Top Ten Films of 2002 [ Top Ten Index ]
10. One Hour Photo
Robin Williams absolutely disappears in the role of Sy in this tragically underrated performance. Months after seeing this film, I still fidget in my seat at the mere thought of this man once known for barking “Nanu, Nanu” now stalking a suburban family he hardly knows, graciously dubbing himself “Uncle Sy.” The cinematography is excellent casting the pale blues of the SavMart’s fluorescent lighting over its subject like a shroud. Director Mark Romanek plays a pretty clever mind game with you. He paints the characters to be pretty harmless but chooses the right moments to reveal their flaws. Even Sy can be pretty likable. And while you’re freaking out about how disturbing he is, you actually feel a shred of pity for the man. Romanek brilliantly succeeds in directing you at certain emotions for each character. This movie is quiet, pensive and thoroughly unsettling.
9. About a Boy
What’s clever about this film is that as you watch Hugh Grant and young Nicholas Hault, you actually find it difficult to figure out who the title actually refers to. Both characters switch back and forth from being the responsible one to being the naïve one so many times over that you can admire the title’s ambiguity. Grant is excellent as the independently wealthy but shamelessly childish bachelor. Hault is equally good at portraying the boy trying like hell to be a kid when no one around seems to want to let him. As he cares for his chronically depressed mother (Toni Colette), he escapes to Will’s house every day after school as if Will were just an overgrown playmate. Directors Peter and Chris Weitz focus beautifully on the exchange of lifestyles between the two characters. Will teaches Marcus how to be a boy and Marcus teaches Will how to be a man. Call it “Freaky Friday” only more cleverly done and without the creepy body-switching exercise.
8. Harry Potter & The Chamber of Secrets
What’s more fun than having to check reality at the door? I’d love to spend a day in a place where household cleaning instruments can defy gravity, where painting on the walls walk and talk in their frames, and where you can actually be terrorized by a 2.5-inch-tall house elf. If I can’t have a day inside that world, then I’ll settle for a few hours pretending I’m in it. Just as he did in the first installment of the series, Harry Potter and the Sorcerer’s Stone, Director Chris Columbus triumphantly transplants you into the world of the young boy wizard. The entire cast (minus a few insignificant roles and plus a few welcome additions) is all back and thoroughly entertaining. CGI is hard at work here painting beautiful fantastic backdrops and even introducing an entirely CGI character, Dobby the house Elf. Though his character rivals the annoyance-level of JarJar from Star Wars: The Phantom Menace, you have to admire his form. Kenneth Branaugh is perfectly oily as the vain Defense Against the Dark Arts Teacher, Gilderoy Lockhart. Jason Isaacs manages villainy at its most malicious. Columbus, once again, stays faithful to J.K. Rowling’s novel and doesn’t miss a beat (though I don’t know how he could, given its 161 minute running time. But length aside, this movie will prove its worth tenfold as it stands the test of time.
7. About Schmidt
Jack Nicholson, in what may turn out to be his best role to date, is the well-deserved epicenter of this film exhibiting a quiet vulnerability and quirkiness into Warren Schmidt. This character has little of a life as it is, so when he retires, his wife dies and his daughter announces that she’s marrying a man Warren has no respect for, it’s only natural for him to snap. What Nicholson does best in this film is simply be human. His feelings are everyday feelings and he executes his day like anyone else in his situation would do. I particularly like the correspondence with the African child to help the narration along. Where Schmidt is very sparse with his dialogue, the letters sort of help articulate what’s going on in his mind. It’s quiet little movie but it leaves a lasting impression mostly due to Nicholson’s excellent performance.
6. El Crimen del Padre Amaro
Definitely one of the most controversial films of the year, “El Crimen del Padre Amaro” was released in quite the timely fashion in the midst of the Catholic Church scandals. But this film’s controversial angle nearly takes a back seat to the main characters battling with their demons. The performances alone are worth the credit. Gael García Bernal is excellent as the troubled priest who metamorphoses remarkably from saint to politician as the film progresses. The chemistry between Bernal and Ana Claudia Talancón is explosive in a parallel scenario to that of another couple including a priest. This film paints an enlightening picture of priests acting as if the law does not apply to them—a poignant commentary as society battles its morals amidst the church sex abuse scandals of late. Director Carlos Carrera cleverly shifts the perspective away from the church and rather focuses on the political actions of priests as human beings.
5. The Hours
I’ll admit it: this movie is a downer. And I’ll thank you for not labeling me suicidal for actually calling this entertainment. But this film is so skillfully executed that you can’t help but revel in the melancholy. Nicole Kidman, in her best role yet, proficiently captures the spirit of Virginia Woolf as she battles with her rapidly decaying sanity. Julianne Moore is also terrific as the wife/mother swimming in quiet desperation. Meryl Streep and Ed Harris have a terrific chemistry together playing well off each other’s fragility. Director Stephen Daldry masterfully pulls all three stories together giving each of them a subtle connection. Editor Peter Boyle should be given a substantial amount of credit for cutting and weaving the three stories together so intricately that you’re even given quite a surprise at the end.
4. Far From Heaven
Besides her appearance in “The Hours,” Julianne Moore has had a great year mostly due to this movie, Both films are terrific vehicles for her to exhibit the finest sharpening of her craft. In “Far From Heaven,” Moore marvels at playing such a delicate woman trying feverishly to hide the dark side of her life from the prim, flawless appearance that 1950’s society expected from her. Director Todd Haynes arranges his frames modeling the beautiful style of 1950s director Douglas Sirk (Imitation of Life). Choosing bold colors and placing them before muted backdrops, Haynes meticulously composes his scenes to show the building tension in a composed world. Alongside Moore, both Dennis Quaid and Dennis Haysbert give excellent performances, the former quite deserving of an Oscar nod. Quaid’s tension can be sliced with a knife as watch his tortured soul brilliantly deteriorate.
3. Road to Perdition
“Road to Perdition” is a dark but nevertheless colorful film with a gorgeous soundtrack, meditative performances and artful cinematography. All of these items put together in one frame create an entire world in the 1930’s where you can feel the cold winter rain soaking you and you can sense the breath over your shoulder of someone in the shadows. Hanks abandons his energetic delivery for a brooding performance as a “gangster with a heart of gold.” Paul Newman proves proudly that he’s still got it at the ripe old age of 77. His eyes still pierce you without even having to move or breath a word. Thomas Newman’s score is so harmonious that it should be considered a lead character. Director Sam Mendes and cinematographer Conrad Hall do a marvelous job at recreating Chicago in the heart of the depression era within the seedy frame of mafia control.
2. Signs
M. Knight Shyamalan’s latest venture is certainly the most far-fetched of his efforts, but “Signs” is superior in its depth of story and character. One of the most underrated films of the year, this one will be shamefully forgotten in the coming awards season. A pensive but deep performance by Mel Gibson shows that there is more to this actor than the obligatory action flick. Joaquin Phoenix, who normally requires some tolerance to watch, is multi-dimensional in this film counterbalancing his comic relief with emotional resonance. In true Shyamalan form, tension builds in all the right places and spooks you in others. Most folks seem short-changed by the surprise ending but I found it fresh and original in that it doesn’t have to give you the billion-dollar blockbuster payoff.
1. Lord of the Rings: The Two Towers
Holy Hobbits! After a year of getting over the last rollercoaster ride that was “Lord of the Rings: The Fellowship of the Ring,” I managed to make it through another 3-hour inhale fest. The Two Towers is a worthy successor to the first installment of the trilogy with its non-stop action, poignant character development and stunning art direction. Director Peter Jackson holds nothing back with his superb helming of special effects and gorgeous cinematography (a great advertisement for the New Zealand Tourism Board). Gollum is a magnificent example of how CGI is supposed to look—as if it is NOT CGI. George Lucas could’ve taken a few pointers from Jackson when deciding to make Yoda a completely CGI character in his Star Wars prequel trilogy. Ian McKellen, Elijah Wood and Viggo Mortensen continue to outdo themselves with terrific performance—with a special bone thrown to the voice of Gollum, Andy Serkis whose voice is chilling yet brimming with spirit, which I’m sure made the animator’s job much easier when bringing the voice to life. George Lucas may find his Star Wars franchise in grave jeopardy as LOTR gains popularity. If the eagerly awaiting final installment is only half as good as the previous two chapters, Lucas may find his regime overthrown.
