Gosh... Well, here goes ol Robogeek with his opinions on the year of 1998. Just so ya know, Robo and I don't agree on everything on these lists of his. In fact, I disparage the poor guy as often as I can. BUT he will argue his points to the death. So here ya go...
ROBOGEEK'S 1998 YEAR IN ROBO-REVIEW -- PART TWO (MEMO TO ACADEMY MEMBERS!)
Well, folks, while winding down my stay at the West Coast branch of the Banzai Institute, I finally got around to hammering out the last of my "Year in Robo-Review" lists. This was helped in large measure by many late night debating sessions with my cohorts at the BI, the BPRD, and AICN. I labored long and hard over these, agonizing over every single decision and placement. At long last, I can look upon these lists and say "I'm done." (Well, at least until I change my mind again.)
I really wanted to be able to publish this list on January 11, since Oscar nomination ballots were mailed out to Academy members January 8 (and are due January 29, by the way). However, there was just one problem -- I hadn't had a chance to see "The Thin Red Line" while out at the Institute, and it didn't open in Austin (and nationwide) until January 15. And I wasn't about to pull a "Golden Globe" and publish my list without having seen it. (Guess what I won't be watching Sunday night.)
Anyway, I decided that there were simply too many good movies this year to stick to a Top Ten list, and expanded it to a Top Twenty. Plus, I've added a couple other categories just for kicks. However, you'll notice that I did not compose a "Worst Films" list. Why? Well, mainly because I go out of my way to avoid seeing bad movies whenever possible. (In fact, I'm proud to say I haven't seen a single film on Harry's forthcoming "Worst" list.) And, besides, it'd be mean. And as Dr. Banzai reminds us, "we don't have to be mean." Although sometimes it's hard. Case in point...
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STUDIO WITH THE WORST KARMA/MARKETING/BRAIN DAMAGE:
UNIVERSAL
Even though they had their share of stinkers this year, how can a studio
with so many good and even great films -- including "Primary Colors," "Fear
and Loathing in Las Vegas," "Out of Sight," "Meet Joe Black," "Babe: Pig in
the City" -- have such a terrible year? Two words: bad marketing. So what do
they do? Sack Casey Silver. Anyway, "Patch Adams" has given them a pulse
again, though "Virus" flatlined. And they've proceeded to pass on
since-picked-up great projects like "13 Days" and the
franchise-on-a-silver-platter "Curious George." (I mean, come on, it's not
like you can sell "Patch Adams" toys, or have "Patch Adams: The Ride" at
your theme park!) How can they redeem themselves? Greenlight the
unbelievably kickass "Hellboy," which has the potential to be as huge a hit
as the films it'll be the perfect follow-up to: "The Mummy" and "Mystery
Men."
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WORST STUDIO / STUDIO MOST LIKELY IN LEAGUE WITH SATAN:
WARNER BROS.
Maybe it's just me, but if I were a studio exec, I couldn't turn out a worse
slate of movies if I _tried_. Just look at some of the films they released
this year: "U.S. Marshals," "Tarzan and the Lost City," "Quest for Camelot,"
"The Avengers," "Practical Magic," "Soldier," and "Jack Frost." That is a
heaping, steaming, stinking pile of shit! The only explanation I can come up
with for how Terry Semel has kept his job is that he must have a pact with
Satan. (This would also explain Jon Peters, come to think of it. Or maybe
Peters actually _is_ Satan.)
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MOST INSPIRED AND ENTERTAINING GUERRILLA INTERNET MARKETING CAMPAIGN FOR AN INDIE DOCUMENTARY:
OPERATION: HEADSHOTS (Robo-Review!) A great case study for any aspiring filmmakers on the 'net.
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BEST DOCUMENTARIES OF 1998 I DIDN'T SEE:
"Storefront Hitchcock," "Frat House," and "Wild Man Blues." Sigh...
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BEST DOCUMENTARIES OF 1998 I DID SEE (THAT ALL PROVE TRUTH _IS_ STRANGER THAN FICTION):
3. THE CRUISE
"Speed" Levitch emerged as one of the most engaging and entertaining personalities of the year thanks to this original and offbeat documentary. It makes you want to get on a plane for New York City _now_.
2. HANDS ON A HARD BODY
Have you seen this movie? HAVE YOU SEEN THIS MOVIE?!?! If not, my God, are you in for a treat. Imagine "Chariots of Fire" meets "King of the Hill." One of the most vastly entertaining films of the year.
1. THE BIG ONE
I bow before Michael Moore. This should be considered required viewing for every American citizen. Moore is a national treasure, and I applaud him for continuing the never-ending battle for Truth, Justice and the American Way with humor and aplomb. A highly amusing, enlightening and provocative film.
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MOST ANNOYINGLY OVERRATED FILMS OF 1998:
3. SLIDING DOORS (Miramax)
I'm sorry, but the fact that no film critic was film-literate enough to see this was a blatant rip-off of Kieslowski's far superior "Blind Chance" (1981) annoyed the hell out of me. There's nothing original about this film, though it does feature very nice work by Gwyneth Paltrow -- who I grew to be a devoted fan of over the course of 1998.
2. AFFLICTION (Lions Gate)
UGH!!! Writer/director Paul Schrader's ponderous adaptation of the Russell Banks novel comes nowhere close to last year's brilliant Atom Egoyan adaptation of Banks' "The Sweet Hereafter." Granted, some of the problem stems from the differences in the source material, but when it comes right down to it, Schrader is no Egoyan -- and Nick Nolte is certainly no Ian Holm. Nolte's performance did absolutely nothing for me, but far worse was James Coburn's borderline ridiculous caricature. This is the only film of 1998 I walked out of. I just couldn't stand it. UGH!!!
1. ELIZABETH (Gramercy)
Now before you get all in a tizzy, don't get me wrong -- I liked this film and thought it was rather good, but I am _so_ annoyed by the irrationally excessive praise critics have lauded upon it. While exquisitely crafted, it is emotionally uninvolving and rings hollow. It has no heart, no soul. And while it boasts strong performances by Cate Blanchett and Geoffrey Rush in particular, none of the actors' parts have any real depth to them -- which is a real shame. This is a film that should have (and could have) been great, yet has somehow managed to fool a lot of people into thinking it actually is.
HONORABLE MENTIONS: "High Art," "The Opposite of Sex," and "Velvet Goldmine" -- three films I was fortunate enough to avoid seeing.
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BEST UNRELEASED MOVIE OF 1998:
THE WONDERFUL ICE CREAM SUIT (Disney/Buena Vista/Touchstone/whoever)
It's a shame bordering on a crime that Disney doesn't realize what a magical little film they have on their hands, as they're planning to dump the film direct-to-video. Come on! With a targeted platform release, focused on art houses, cities, and Hispanic markets, this film could really perform well with strong word of mouth and a marketing strategy. Given that even Warner Bros. is smart enough to get behind a Bradbury adaptation (Mel Gibson's forthcoming "Farenheit 451," based on Terry Hayes' screenplay), you'd think Disney would have enough sense to release this inspired gem. But I guess they decided it was too much trouble. Or maybe it's too "ethnic" for them. Bullshit! This is a fantastic film from director Stuart Gordon, who does an inspired job of adapting Bradbury's play to the screen, weaving an urban musical fairy tale fantasy with boundless charm and heart. Plus, it features wonderful performances by Joe Mantegna, Esai Morales, Edward James Olmos, and Clifton Gonzalez Gonzalez. RELEASE THIS MOVIE!!!
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BEST FILM OF 1998 I COULDN'T SEE:
LITTLE VOICE (Miramax)
When this movie will finally open in Austin is anybody's guess, which is exceedingly frustrating, given all the great things I've heard about Jane Horrocks, Michael Caine and Brenda Blethyn. (Be sure you see this film before filling out your nomination ballots, Academy members!)
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COOLEST FILM OF 1998:
SIX-STRING SAMURAI (Palm Pictures)
(Robo-Review!) Aside from the fact that I am at a total loss as to how and where I could possibly rank this film in any context, I feel the need to single it out for special recognition. Director Lance Mungia's virtuoso valentine to geek cinema magically puts onto screen everything a comic-book-reading, anime-watching, Hong-Kong-action-film-going, Western-loving kid-at-heart could ever want. And on top of top-notch production values (especially Kristian Bernier's sumptuous cinematography and James Frisa's razor-sharp editing), it heralds the star-making arrival of the uber-cool Jeffrey Falcon as Buddy. God, I can't wait to get this on widescreen DVD!
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ROBOGEEK'S TOP TWENTY-ONE FILMS 1998*:
(*NOTE: Including only narrative features that debuted theatrically in 1998. That is, this does not include the re-release of "Casablanca," which would all-too-easy easy to put in the number one spot -- but it'd also be a cop-out that would open a pandora's box of other recently re-released films like "Citizen Kane," "A Touch of Evil," "The Last Emperor," "The Wizard of Oz" and others. Also, you will not find any ties, which I also think is a cop-out that defeats the whole purpose of a ranked list.)
21. ARMAGEDDON (Touchstone/Disney)
(Robo-Review!) Unlike the illustrious crack-head Mr. Hallenbeck, there is absolutely no way I can in my right mind justify putting this film in my Top Ten, or even really my Top Twenty. However, I still stand by my original review of this film, which was the biggest hit of 1998 (aside from 1997 holdover "Titanic"), with half-a-billion worldwide, thank you very much. And I'd rather see it again than "Elizabeth" any day of the week. (Memo to Warner Bros.: Boot Jon Peters and give "Superman" to Michael Bay and Jerry Bruckheimer! That would rock so hard!)
20. DANCER, TX POP. 81 (Sony)
This little-movie-that-could was one of the most wonderful discoveries of the year, and enjoyed a successful regional release around these parts. However, the powers-that-be didn't quite have the wherewithall to figure out how they could platform it into a nationwide sleeper hit. And that's a real shame, because it's a fantastic film full of charm, heart, and humor.
19. GREAT EXPECTATIONS (Fox)
A vastly underrated film from the masterful Alfonso Cuarón, who directed one of my favorite films of the decade, "A Little Princess." Absorbing and transporting, it is visual poetry and an inspired modern-day transposition of the famed novel. Pure magic, with excellent work from Ethan Hawke and Gwyneth Paltrow, as well as Anne Bancroft, Chris Cooper and Robert DeNiro. If you never saw it, it's well worth a rental.
18. OUT OF SIGHT (Universal)
Looking at this list, I can't help notice how many great films Universal released this year that made no money. Case in point, this superbly smart flick from Steven Soderbergh, with George Clooney, Jennifer Lopez and Ving Rhames -- which happens to be just about the best Elmore Leonard film adaptation I've ever seen. This should have been a hit, dammit!
17. THE BIG LEBOWSKI (Gramercy)
(Robo-Review!) The Dude abides! Probably my favorite Coen Brothers film, though coming on the heels of "Fargo" it was almost destined to be misunderstood and underrated. Pure cinematic bliss, and one of the most memorable films of the year. How can you miss with Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi, John Turturro? Plus, it features the most elegantly simple and poetically zen plot: The Dude just wants his rug back, because it tied the room together. Beautiful!
16. THE TRUMAN SHOW (Paramount)
Certainly not the "great film" we were hyped into hoping it would be (and some critics continue to insist it actually is), but still warranting a place on the list due mainly to its provocative and insightful subject matter, from the pen of Andrew Niccol (who wrote and directed the superior "Gattaca" in 1997). Also proved that Jim Carrey could act (and quite wonderfully, natch), and featured fine work from Ed Harris.
15. FEAR AND LOATHING IN LAS VEGAS (Universal)
WE CAN'T PARK HERE! THIS IS BAT COUNTRY! Damn, I was saying that for months This is one of those Terry Gilliam films I walked into expecting to hate, but walked out of absolutely loving. Praise be to Universal for having the cojones to make this marvellous and amazing film, even if they couldn't figure out how to sell it. Johnny Depp and Benizio del Toro are spellbinding.
14. SHAKESPEARE IN LOVE (Miramax/Universal)
This film came thisclose to squeezing into my Top Ten. While calling this film "a delight" sounds trite, it's true. This is one of those films I'd heard soooooo much about I expected to be disappointed, but was surprisingly enchanted by. However, it's one of those annoying movie-going experiences where the audience is sprinkled with elitist academic types who laugh self-consciously just to prove they get all the literary humour. Whatever.
13. FIREWORKS (Milestone)
Takeshi "Beat" Kitano is so cool it's scary. This movie is stunningly brilliant.
12. THE CELEBRATION (October)
This movie is absolutely incredible! I only wish it'd been shot on 35mm.
11. THE MIGHTY (Miramax)
(Robo-Review!) This movie is Magnificent with a capital M. Exceptional performances by the two young leading actors, along with a strong supporting cast led by the marvellous Sharon Stone -- whom I have grown to respect and admire more and more with each successive film. This film remains one of the dearest to my heart of all those I saw this year.
10. LIFE IS BEAUTIFUL (Miramax)
I love this movie. I love Roberto Benigni. Sure, when you get right down to it, it's contrived, manipulative filmmaking, but it's still absolutely wonderful. "Il Postino" it's not (quite), but it sure is something.
9. SAVING PRIVATE RYAN (Dreamworks SKG/Paramount)
(Robo-Review!)) While no "Schindler's List," and burdened with the major mis-step of the all-too-self-conscious present-day "book-ends," it is still masterfully filmmaking of overwhelming impact and potency. But it does feel just a teensy-weensy bit too calculated. And while it's obviously the odds-on favorite for the Best Picture Oscar, I think those who believe it deserves to be ought to consider the following films.
8. BABE: PIG IN THE CITY (Universal)
Wildly inventive and adventurous filmmaking, vastly underrated and misunderstood except by a handful of enlightened critics (like Roger Ebert). It's to "Babe" what "The Empire Strikes Back" is to "Star Wars" -- more mature, mythic, sophisticated, dark, daring, and technically ambitious. It's also exhilarating and spellbinding. However, once again, Universal had a great film on their hands that they totally mismarketed, and to the wrong demographic; regardless of the undeserved G rating, this is an _art_ film, not a kid's film. All hail George Miller!!!
7. A SIMPLE PLAN (Paramount)
Masterful, understated storytelling spun with perfect precision from director Sam Raimi, featuring exacting performances by Bill Paxton, Billy Bob Thornton, and Bridget Fonda. Recalls "Fargo" and "The Sweet Hereafter" -- not just because there's a lot of snow, but because of the detailed and absorbing character studies.
6. PLEASANTVILLE (New Line)
(Robo-Review!) After failing to deliver its potential at the box office after a.) being released too early and b.) a fatally flawed marketing campaign that gave away the movie, this film lost steam fast -- especially when critics failed to universally embrace it. However, this unique fairy tale for grown-ups remains a revelatory work of pure cinematic magic from brilliant writer/director Gary Ross, whose next project promises to be even more inspired (and already has a special place in my heart for reasons that will ultimately prove obvious). And if Joan Allen doesn't get a Best Supporting Actress nomination, I'll spit. I just wish I could've squeezed this movie into my Top Five. It's thisclose.
THE TOP FIVE
Picking my top five this year was rough. In another year, the previous five would be the top five. However, picking them wasn't nearly as hard as ranking them. The following line-up has changed more times than I care to count. Basically, however, if came down to two things: If I could nominate five films for Best Picture, these would be them. If I could pick only five films to recommend from this year, this would be them. And here they are. These five should be considered required viewing.
5. THE BUTCHER BOY (Warner Bros.)
Perhaps Neil Jordan's best film, featuring a stunning tour-de-force debut performance by lead actor Eammon Owens as Francie Brady -- one of the three best performances on film this year. (Nominate him for Best Actor, Academy! Don't be a bad bastard!) A film far too few people saw, much less _got_. In a year when our nation was struck unaware by acts of schoolyard horror in Jonesboro and elsewhere, this is one of the most timely films I've ever seen -- even though it's set in Cold War Ireland. Watch it and you will understand. (Go rent it instead of suffering through "In Dreams.")
4. THE PRINCE OF EGYPT (Dreamworks SKG) -- ROBOGEEK'S FAVORITE FILM OF THE YEAR
(Robo-Review!) Behold... the power of Katzenberg. I've seen this film three times now, and it continues to astound and move me. If it wasn't for one flawed scene and a couple minor nitpicks, I'd rank it at Number One, hands down. It's a staggering achievement, and a breakthrough for American feature film animation, superior to anything Disney has turned out in the modern era thus far. And it features some of the best acting on film this year. In fact, I'd argue that a Best Actor nomination should be shared by Val Kilmer, Kristof Serrand, et al. Awesome.
3. THE THIN RED LINE (Fox)
Wow. Impressionism meets Zen. A mesmerizing work of cinematic art, heralding the return of Terrence Malick to the medium of film. While some of the celebrity casting is slightly distracting, the real star is the director, who achieves a level of artistry unmatched by that other World War II film.
2. GODS AND MONSTERS (Lions Gate)
(Robo-Review!) After seeing the film last summer, I was depressed by the fact that it would probably be lost in the mix and hardly seen, as it would be burdened with the label of "gay film." All but ignored at Sundance, it caught fire at the New York Film Festival, and then, lo and behold, the National Board of Film Critics named it Best Picture. Marvellous! There is hope. In addition to Bill Condon's magnificent direction, this film features the best acting performance of the year: Sir Ian McKellan as James Whale. He should win the Oscar, hands down. A masterpiece.
1. SMOKE SIGNALS (Miramax)
In picking my number one film out of the Top Five, it finally came down to a few fundamental questions -- If I could choose just one film from the year to recommend to people, what would it be? Who would I most like to see take the stage on Oscar night, and which film would I most like to see benefit from winning? And which film makes me most proud to be a lover of films? To all those questions, I arrived at the same answer.
This was one of those movies that I heard great things about after it won big at Sundance, but never got around to seeing in a theater because... well, to be honest, it simply didn't interest me. Plus, Miramax dumped it in theaters during the summer, buried among the blockbusters. But I finally saw it recently (with Harry and Tom Joad at El Gordo's Casa de Cojones) and was simply stunned. It is eloquent cinematic poetry of profound and universal resonance, unfortunately burdened by a title that sounds silly if you haven't seen the film. I'm more than a little annoyed to see Miramax over-hyping "Life is Beautiful" and "Shakespeare in Love" for the Oscar race, when they hardly lifted a finger for this film and "The Mighty." Sadly, the Oscar race has become far too much an exercise in marketing. But the Oscar for Best Supporting Actor should go to Evan Adams for his revelatory turn as Thomas.
You owe it to yourself to see this great American film, destined to be an enduring and timeless classic. Director Chris Eyre, I salute you.
COMING NEXT WEEK: The Trouble With "Tarzan"
- robogeek@punkass.com
P.S.: ATTENTION MACINTOSH USERS! Got OS 8.5? Download the Official AICN Sherlock Plug-In, courtesy of El Cosmico and the Banzai Institute! (For more information on Mac OS 8.5 and Sherlock, visit www.apple.com.)
