By Alan Scherstuhl
By Michael Atkinson
By Stephanie Zacharek
By Stephanie Zacharek
By Abby Garnett
By Amy Nicholson
By Alan Scherstuhl
By Inkoo Kang
Pokémon: The First Movie won't be filling any trophy cases. But the determined four- to twelve-year-olds in thrall to the latest TV-fueled toy/game craze couldn't care less: On November 10 they started dragging their bewildered elders off to the multiplexes in such Chinese-army numbers that the movie racked up $50 million in grosses in its first five days -- destroying the box-office record for an animated movie set a year earlier by A Bug's Life. Grownups may not know Pikachu from Snorlax, but they understand what their kids want, and it ain't Beanie Babies anymore.
Anime artists busied themselves with more ambitious projects. Hayao Miyazaki's visually adventurous Princess Mononoke leaped several generations beyond Disneyoid cuteness into the realm of Japanese epic, and the underappreciated Iron Giant, loosely based on a 1968 children's book by the English poet Ted Hughes, featured the arresting vision of a huge android from outer space trying to eat a power station.
This may be the post-literate age, when reading is regarded as a task like taking out the garbage or recharging the Game Boy. Still, a goodly number of 1999 films sprang from impeccable literary sources. As always, the results were mixed. The umpteenth and, if all goes well, last gasp of the Jane Austen craze featured Australia's Frances O'Connor in a steamy adaptation of Mansfield Park, and a great Shirley Jackson story was reduced to absurdity in Jan (Speed) De Bont's version of The Haunting. Alan Parker's relentlessly grim Angela's Ashes, a visit to the muddy lanes of impoverished Catholic Limerick, lacked the sly wit of Frank McCourt's best-selling memoir, but The Cider House Rules, adapted by John Irving from his 1985 novel about an ether-addicted abortionist who makes an orphan his protegé, found virtue in dramatic concision and verbal reining-in. Irving survived four directors (Lasse Halström finally got the job done), then chronicled his ordeal in a memoir called My Movie Business.
Gallo's Top Ten
Although some of 1999's best films have yet to open in Denver, they're worth waiting for. Fortunately, the year's best movie is still playing here. In order, the top ten:
Shine director Scott Hicks turned David Guterson's Snow Falling on Cedars into a maze of poetic intentions and glazey-eyed dreaminess, while Neil Jordan (The Crying Game) employed a deeply talented cast (Ralph Fiennes, Julianne Moore, Stephen Rea) to capture the spirit (if not the glorious language) of Graham Greene's classic wartime tragedy The End of the Affair. Michelle Pfeiffer worked, thanklessly, as the self-dramatizing mother whose child is kidnapped in The Deep End of the Ocean, from the Jacquelyn Mitchard bestseller. And if The Talented Mr. Ripley, which came from Patricia Highsmith's literary cult favorite about a ruthlessly ambitious (and murderous) social climber rubbing elbows with rich Americans in Italy in the 1950s, seemed interminable (another three-hour Christmas movie!), it had the advantage of a wonderfully creepy performance by young Matt Damon.
Oscar Wilde fared better in Oliver Parker's relentlessly witty version of An Ideal Husband than his forbear William Shakespeare did in a stillborn adaptation of A Midsummer Night's Dream, and the great short-story writer William Trevor came off just fine, thank you, in the delicate Felicia's Journey, in which a sweet lass leaves Ireland to search for her boyfriend and falls for a bounder instead. But for almost everyone who loves the art of movies, the final chapter in Stanley Kubrick's artistic life was an ineffably sad one: Working loosely with a 1926 novella by Arthur Schnitzler, the cinematic giant who gave us Dr. Strangelove, 2001: A Space Odyssey and Paths of Glory came up with a curiously remote meditation on erotic fantasy and emotional obsession, culminating in an absurd masked orgy at a Long Island mansion. In the aftermath of general disappointment, Eyes Wide Shut attracted some furious defenders, but Kubrick's reputation will likely rest on his peerless earlier films.
Meanwhile, one teenage anxiety comedy looks pretty much like the next one. Anyone who can still distinguish the hormonal turbulence in 10 Things I Hate About You from the hormonal turbulence in American Pie or Never Been Kissed has a keen memory at work. If you remember that Drop Dead Gorgeous was the picture about the crooked beauty pageant and Teaching Mrs. Tingle was the one where the kids took their mean old teacher hostage and Outside Providence was about the guy whose father sends him to the lame New England prep school, then you get to be class valedictorian. However, a couple of 1999's teensploitation movies really did have something special going for them: In Dick, a pair of teenage girls hired to walk President Nixon's dog stumbled across the dark secrets of Watergate, and in Alexander Payne's surpassing Election, Reese Witherspoon's ambitious goody two-shoes crossed swords with Matthew Broderick's dorky, corrupt history teacher, to brilliant satiric effect.
Meanwhile, the best movie of the year about adolescence -- or post-adolescence, anyway -- was made in France: It's Erick Zonca's The Dreamlife of Angels, in which a street urchin with an instinct for survival (Elodie Bouchez) and an embittered dreamer (Natacha Regnier) become unlikely friends and, eventually, find themselves at the fork where hope diverges from despair.
What manner of despair afflicted the perpetrators of Wild Wild West, a gizmo-infested, $65 million midsummer flop whose greatest appeal probably lay in a mechanical tarantula just a little taller than the Eiffel Tower? Who will sympathize with the makers of Deep Blue Sea, in which benighted scientists installed graduate-student IQs in a school of killer sharks, only to have the ungrateful beasts turn on them? What more is there to say about The Mummy, in which 1920s adventurer Brendan Fraser went searching for buried treasure in mysterious Egypt and found a trove of movie cliches instead? Who among us endured ill-conceived remakes of The Out of Towners and The Thomas Crown Affair or barely reheated TV shows like The Mod Squad and Inspector Gadget?
Better, as the new millennium approached, to have sampled the varieties of religious experience. Inevitably, the big, bad, nearly sacramental mass movie in this realm is The Green Mile, from an inspirational Stephen King novel. Mile is yet another three-hour epic, in which good-guy prison guard Tom Hanks discovers that a death-row inmate the size of three interior linemen is none other than Jesus Christ -- complete with a spotless heart and a repertoire of penitentiary miracles. It should prove more popular with the censors of the Catholic League than did Kevin Smith's Dogma, featuring Matt Damon and Ben Affleck as a pair of fallen-away angels who want to blow away the universe.
In Stigmata, Patricia Arquette found crucifixion scars on her body after a supernatural experience, and only Father Gabriel Byrne could help. Titanic's Kate Winslet searched for the meaning of life in Morocco (Hideous Kinky) and in India (Holy Smoke), but the latter, directed by Australia's Jane Campion, took an inspired turn when Winslet cast an erotic spell on the cocky American "cult exiter" (Harvey Keitel) hired to deprogram her. My Son the Fanatic and East Is East both grappled with the power of fundamentalism to divide families, while The Messenger: The Story of Joan of Arc had more to do with swinging maces and spilling blood than the qualities of sainthood. Carl Dreyer and Falconetti must be spinning in their graves. And just in case the definitions of Good and Evil still escaped us at the end of the millennium, Arnold Schwarzenegger made himself available again to clarify the issue: In End of Days,, the Devil visited the Big Apple determined to ravish a virgin on New Year's Eve. But not if Ahh-nold had anything to say about it. Collecting theological oddities? The same Gabriel Byrne who portrayed an exorcist in Stigmata impersonated Satan here.
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