MOVIE REVIEW: Vewing 2004’s Best
To me, the end of the year means the end of the semester, and the end of the semester means the end of a three and a half month headache, and the end of that headache means bliss. That and an extended, much-needed vacation to catch up on the films I’ve missed.
Not to mention the films coming out soon. The end of the year seems to be a dumping ground for the production studio’s Oscar hopefuls. I’m dyeing to see Wes Anderson’s “The Life Aquatic With Steve Zissou,” Martin Scorsese’s much anticipated, “The Aviator,” and possibly the most critically acclaimed film of the year, “Sideways,” with Paul Giamatti (“American Splendor.”) But, of the films that I’ve seen, I find this a reasonable time to look back and list the best of 2004:
(1) “Eternal Sunshine of the Spotless Mind”
“Eternal Sunshine of the Spotless Mind” is a visceral, interactive experience. It’s a head-first high-dive-plunge into a deep pool of warm, refreshing water. It’s a brand of cinema that leaves the viewer both mentally baffled and emotionally warmed and is nothing short of a masterpiece.
Screenwriter Charlie Kaufman has defined and redefined his peculiar, original style of cinema. Through numerous screenplays, Kaufman has startled and calmed audiences with a warped, yet delightful style.
“Being John Malkonvich” followed a gawky, hopeless puppeteer as he discovered a slippery-slide-like-portal into the brain of actor John Malkonvich. “Adaptation” deliberately broke as many cinema rules as had moments of catering to cliches. Kaufman even wrote himself into the script while persuading audiences. That’s something filmmakers never do.
Kaufmans zany, mind-boggling stories are usually as emotionally simple as they are fiercely complex. “Eternal Sunshine” is no different. Director Michel Gondry adjoins Kaufman once again, (Human Nature) for a wild, tumultuous ride weighing the pros and cons of memory erasing.
Following the bitter-sweet relationship of polar-opposites Joel and Clementine, Joel discovers his impulsive ex has erased him from her memory. In an attempt to rid him of the seemingly overwhelming pain, Joel marches to the Lacuna clinic and demands the same procedure be done to him.
Through sonic-boom like speed, the sub-conscious memory jumping scenes leave the viewer winded and spun. And on the way down from the manic everywhere-at-once high, the film begins an emotional trek, far less hostile and complicated; and tucked inside the film’s core, rests a simple, real-to-life love story, emotionally sound and beautifully honest and worth the chaotic head-spinning trip.
Although spastic at times, this film is incredibly sound and good-natured. It poses a unique dilemma about repressing memories, and arouses a reverence and gratitude to be placed, even upon the bad.
(2) “Kill Bill Volume 2”
Kill Bill is an epic, blood-soaked tale of revenge from the mind of film-buff turned movie director Quentin Tarantino “(Pulp Fiction).”
Written and created as genre-film pastiche, Kill Bill not only pays tribute to and hails the great Japanese samurai and Chinese martial arts films of the 1970s, as well as spaghetti Westerns, anime and blaxploitation, but contributes – in terms of trailblazing cinema – with its unpredictability, wit and style.
Originally, “Kill Bill” was to be released as a four-hour film, but was divided into two volumes by Miramax Studios in the hope of doubling its revenue.
Instead of an Eastern movie salute, as in Vol. 1, No. 2 has more of a spaghetti Western feel, reminiscent of Sergio Leone’s “Dollars” trilogy and Sam Peckinpah’s “The Wild Bunch,” complete with quirky characters, salty language and endless Leone-esque close-ups of eyes. Vol. 2 also relies more on Tarintino’s trademark dialogue, including a philosophical conversation about Superman.
Vol. 2 however is not without violence. In a masterly choreographed all-out brawl sequence, The Bride and foe Elle Driver (Darrayl Hannah) thrash a trailer-house inside and out in a spectacular mono-a-mono fist-frenzy showdown
Tarantino’s original style and visual sense comes through heavily in Vol. 2. With amazing unpredictability, Vol. 2 startles and bewilders around every possible corner, including the way Budd (Michael Madsen) is scratched off the list and the uncanny fate of single-eyed Elle Driver. Definitely style over substance, but that’s the intention.
(3) “Garden State”
“Garden State’s” peculiar brand of generation X dramedy, sets it apart from the lackluster, weightless material usually pumped out of Hollywood.
It’s a sincere story about estranged relationships, awkward conversation pauses, the oddities of normalness and self discovery – done in a “Reality Bites” meets “The Royal Tenenbuams” meets “Benny and June” sort of way.
Dialogue in a contemporary, realistic film such as this can be the make or break point of the movie; often times shattering actuality with overly witty lines. But with “Garden State,” the wit is subtle and indirect. The character’s lines are delivered discreetly and slight; and although the characters come across sidesplittingly silly at times, they’re believable and honest.
The characters’ oddities and quirks, which seem abundant, don’t exaggerate their personalities. There’s the grave-digging drug addicts, the millionaire silent-Velcro inventor and a family obsessed with pet hamsters.
Even though this film is really just a story about losers, its casual freshness is unexpectedly delightful and evokes sincere empathy toward the ho-hum bunch, providing enough realism to make this film resonate.
(4) “Shrek 2”
The highly anticipated sequel from 2001’s surprise hit, was more than just a clever animation. “Shrek 2,” with its uncanny fairytale punditry and humorous pop culture references, sucked in movie goers by the droves and placed itself as the third highest grossing movie of all time.
This unconventional tale of ogre love finds its title character in the uncomfortable position of meeting his new in-laws. With his absurd ogre-ish manners and uncompromising stubbornness Shrek isn’t the prince charming his in-laws hoped he’d be.
Although countless references to classic fairy tales and similar happy-ever-after structure, this atypical story puts Fairy Godmother and Prince Charming as the happiness-thwarting villains, an ironical plot twist too perfectly executed to ever try again.
Of all the films I’ve seen this year, I don’t think I belly laughed quite as loud and hearty as I did when Puss In Boots did his sorry, little sad eyes. It was outrageously precious.
(5)”Friday Night Lights”
“Friday Night Lights” is an adaptation of H.G. Bissinger’s powerful, in-depth examination of the social ramifications of high school football in western Texas.
Taking a departure from typical high school sports movie clichés, this film’s realistic portrayal of Odessa, Texas, and its pigskin obsessed population is anything but a feel-good, inspirational underdog story. It’s a fiercely intense dramatic saga about the overwhelming pressures felt by high school athletes.
These pressure-filled teens are played beautifully by a young cast of rising stars, and done so on such a subtle level that their performances hardly feel like acting. The film is shot like a documentary, gritty and organic, which make the performances play like reality.
With terrifically visual game scenes, superb performances and a dead-on portrayal of Odessa’s high-pressured atmosphere, “Friday Night Lights” runs all-the-way for a breathtaking touchdown.
Honorable Mentions:
“The Passion of the Christ,” “Shaun of the Dead,” “The Incredibles, (this would be in the list but I chose to do one animation and “Shrek 2″ is barely better)” “Harold and Kumar go to White Castle,” “Dogville,” “Fahrenheit 9/11.”
Jack Saunders is a movie reviewer for the Utah Statesman. He is a junior majoring in print journalism. Comments, or movies to review may be sent to jrsaunders@cc.usu.edu.