The question eventually becomes not whether it is a good or a bad year for films, but whether any good films are even accessible to us at the end of the day. While I share a guarded optimism for the renovations for the new Empire 10 facility in Saint John, I nevertheless have doubts that it will necessarily translate to more chances to see a foreign, independent or critically-acclaimed film. I was talking with a friend the other day, and they mentioned they were able to rent a Russian film in Hampton. I would be very interested to see how many video stores in Saint John carry that same title. My guess would be not many. For while we basically have to venture over to the East side to see any new theatrical releases now, there are few outlets for movies that aren't Multiplex-oriented, and that is discouraging. During 2003, I know several people who ended up driving to Moncton or Halifax just to see the phenomenal Lost In Translation, a film that only came to Saint John the same week it was released on home video. Based on the unfortunate fact that I live in a city like Saint John, which seems allergic to any cinematic effort remotely associated with greatness, lists like the one I have made below necessarily have to be organic and subject to change, because it will have to allow for the time it will take me to eventually view many of the titles from 2003 that I really wanted to see. As of March 1st, 2004, the films below are my favourites to date, and I will continue to make changes to this list during 2004 if the title would have been included originally (had I had the opportunity to see it).
10. Monster: This writing and directing debut by Patty Jenkins attempts to shed some light on the complex mind of 1980s serial killer Aileen Wuornos. Although a little too camera-friendly to the sinner and not the sinned-upon, it's still a strong effort, anchored by two fine performances by an almost unrecognizable Charlize Theron and the consistent Christina Ricci.
9. A Mighty Wind: Director and co-writer Christopher Guest lampoons folk music in this quaint comedy. Once again, a cast of dozens improvises their way through zany situations while preparing for a tribute concert to eulogize a former record producer. Co-writer Eugene Levy is side-splittingly wonderful as a spaced-out singer with a tendency to get lost. The songs, albeit more bluegrass than folk, are downright catchy.
8. Matchstick Men: There aren't many scripts floating about that feature obsessive-compulsive con men who suddenly find themselves reunited with their long-lost teenage daughter. Nicolas Cage plays all facets of his character with dazzling conviction in this inventive film, directed by Ridley Scott, of all people. Alison Lohman enriches with a complex yet natural performance.
7. Lord of the Rings: The Return of the King: The box office juggernaut is that rare combination of a blockbuster moneymaker but also a critics' darling. Gargantuan special effects, spectacular settings and a solid cast help make the third and final instalment a monumental event. Director Peter Jackson finds the perfect balance between J.R.R. Tolkien's didactic novels and the increasingly moody expectations of today's movie audience.
6. Finding Nemo: This will be a tough act for Pixar to follow. Far and away the most entertaining and delightful of the recent batch of computer animated films, it's also mind-boggling on a technical level. Featuring the voices of Albert Brooks, Ellen Degeneres, Willem Dafoe and Geoffrey Rush, this movie, directed by Andrew Stanton and Lee Unkrich, will no doubt soon become a classic alongside Pinocchio, Snow White and Fantasia.
5. In America: Jim Sheridan's modern-day depiction of an Irish family, coping with a tragic loss and immigrating to the United States, is disarmingly simple on the surface. Underneath, it is bursting with raw performances and is genuinely moving without resorting to over-sentimentality. The film would go on to make many critics' year-end best lists and was deservedly nominated for three Academy Awards.
4. Mystic River: Clint Eastwood directs this modern story under the primal influence of past archetypes such as Sophocles or Shakespeare. Sean Penn, long overdue for an Oscar, is riveting as a family man looking for immediate answers to a sombre situation. Inundated by meaty supporting performances, the film rises to another level both in its quietest moments and in a calculated montage late in the picture. This is brilliant moviemaking.
3. The Last Samurai: Without any prior background in "samurai cinema" to speak of, I entered this movie with indifferent expecations. After ten minutes, I was swept away by its vision, beauty and grace. Tom Cruise brings spirited confidence to the material, and many of the supporting players are well-cast too. Although comparisons to films like Dances With Wolves and Braveheart are valid, it stands on its own with its humour and heart. I'm glad I was able to see it on the big screen.
2. The Barbarian Invasions: If the idea of a movie starring a man with terminal cancer makes you want to look to the next title on the video store shelf, my advice would be: don't. This movie, written and directed by Denys Arcand, is also smart, funny, and daring in its approach to life and how we choose to live it. With winning performances by a sparkling cast, the film deservedly won an Oscar for best foreign film, and conceivably could have been nominated for many, many more.
1. Lost in Translation: Putting aside its abundant technical beauty and textured performances, this is a film that absolutely inhabits you as you watch it. So many stories about relationships cheat and manipulate, but Sofia Coppola's sparkling screenplay and subtle direction allow for something much more rewarding. Bill Murray is charmingly subdued, but Scarlett Johansson elevates the picture to another level entirely. For those who seek out this small but mighty feature, it is a splendid treat, refreshingly candid and emotionally satisfying.
Honourable mentions: Master and Commander: The Far Side of the World: Russell Crowe may not hit a perfect homerun with this seafaring tale, but it's a solid triple. With graphic depictions of day-to-day life on a tall ship 200 years ago, director Peter Weir showcases the small details and the minutiae without sacrificing the big picture. The ensemble successfully sucks us into their world as a cat-and-mouse game with a French ship threatens their very existence.
Cold Mountain: A hybrid between Gone With the Wind and a Civil War road picture, this film thrives on its vaulting ambition and sweeping scope. Directed by Anthony Minghella, it gets full marks for vibrant settings, entertaining vignettes, and colourful supporting characters. Jude Law and Nicole Kidman star as sappily star-crossed acquaintances but play second fiddle to the feisty Renée Zellweger as a no-nonsense farming tomboy.
Seabiscuit: Once I accepted the familiar terrain, I was able to enjoy this semi-true-story movie directed by Gary Ross. There aren't a lot of surprises here, but Chris Cooper turns in another great performance as a mysterious horse whisperer. The race sequences, though sometimes intrusive at the expense of the human drama, are expertly photographed.
Hulk: I was never a big fan of the Hulk in his comic book form, but having missed the Daredevil movie and X2, I wanted to catch at least one superhero flick this year. Hulk benefits immensely from Ang Lee's creative direction and it patiently builds the back stories so that the big green monster is much more developped by the time he arrives in all his CGI glory. Nick Nolte is in top form as the unkempt villain.
Kill Bill: Volume 1: Writer/director Quentin Tarantino's ode to martial arts films and B-movies of yester-year. The action is rampant and the visual style, including animation among other things, is nothing short of magical, but the story leaves much to be desired. One feels unable to enjoy it fully without its counterpart, Volume Two.
Terminator 3: Rise of the Machines: Newly elected governor of California Arnold Schwarzenegger put some of his own money up to complete the elaborate stunts and action scenes in this competent sequel. While not as relentless as James Cameron's T2, the movie greatly benefits from a strong ending plus solid turns from Nick Stahl and the lovely Claire Danes. I'd be very interested to see how a fourth installment would play itself out.
THE WORST MOVIES OF 2003
5. Freddy vs. Jason: All along, I have suspected there was a reason, a higher force if you will, that explained my not having experienced the Nightmare on Elm Street or Friday the 13th movies. Whatever that supernatural power has been, I thank it for keeping me free from harm's way. Moreover, I marvel in disbelief that fans of this cross-over film hail it as the best installment in either series.
4. The Matrix Reloaded: When word leaked out that two Matrix sequels would be released this year, folks couldn't wait to see how the mythology would unravel. Trouble was, the Wachowski Brothers themselves unravelled, treating their source material as sacrosanct while the rest of the world saw it for what it was: a bunch of pretentious gobbledygook.
3. 2 Fast 2 Furious: Some fault the absence of Vin Diesel for the failure of this sequel to The Fast and the Furious, but I think I may be the only person who felt this one was slightly better than the original. Racing movies have never really captivated me, but at least I went the distance; the people I went to see this movie with over the summer fell asleep halfway through.
2. Bringing Down the House: Setting aside the numerous derogatory aspects, this is an ugly movie in search of a moral compass. Steve Martin hits a new low, particularly in a farting scene that makes you forget he's the same guy who's written so many smart and witty scripts over the years. The racial slurs are frequent and filthy, the performances are terrible, and the laughs are non-existent.
1. Hollywood Homicide: When a movie disappoints you so much that you are in shock for most of its duration, it is a very bad sign. Offhand, the only practical use that Hollywood Homicide might serve would be as an instrument of torture for wayward souls. When I think back on it, I can recall no single tolerable moment, no redeeming value or worth of any kind. It's Harrison Ford -- and the art of moviemaking in general -- at its very worst.
BEST TV SHOWS OF 2003
10. The Brotherhood of Poland, N.H.
9. The O.C.
8. Las Vegas
7. Boston Public
6. Ebert & Roeper at the Movies
5. The Practice
4. Six Feet Under
3. The Simpsons
2. 24
1. ER
BEST LIVE EVENTS OF 2003
5. David Wilcox at the Harvest Jazz and Blues Festival in Fredericton
4. Chris DeBurgh in concert at Harbour Station
3. Def Leppard in concert in Moncton at the Coliseum
2. Ozzy Osbourne/Finger Eleven/Voivod in concert in Quebec City
1. Alfie Zappacosta performing at the Tanners Inn
THE BEST ALBUMS OF 2003
10. Everything to Everyone - Barenaked Ladies: The needle on the creativity gauge that looked impervious at one point seems to slowly be eroding the true "tragically hip" band from the North. The Barenaked Ladies lumber their way through Everything to Everyone, thankfully avoiding any major potholes, but one can't help notice the lack of freshness to the material. "Shopping" is a saucy, catchy throwback to the Gordon years, and "Another Postcard" spins goofy lyrics as quickly as their U.S. breakthrough hit "One Week", but with drooping album sales, what shape will the band be in down the road?
9. Songs About Jane - Maroon 5: With a slow momentum that eventually led to the smash hits "This Love" and "She Will Be Loved", Maroon 5 seem content to have cornered the market for hummable pop ditties. On their accomplished effort Songs About Jane, lead singer Adam Levin frequently borrows vocally from a bygone slacker era, but by the time the track "Sunday Morning" surfaces, it's clear he has also channelled Stevie Wonder and the Motown flavour, which propels the album beyond your regular fare. Maroon 5 may be this generation's version of a boy band, but at least they've got some talent too.
8. Elephunk - the Black Eyed Peas: Those who know me are fully aware of my indifference to hip hop, but with a gamut of musical influences and undeniable catchiness, the Black Eyed Peas are impossible to dismiss. With the exception of the repulsively titled "Let's Get Retarded" (mercifully changed for radio-format to "Let's Get It Started"), Elephunk represents an hour of pure party time bliss and high-octane choruses, but also a cunning musicianship that is absent on lesser records in the dance genre that rely far more heavily on sampling (here, only 4 out of the 13 tracks feature samples).
7. Room on Fire - the Strokes: Following up their critically-acclaimed smash debut Is This It seemed inconceivable to those who doubted lightning could strike twice. However, for the most part, on Room on Fire the Strokes mimic the patented elements (slightly distorted vocals, brusque chords, and sheer raw scope) of their first effort. From the locomotive syncopation of "Reptilia" to the feathery, Weezer-like airs of "12:51", the band showcases some growth in the structure of their songs. Once the Zeppelin-esque drums of "Under Control" fire up, there's no turning back from this curt, hard rock spectacle.
6. Hail to the Thief - Radiohead: One of the most anticipated albums of the year, Hail to the Thief gets more-than-passing grades in all the areas that really matter. Whether Radiohead is expressing ire at U.S. policy, or describing a fantastically specific incident or moment in time, their lyrics are still moulded using shapely canvases of computerized precision and ice-cold electronica. At last, the band returns to (relatively) more verses, choruses and melodies, as in the staccatoed loopings of "Backdrifts", the warped-saw echoes of "I Will", or the frantic crescendos of "2 + 2 = 5". A welcome return to form.
5. Painting Bricklin Blue - The Organizers: Placing a local band ahead of pop music pioneers Radiohead on a best-of list may seem like sonic heresy, but the Organizers did in fact get more spin time in my stereo this year. And with good reason. The snap of guitarist Jud Crandall's chords, combined with Alex Keleher's eclectic drumming and Pierre Cormier's pounding basslines bring authenticity and rawness to the catchy melodies. Painting Bricklin Blue even offers some experimentation in tracks like "Madame Enough", which offers a "Norwegian Wood"-esque breakdown halfway through. Groovy!
4. Shine - Daniel Lanois: Although his forte will no doubt remain as a premiere producer, the dispatch of a new Daniel Lanois effort is always a pleasant addition to any list of releases in a given year. While Shine falls short of his stellar debut album Acadie, there are more than enough pokes and proddings to please lovers of melody and atmosphere. From the religious tinkerings of the title cut, to the gentle shuffles of "Falling At Your Feet" (featuring a tender duet with U2's Bono), the delicate arrangements frequently outmuscle the lyrics, but more often than not in all the right ways.
3. Action Pact - Sloan: Rarely has the rambunctious quartet from Halifax sounded as hyper and as electrically charged in their 14 years of existence. With Action Pact, Sloan cut an even leaner offering than the trim pretty together from a couple of years back. Within the first ten seconds of the opener (the bruising "Gimme That"), it's clear that instead of the moody, existential ponderings the band sometimes peppers their albums with, this one is earmarked by short, sporadic bursts of neurotic punk influence. Songs like "The Rest of My Life", "Hollow Head" and "I Was Wrong" are among the band's best ever.
2. Life For Rent - Dido: A four year hiatus would normally spell certain doom for a sophomore album, but Dido's eloquent Life for Rent is one of the most potent, affecting releases I've heard in a while. Featuring a plethora of tunes co-penned with Rick Nowels and Rollo Armstrong, the blonde-haired siren is quickly establishing herself as a convincing songwriter as well. Whether it's the clever comfort of the sweet acoustic number "Mary's in India" or the hip hop challenges of the P*Nut-guided "Who Makes You Feel", the album is wonderfully dynamic in virtually all of the pop stylings it attempts.
1. Elephant - the White Stripes: A fiery blitzkrieg of wailing rock and roll, the White Stripes demonstrated in 2003 that their gradually increasing critical clout was about to live up to its enormous hype. With the release of Elephant, the band showcased a sonic orchestra with but two musicians -- or magicians -- pulling the strings. Jack White (vocals, guitar, piano) and Meg White (vocals, drums) not only run a gamut of musical styles in each of the 14 tracks on the album, but they provide a full sound deceptively richer than most other bands are able to produce with far more members. As soon as the pulsating rumblings of "Seven Nation Army" begin, Elephant launches into swaggering ballads ("I Want To Be the Boy to Warm Your Mother's Heart" and "You've Got Her In Your Pocket") blues-inspired opuses ("Ball and Biscuit" and the Bacharach cover "I Just Don't Know What To Do Myself"), kinetic speed anthems ("Hypnotize" and "Girl You Have No Faith in Medicine") and quaint campfire singsongs ("In the Cold Cold Night" and "It's True That We Love One Another"). It would not be premature to claim that the White Stripes have crafted one of the best albums of the decade.
Honourable mentions: Mary Star of the Sea - Zwan; 0304 - Jewel; St. Anger - Metallica; Talkin' Honky Blues - Buck 65; Think Tank - blur; We Were Born in a Flame - Sam Roberts
