but the idea of her playing Allegra Gellar, designer of the game system eXistenZ, is intoxicating. Jude Law, Willem Dafoe, Ian Holm, and others all sound perfect for a Cronenberg film. Early test screening results have been mixed, but that’s always the case with the films of this prickly, unusual genius. Personally, this is one game I can’t wait to play.
MAGNOLIA
If you’re not a Paul Thomas Anderson fan, then shame on you. HARD EIGHT and BOOGIE NIGHTS were both confident, mature works that were better than films made by filmmakers with ten times his experience. He’s already attracted a passionate team of actors who serves as a reperatory company for him, and if anyone looks to be poised to take up the mantle of the rapidly fading Robert Altman, it’s Anderson. Check out the cast of this ultra-secret new picture: Julianne Moore, William H. Macy, Luis Guzman, Tom Cruise, Ricky Jay, Philip Baker Hall, Philip Seymour Hoffman, John C. Reilly, Melora Walters, Henry Gibson, and Felicity Huffman. Wow. Without any details about the story or even the setting of this picture, I can still pick it as one that I won’t miss, no matter what. When there’s a talent this exciting developing right in front of your eyes, it’s almost criminal to look away.
CHICKEN RUN
Dreamworks has released one fully computer animated film and one traditionally animated film. Now they’re preparing a stop motion animated epic for release from Aardman Animations, the brilliant team behind the Wallace and Gromit shorts. You say you don’t know what I’m talking about? Well, whose fault is that? Get out there and find THE WRONG TROUSERS, and you’ll understand just why I’m so excited that Nick Parks is directing this GREAT ESCAPE like story set around a farm. If this is as good as the short subjects Aardman has done, expect the world to sit up and take notice. Having Mel Gibson voice your lead won’t hurt, either.
MYSTERY MEN
Neil Cuthbert’s script based on the comic book created by Bob Burden is funny, strange, and just sincere enough to work. Originally, the Mystery Men were developed as background players for the Flaming Carrot comic book. With characters like The Shoveler, The Bowler, The Blue Raja, The Spleen, and Mr. Furious, it’s no wonder they have made it to film on their own. With a cast like Geoffrey Rush, William H. Macy (one busy dude this year), Janeane Garafolo, Ben Stiller, Paul Reubens, Eddie Izzard, and Greg Kinnear, this promises to be one of the stranger, more eccentric superhero films ever made. Here’s hoping Kinka Usher, the film’s director, is able to bring his distinctive commercial style (he made that great Nissan commercial with G.I. Joe and Barbie a few years ago) to the bigscreen without sacrificing narrative and character.
THE TALENTED MR. RIPLEY
Patricia Highsmith wrote a series of chilling, disturbing novels that centered on a character named Tom Ripley, the first of which serves as the basis for the new film by Anthony Minghella. I love these books because they center on an amoral, evil, calculating killer as their central figure without apology. Most series focus on a hero who makes his way through various adventures, but Highsmith chose to create a villain who manages to lie, cheat, and murder his way through situation after situation, somehow remaining one step ahead of the law. Minghella’s not the first person to bring the character to the screen. PURPLE NOON, a great French film starring Alain Delon, was the first adaptation of this book, while Wim Wenders turned RIPLEY’S GAME into the flawed but fascinating THE AMERICAN FRIEND. Here’s hoping Minghella gets this right. All the stills I’ve seen so far are stylish, classic. The script is wonderful, managing to capture all the shades of Ripley’s character and never backing off from the strong gay subtext of the piece. If Matt Damon does this right, he may kick his career into an higher gear. Overall, this is one of the most important films on Miramax’s release schedule for next year, and I’m rooting for them to pull it off.
AUSTIN POWERS: THE SPY WHO SHAGGED ME
Let’s not analyze this too much. The first one was excellent. The script for this sequel is hysterical. Mike Myers is a gifted comic actor, and I can’t wait to see his Dr. Evil return. I love great pure comedy, and this film has the potential to be the EMPIRE STRIKES BACK of comedy, a sequel that actually surpasses the original.
ROAD TO EL DORADO
After PRINCE OF EGYPT, it’s a pretty safe bet that I’ll be seeing whatever animation Dreamworks chooses to release. I know very little about this film, but I’m interested. As long as Katzenberg continues to try and expand the potential of the animated medium, I’ll continue to see his films.
THREE KINGS
For those of you who missed David O. Russell's magnificent second film FLIRTING WITH DISASTER, get your butt to a video store now. Russell made what I consider one of the definitive comedies of the '90s, a summary of the various influences that are all at war in this final decade of a rather tumultuous century. Ben Stiller began his string of exceptional comic performances here as a man in search of his birth parents. The thing that made Russell's film so great was the agile way he could switch comic gears from sophisticated to silly to poignant to vicious without ever making it feel forced or phony. Here's hoping he makes the transition to big-budget filmmaking with equal ease as this year brings us THREE KINGS with George Clooney, Mark Wahlberg, and Ice Cube as three American soldiers who find a treasure map and go AWOL during the Gulf War. It's a good concept, a great cast (if that makes you laugh, then see OUT OF SIGHT, FRIDAY, and BOOGIE NIGHTS, then shut up), and an excellent setting we really haven't seen yet on film. If Russell pulls this one off, it could be the kind of action romp we don't see enough of.
SUMMER OF SAM
I've always liked Spike Lee, but I don't always like Spike Lee movies. Frequently he gets bogged down in minutiae and his films end up as interesting misses. This year's HE GOT GAME was good if not great, a mild return to form for him. Now, having read the script for his sure-to-be controversial SUMMER OF SAM, it seems that Spike is poised for a comeback, a return to the zeitgeist. This is unlike anything he's tried before. The first major difference is that he's working with a predominantly white cast. This script was co-written with actor Michael Imperioli (the unforgettable Spider from GOODFELLAS), and focuses on the events in one New York neighborhood during the rampage of the Son of Sam. Like DO THE RIGHT THING, this script builds to a righteous head of fury. This is another story of ugly mob mentality spilling out of control, but it feels fresh. Spike's concerns seem to be changing as he gets older. Perhaps it's working with new collaborators. Whatever the case, here's hoping his career is just kicking into a new, better, vital second stage.
TOY STORY 2
I love Pixar's work. They are incredible visual artists. With the solid foundation of this witty, warm, and (very) worthy sequel script, they should deliver us another sterling piece of entertainment. The character development of Woody and Buzz continues in fun and unexpected ways here, and the writers have managed to devise all new concerns for the toys that keep this from merely being a retread. Dealing with the shady world of toy collecting for profit (as opposed to genuine love of the toys), this film should make the holidays a treat for everyone.
JOAN OF ARC
I believe that Milla Jovovich is a genuine talent. Even before her performance in THE FIFTH ELEMENT, I had enjoyed her in films like DAZED & CONFUSED and had thoroughly loved her debut album. Now that she and Luc Besson are together, it seems that they're inspiring each other, and there's no riskier proposition than trying to bring to life this, one of the great, epic women's stories from history. There was Joan of Arc mania in Hollywood a few years ago, with everyone from Kathryn Bigelow to Frank Darabont developing material about one of France's greatest historical figures. Besson was the first one to actually make it across the finish line, though, and there's a good chance he'll be the one to beat even when other versions of the story start coming out late next year or early 2000. Besson is a visionary filmmaker who brings an intelligent, cool style to everything he does. As long as his script mines the story for its full potential, this could be an epic that really gives us all the power and glory possible.
THE CRADLE WILL ROCK
Based in part on an unproduced Orson Welles script, but also serving as a partial bio of Welles and his Mercury Theater company, this is the return to film of Tim Robbins, whose magnificent DEAD MAN WALKING remains one of my favorite films of the decade. This film is sure to divide viewers along firmly drawn political lines. Personally, I'm not going to read the script because I'd like to be surprised by it. With all the talent involved both in front of and behind the camera, I'm sure the surprise will be a pleasant one.
TARZAN
Even if Keane's Tarzan was the only draw for me, that would be enough to get me into the theater. After seeing the trailer, though, I have to admit that I'm in love with the painted jungle textures of the film and the promise of high adventure. I just know that the animosity I've heard voiced from numerous friends over at the Mouse House about the Rosie O'Donnell ape and various other wacky animals marring the film's overall tone has me a little uneasy. In the end, I'll always give Disney animation a try.
THE MUMMY
I’m going to make a controversial statement here, but it’s one that I can defend vigorously from the blindly devoted fanboys that will attack me for it. I am more looking forward to a finished version of this film than I am to any version of INDY 4, and allow me to explain why. I am a massive fan of the first Indiana Jones movie. I saw it when I was 11 for the first time, and it rocked me just as hard as the first STAR WARS did. The thing that made it so great was that it wasn’t a direct imitation of the ‘30s serials... it was the ‘30s serials as filtered through the memories and imaginations of Lucas, Spielberg, and Kasdan.
That filtering is what made the material magic, fresh, and exciting. By the time the third Indy film rolled around, Lucas and Spielberg were cannibalizing themselves. Instead of remembering what got them excited about the character, they were trying desperately to put a film together from some elusive formula. In my opinion, what they ended up with felt hollow, deeply unsatisfying. A fourth installment will only confound the problems. I’ve read drafts by Chris Columbus, Jeb Stuart, and even some unknown guy named Garry Black, all of them sanctioned by Lucasfilm, all of them pale imitations. With THE MUMMY, Stephen Sommers has reimagined the classic Universal horror story, filtering it through the way it must have felt when he first saw it as a child. This script is breathless, exciting, with a sincere sense of fun, and the early visuals that Sommers and his ILM team are putting together are extreme and invigorating. This is the kind of film the first RAIDERS was -- an adventure story with a reckless abandon driving the whole thing. I’m not saying that this will be an instant classic the way RAIDERS was, but I am saying that the fun starts early in May. While you’re waiting in line for the 21st, sneak away and see what Universal has put together for you.
THE HAUNTING OF HILL HOUSE
The teaser trailer now playing in many theaters promises a big, old-fashioned haunted house movie. I haven’t had the opportunity to read this script yet (it’s on the stack), but I’m very familiar with the novel by Shirley Jackson and with the Robert Wise film THE HAUNTING. I love this cast... any film that has Lili Taylor playing the lead of a studio movie is okay by me... and De Bont isn’t a force of willful evil like Michael Bay or Renny Harlin. If the David Self script is solid and De Bont is willing to allow some subtlety in his film, this could be a solid thriller, the likes of which we haven’t seen in many years.
THE STORY OF US
Remember when we all liked Rob Reiner? Think back... back before he was making crap like GHOSTS OF MISSISSIPPI or NORTH... back to the halcyon days of THIS IS SPINAL TAP, WHEN HARRY MET SALLY, STAND BY ME, and MISERY. Well, thanks to Alan Zweibel, those days may be back. Bruce Willis is taking a major risk here by playing a man loosely based on screenwriter Zweibel who is going through the early stages of a painful Hollywood divorce. Sound a little close to home for Willis? If he’s able to tap into the personal pain he must be going through right now, he may give a personal best performance here opposite Michelle Pfeiffer. This script is smart, adult, and heartfelt. There’s no easy platitudes offered up here. This is about what happens when two people who have shared real passion come to a crossroads, and it deals with the way each decision we make bears incredible w eight when we take our lives as a whole. This is the best writing Reiner’s had to work with in years, and it sets the stage for him to finally realize the early promise he showed as a filmmaker. Let’s hope Rob is finally following his muse again instead of chasing the Oscar. That’s the Reiner we love.
... and finally...
THE MATRIX
There were any number of films that almost had this final spot on the list, but the Wachowskis get the edge because of BOUND, their debut film as writer/directors. It wasn’t the greatest film that year, but it did show a deep knowledge of genre convention and a willingness to confound that convention. If they’re willing to turn the SF/action genre upside down in the same way, then maybe we’ll get something really special here. Let’s hope so. This thing has run tens of millions of dollars over budget, and Joel Silver has really put himself on the line with this one. I’m not sold on Keanu Reeves as the star of a cyberthriller (JOHNNY MNEMONIC, anyone?), but I like Lawrence “Don’t you dare call me Larry” Fishburne a lot, and the extreme martial arts action on display in the teaser trailer is fun. The spring release date for this one means that it’s going to have to be great to have any kind of shelf life once late May arrives. If Warner has actually pulled off a miracle and made a good film, it might be worth their time to push it back and build a strong marketing campaign. After three solid years of dogs, it’s about time they start paying back us, the audience, for all the misery. Here’s hoping they have.
And that’s it. These aren’t all the movies coming out next year, of course. I’m sure there’s a lot of films that are still under my radar, but based on my personal knowledge of what’s coming up, this is a great guide to cut and paste and refer back to as each season’s releases are announced. There’s some great filmmakers at work here, and some promising new talent throwing down as well. Here’s hoping that every time we go to the theater in this New Year, we leave wanting to party like it’s...
... well, you know.
“Moriarty” out.
