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Fifteen years ago Bill and Ted took a seriously silly journey to the underworld, and this one is seriously freakishly disturbing. Imagine if Bosch and Dante were 21st-century geeks and they collaborated on a graphic novel (and maybe that’s a good description of Jamie Delano and Garth Ennis’s book *Hellblazer,* upon which this is based, but I don’t know cuz I’ve never seen it).
Welcome to the Hollywood Action Movie, post September 11, wherein the hero is a jaded rogue with a videogame-honed trigger finger and his own conspiracy-theory Web site, and the villain is a jaded rogue driven mad by a lack of appreciation for a lifetime devoted to public service.
Another year of really, really crappy movies was saved, in the end, by a Bohemian storm, a magical ring, a robot boy, and a lonely mademoiselle. A feeling of the otherworldly permeates every movie on my best-of list this year, even the one documentary. And the weird thing is that most of these films were … more…
Donnie Darko in, in fact, what Ferris Bueller’s Day Off might have been if David Lynch had ever gotten his hands on it, a daring, disturbing, visionary debut from 26-year-old writer/director Richard Kelly.
This gorgeously shot 1961 Disney movie is half awwww-inspiring romp through evergreen forests, half near-documentary about the Darwinian horrors of the food chain disguised as a kiddie flick.
A new-fashioned screwball comedy combining improbable elements, from ancient Egyptian artifacts to downtown New York chic, with classic conceits like mistaken identity and romantic conundrums.
Writer/director Tom Tykwer captures all of GenX’s best qualities — energy, resourcefulness, independence — and he does so in the shared visual vernacular of Xers: music videos, video games, and television.
So, Go’s three interconnected tales follow a diverse group of Los Angeles twentysomethings as their lives bang up against one another in a scenario that’s the 90s in a nutshell, from the Xer point of view: sex and danger that’s both exciting and terrifying (the clever script uses the word ‘go’ both in the imperative, let’s-get-out-of-here sense and also in the imperative, orgasmic sense, as a synonym for ‘come’). And is if to demonstrate typical Xer cynicism, it all happens while holly jolly Christmas passes by practically unnoticed in the background.
And that realistic attitude is a big part of what makes Boiler Room so refreshing: Younger doesn’t offer any pat, happy endings, doesn’t have all his characters wrap things up by kissing and making nice. The film ends on such an abrupt note — and such a perfect one — that I gasped with unexpected delight.
Like Nigel Tufnel’s amp, this one goes to 11. I agonized over this, trying to whittle down a list of about 25 great movies of 1999 to a mere 10, and I just couldn’t go that far. It pained me to eliminate some wonderful — and wonderfully adult — dramas from the list. The Cider … more…
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