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The Grinch (2000)

Ron Howard brings to the screen a lively but languid and ultimately empty revision of Dr. Seuss’ magical tale of a green haired grouch with an ill temper for yule tidings. There’s plenty of noise and effects but none of the magic can be sustained.

The most difficult problem with making a feature film out of Seuss’ How The Grinch Stole Christmas is that it’s 20 minutes of source material. This then requires a lot of padding, and boy does Howard pad like none other. With the aid of the screenwriters of Who Framed Roger Rabbit? (who I’ve now lost all respect for) they go into a psychoanalysis of why the Grinch acts how he does. As it seems with every serial killer movie the Grinch was tormented as a child for being a little green, hairy brussel sprout. What child wouldn’t make fun of a kid that was green? This distaste for the holidays turns the Grinch into a hermit who enjoys his days making prank phone calls down to the city of Who-ville and wallowing in despair. Cindy Lou-Who sees a nice but misunderstood person underneath all that fur and thus embarks on a quest to show the citizens of Who-ville that the Grinch isn’t so bad. Mixed results ensue.

Howard’s direction is very child-like but empty after an initial glow. One wonders what Tim Burton could have concocted with the same material. The art direction looks like a candy-coated Oz instead of the whimsical imagination of Dr. Seuss. The central message of The Grinch is that Christmas doesn’t come from a box or a store but the message is entirely hypocritical when you have a bazillion product deals for the film. The whole “lost view of Christmas” is a very lame moral anyway.

Jim Carrey, on the other hand, puts this movie on his green back and nearly saves it himself. But the immense weight overtakes him in the end. Carrey gives a flat-out slapstick comedic performance like none other. If you had any doubt in Carrey’s ability to contort himself for laughter all doubts will be quelled. While Carrey is marvelous as the central villain/hero (?) the majority of time is spent with the dog-nosed Whos. These people are lifeless and uninteresting. It’s a breath of relief every time we return back to Carrey. The Who’s are populated with a Martha Stewart like former crush of the Grinch’s (Christine Baranski), the mother who strives to be like Martha May-Who and has no other characterization (Molly Shannon), and the dowdy mayor of Who-ville (Jeffrey Tambor). No one can survive unclean.

Without Carrey this family film would be without merit. The writing throws a few bones toward the adult audience but relies too much on Carrey being goofy – which he is good at. Anthony Hopkins as a grandfatherly narrator works only in making you miss Boris Karloff even more. In short, watch the Chuck Jones special instead. This Christmas gift is a lump of coal disguised as candy.

Nate’s Grade: C

Requiem for a Dream (2000)

Rarely does a movie today affect you that when the end credits roll you’re left silent and unable to speak. Requiem for a Dream is an unforgettable and intensely harrowing experience. You can’t take your eyes away from it. Afterwards you’re left in disarray and unable to think straight for most of the day.

Requiem chronicles the lives of four individuals and their spiraling addictions and missed choices. Harry (Jared Leto) is a small time coke dealer along with his friend Tyrone (Marlon Wayans) who can’t help to taste their merchandise and eventually end up broke again. Harry has gotten into the habit of routinely pawning his elderly mother’s TV set for some quick cash to score with. This happens so often that the pawn broker has a special folder for Sarah Goldfarb (Ellen Burstyn) and her televison. Harry is in love with his more positioned girlfriend Marion (Jennifer Connelly). She’s given an annual allowance of money from her wealthy folks to spend in her own fashion, but she’s denied love or attention. It’s between these four main characters that we will go through hell with.

Ellen Burstyn shows her grace with age and utterly blows your mind with her jaw-dropping performance as the lonely and strung out Sarah. Sarah has no husband anymore or a son to look after. She is alone and old, and those are two bad ingredients. She lives in an apartment complex overlooking the decaying ruins of Coney Island. Sarah has a different addiction than her child, she is addicted to food and is overweight. One day she mistakes a random junk phone call as her ticket to appear on television. She daydreams about gliding across the stage in her red dress that she doesn’t be able to properly fill anymore. With her elderly peers aflutter she tries her best to stick to a diet to fit into her slender dress. When the temptation becomes overwhelming she consults a friend’s doctor for some special “pills” to suppress her appetite.

Harry and Tyrone are embarking on their own dealing dreams to evetually move up the ladder and score some pure coke. Marion and Harry experience their love through simultaneous shoot-ups that space them out and turn them into romantic philosophers. Harry speaks of great dreams he has and the yearning to be something. Tyrone is haunted by thoughts of himself as a child and disappointing his sweetly loving mother who was proud of her son no matter what.

The film starts off in the summer and we are in the good times for all four characters. Harry and Tyrone are successful and racking up profits. Sarah has an unusual amount of energy through her prescribed pills and feels good about herself when she sees actual results as the pounds begin to melt away. Marion dances in her love of Harry and is ambitious with plans for her own design store. Things never are as good as they are again. Fall rolls along and Tyrone and Harry lose their money and lose their ability to secure drugs to sell. Sarah is noticing her pills are not having the same effect they were earlier and decides to ignore guidelines and take them like M&Ms. Marion starts to lash out at Harry’s ineptness at scoring and begins to tear at their relationship. She gets pushed to the brink to score that she resorts to the practice of using her body to secure what she needs. This isn’t even the beginning of how dour and horrible events will become for these four.

One of the strengths of Reqiuem is the treatment of these characters. The film shows sympathy for them and their situations but never condone them. Harry and Sarah are a family that have much love between them they just don’t know how to express it. When Harry discovers his mother is on essentially speed when he pays her a visit he’s left a shattered and crying mess. Only an injection into his veins in that cab ride saves him from his emotions. The relationship between Harry and Marion is initially seen as puppy love or people brought together through a love of drugs, but there are moments where you see the true beauty they have. In the end when Harry is out of state and dramatically in the need of hospitalization he calls Marion just as she’s doing her make-up for a “special” get-together. In a hushed tone she asks when he will be coming home, to which he responds in a mix of pain soon. She then so sincerely and beautifully asks if he can come back today – to which through an array of tears he agrees. Her sincerity and emotion in this sequence is a powerful glimpse at the love that does exist between the two of them. The second time I watched this film I started crying at this moment.

Burstyn is the stand-out star and if she doesn’t at LEAST get an Oscar nomination then that is the most unjust crime of them all. It’s been some time since her roles in ‘The Exorcist’ and Alice Doesn’t Live Here Anymore but she still shines like a true gem. She magnificently portrays Sarah’s descent into madness and chemical dependency and leaves us with a chilling and haunting figure. Leto and Connelly show that they aren’t merely pretty faces and deliver their best performances of their lives. Both show incredible warmth and emotion.

Requiem was directed and adapted for the screen by Darren Aronofsky who gave us the head trip that was Pi. Here he uses camera trickery like speed up and slowed paces to show Sarah’s journey through her drugs. Other items include cameras mounted on the actors, split screens, and hyper edits to show the process of every drug shoot-up. His camera moves and tricks are never out of place though, as many gimmicky video director’s are. Each effect has a specific purpose. Aronofsky brilliantly uses a scene where Leto and Connelly are lying in bed besides one another but split screen to show the closeness they can strive but the distance that still exists. While each talks we see shots of the other’s hand carefully caress the other’s body. It’s a scene that’s as powerful as it it thematically romantic.

The tragedy of this is this film has been rated NC-17 by the MPAA and of course anyone who sees it knows the exact scene. The film is being released unrated by Artisan because NC-17 is a commercial kiss of death. The shame is this movie needs to be seen. Make it mandatory in schools. DARE isn’t working but this film will. No one with an urge to use drugs will have that same urge after seeing this harrowing film.

Nate’s Grade: A+

Reviewed 20 years later as part of the “Reviews Re-View: 2000” article.

The Perfect Storm (2000)

Come sail away kiddies on a three hour tour into the belly of two hurricanes colliding with ladies man George Clooney as yer skipper. Mark Wahlberg plays a… well I don’t know, but I know he has Diane Lane waiting for him at home and I do know she needs to be in more movies. Plus an assorted group of people all needing money and risking their lives for the catch of their lives in director Wolfgang Petterson’s newest saga. But basically, and I’ll keep the water puns to a minimum, the film is all wet.

The Perfect Storm manages to soak you with waves of cliches. It wants you to care for these characters, hell it spends half the movie setting up their lives, but never cements them as people but only selfish caricatures. The exposition of the fishing community is a tiresome run of every small town cliche where everybody knows everybody, to the larger woman everyone associates as “mom,” to the old grizzled sea dog permanently fixed to his bar stool. Basically, be glad when the boys go off to sea and leave this place.

How come everyone in the film has a New Englanda’ accent except for Clooney? It’s that type of movie. The acting can’t save this picture especially when the only performance of notice is the reliable John C. Reilly. His is the only character who doesn’t come off as a selfish braggart or just an idiot.

What should be the film’s high-point with the mono-a-mono wrestle with Mother Nature eventually collapses on itself. How many times can you see Clooney get splashed in the face before familiarity and boredom set in? Trust me, it’s not many. The Perfect Storm‘s effects are dutifully impressive as water is a very tricky mistress, but couldn’t there have been a story behind it?

Just when you’re not trying to tune out the guitar jackhammer score or not to dwell on Clooney’s cringe-worthy “swordfish captain” speech you see flashes of what The Perfect Storm had going but never surfaced. Instead we get water-logged plots, water-logged stars, and plenty of syrupy sentiment. It’ll be this year’s Armageddon for the under 16 girls.

Nate’s Grade: C

Battlefield Earth (2000)

I don’t have enough time nor the patience to actually write down a full review for this “movie” so instead I’m going to just list things that make this movie the toilet paper it is.

1) It’s based on a 1000+ page novel that even sci-fi purists regard as corny. Writer/Religious founder L. Ron Hubbarb certainly hasn’t found any grail in writing. The film of his novel only covers half of the book with the other half Travolta had planned for a sequel. Let me tell ya, you’d have to be a really REALLY devout Scientologist to believe that a sequel’s on its way here. There’s more of a chance that Howard’s End will be granted a sequel then Battlefield Earth.

2) Travolta has never been more nasal-voiced annoying before in his life. He’s the snarling Security head of the vastly “advanced” alien species that has enslaved Earth yet he knows nothing about his prisoners. Doesn’t sound like the person (or alien) you want in charge of… security now does it?

3) Why are the aliens 9-feet tall? Why do they have nose tubes? Why do they have long tongues — except for a really awful overt oral sex joke? Why do they do and look like anything if nothing happens? All they are is tall and that’s it. So form a basketball team out of them and tell them to watch their heads. Nothing makes sense, it’s all just added for the sake of being added – with the consistency of chicken broth.

4) Travolta hatches a plan to steal gold from the planet. My God, did we just fall into a Western? Because of course gold is worth the same amount and value on a distant alien home world as it is here. Makes total sense. This part I actually hit myself in the head over.

5) The human survivors dupe Travolta with gold bars they find at Ft. Knox — just stumbling onto it 1000 years later. Man who needs any sense of direction in a post apocalyptic war-world?

6) The humans counter the aliens in the end by flying 1000 year old ARMY aircraft. These fighter planes are spic and span and fully mobile after 1000 years of rust and mildew Cascade couldn’t touch?

7) Everything is shot tilted, I mean EVERY single shot in the damn movie — EVERYONE! You’ll come out with a stiff neck to compensate. It’s like the camera man fell asleep and nobody had the heart to wake him up during the whole picture. I know I’d want to get away.

8) The aliens figure man to be incompetent and no threat despite the fact that he was highly civilized beforehand with plenty of weapons accessible. Go fig.

9) Every action sequence in this movie is either a blithe series of close-ups or slow mo shots. And don’t forget the slanted pictures.

10) Travolta is so annoying, even his action figure I saw on a clearance sale is just as annoying, he gets mentioned twice. How the hell did he think this movie would sell I’ll never know?

11) There’s only one hot girl in the entire scavenged world and she has to end up being Barry Pepper’s love interest, probably because he is given his “knowledge” back which means he also is now only interested in hot girls. And what is her fate? Only to be eventually held hostage later… of course!

12) Travolta’s character is the greatest moron in the universe! No person would even have them in charge of anything except a cafeteria lunch line.

13) The effects are really cheesy.

14) The dialogue is BEYOND the realm of cheese.

15) Battlefield Earth tried to brainwash me into a 9-foot tall Scientologist with a thirst for gold and a requisite for calling those around me “rat brain” to mask my own insecurities and nasal voice.

I think The Washington Post said it best when they said “A million monkeys with a million crayons in a million years could write something better then Battlefield Earth,” and I’d have to agree.

Nate’s Grade: F

American Psycho (2000)

American Psycho is based on the controversial 1991 best seller by Bret Ellis though it got old fast. One can easily grasp how the lead connects with brand names on page one, but repeat it for 300 more and you’re tempted to add the book to your collection of firewood. Ellis’ novel was sadistically perverse, but director Mary Haron (I Shot Andy Warhol) has somehow managed to pull out an entertaining social satire from the pages of blood and name brands.

Christian Bale, mainly known as the boy-next-door in period piece films, plays Patrick Bateman with ferocious malevolence and vigorous life. Teen scream Leo was once considered for the part but after seeing Bale’s startling performance it should prove why he’s on screen and Leo’s swimming in The Beach. Bateman is an up-and-up Wall Street yuppie who glosses over appearance more than anything else. The only outlet it appears for our sinister shark from the soulless decade is by random acts of gruesome violence.

If Bateman blows off steam by blowing off companion’s heads than it only becomes more frustrating when no one believes his random confessions. Haron takes the grisly material of Ellis’ novel and mines it for pure 80s pulp. It only gets better the further it gets as you have so many points to discuss: Is Bateman acting out to prove his existence in a world that doesn’t humor him or others? Is he acting out deep-seeded rage from the actions of the decade on its people? Is he desensitized and so jaded that death does not even fracture him anymore? The questions are boundless.

The hit list of stars in Psycho includes Chloe Sevigny as a nailed home addition, Willem Dafoe as an investigative detective, Jared Leto as an axed co-worker, and sweet Reese Witherspoon as the apple of Bateman’s twisted eye. Everyone has fun in their tongue-in-cheek nostalgia romp through the absurd.

American Psycho should not be confused with the successful teen sex farce American Pie. The only desserts in this film are just, and they’re usually left of the mayonnaise and behind the frozen head in the refrigerator. American Psycho is the thinking man’s slasher movie. A flick that slices, dices, and always entices. It only gets better after you’ve seen it. One of the best films of 2000 for now.

Nate’s Grade: A

Reviewed 20 years later as part of the “Reviews Re-View: 2000” article.

Wonder Boys (2000)

A rather warm but ultimately meandering tale of Michael Douglas as a college professor going through one crisis after another, Tobey Maguire as a creepy kid (again?!), and Robert Downey Jr. as an editor who seems to have a taste for transvestites. Though likable, Wonder Boys goes nowhere and nowhere slow. It carries the feel of a novel that was never intended to be brought onto the screen because of what it would lose in transition and it does. Douglas’ performance is sincere and syrupy but Wonder Boys is not a night out on the town.

Nate’s Grade: C+

 

Reviewed 20 years later as part of the “Reviews Re-View: 2000” article.

Sleepy Hollow (1999)

Tim Burton’s latest is a ravishing world of intrigue and brooding awe. The action is note-for-note in Washington Irving’s classic revamped into a Burton Murder She Wrote episode. Sleepy Hollow has plenty of mystery to its credit as well as suspense and fantastic staging. The sets and mood will draw the viewer into a luscious world of cinematic delight. Beautiful to watch, and Burton scores again, though it lacks the depth his other movies had. And what the hell is with Walken’s teeth?

Nate’s Grade: B

The Green Mile (1999)

A prison in the heart of the deep South during the era of the Great Depression is not usually the locale you’d find a somber tale of earnest discovery and passionate awareness to the follies of life. Yet here arrives the long anticipated The Green Mile, the second in tag-team efforts from director Frank Darabont and novelist Stephen King in their own genre creation of nostalgic feel-good prison flicks. All the swelling hype could manage to make the movie seem overbearing, but if you’ve got a free afternoon and a butt made of steel then try The Green Mile.

Darabont seems like the perfect visual interpreter to King’s epic narrative spinning of good, evil, and all that fall between. The movie moves at the pace of molasses and clocks in at over three hours in length. Not exactly audience friendly fodder but one and all will be grateful for the decisions taken to build character development and tension instead of blindly rushing through.

Tom Hanks plays a prison guard on the Death Row block of a Southern penitentiary. Despite the bleak and grim surroundings his humanity still shines through. He escorts and oversees the final moments of many men’s remaining breaths along the final walk of green linoleum tile to the electric chair. Enter one mysterious morn John Coffey (Michael Clark Duncan), a towering giant that seems to break all the rules each of the guards on cell block E has come to realize through their years. Coffey has been convicted of the rape and murder of two little girls, but as Hanks soon learns things aren’t always what they seem. The 7-foot miracle worker displays scenes of empathetic healing like to Christ himself. Hanks views are turned and his eyes open, and that’s just the beginning of the heartstrings being pulled. To release anymore of the plot would be a crime punishable by Ole’ Sparky himself in the Green Mile.

The pacing is smooth and wrings out every droplet of mystery and drama needed. The Green Mile‘s comprehensive fable quality transcends the period just like The Shawshank Redemption did as well prior. ‘Mile’ should be expected to be a front-runner for Oscars when balloting begins.

The ensemble acting is magnificently eclectic and truly inspiring. Hanks’ name is so synonymous with Oscar that he might as well shave his head and paint his body gold because come nomination time this man’s name is going straight to the ballot. Other stars give thoughtfully deep and refreshing performances guaranteed to turn a few heads. Duncan’s gentle child-like giant is serene and a benevolently touching figure of innocence and warmth. But one can not forget the presence of a very special rodent by the name of Mr. jingles that deserves billing above the credits itself for the quality performance it puts on.

The Green Mile is a sad, touching ,and rather powerful movie that speaks to the viewer’s emotions and gladly earns every one of them. In the end The Green Mile is nothing beyond a long yarn of a fairy tale; but one told so exceptionally, one performed so extraordinarily, and one directed so deftly that you’ll gladly journey down that mile with ease.

Nate’s Grade: B

This movie also revisited and analyzed in the article, “1999: The Greatest Year in Film? A Review Re-View.”

The Talented Mr. Ripley (1999)

Interesting and beautifully filmed and yet the complexities have a vacation-porn feel to them as the story churns further. Excellent acting with all involved as they display the top of their game. Matt Damon is magnetic as the socially murderous Mr. Ripley, and often times a bit frightful. He does what he feels needs to be done once he gets a taste of the good life and wants nothing from leaving it behind. Supporting players such as Jude Law and the oh so talented Phillip Seymour Hoffman contribute solidly and flawlessly. Ripley actually packs more suspense then you would think from the man responsible for one of my most boring theater experiences (I mean of course The English Patient) but wrings true tension and challenges the audience to pull for the bad guy. I must note that the ambiguous ending seems to detract from the impact of the movie. But for many reasons and despite seeing Damon eerily coddle up to a corpse, Ripley is a fine flick with some great characters presented. The more I watch this film the more I enjoy it.

Nate’s Grade: A-

The Bone Collector (1999)

Another serial killer movie? Didn’t we as an audience learn our lesson already with Kiss the Girls? Apparently not with this latest adaption of standards and predictability that does nothing more then reinvent the old blaming the butler routine. And may I affimingly add that whoever the critic who gasped that this is on par with the masterpieces of Silence of the Lambs and Se7en either is lying through their teeth or has their children’s college education payed exclusively by Universal.

The Bone Collector has fancy gloom, grit, and gore, but it has no substance whatsoever. The script has the feel of being pasted together from leftovers of earlier better movies. It takes one illogical shift after another until the supposedly “surprise payoff” ending comes charging in but echoes more of a unified feel of rip-off instead. Contrivances are in abundance with every scene, and further prove the superiority of Lambs and Se7en in how well they achieved perfectly tuned thrills. The Bone Collector‘s biggest disappointment is in its utter lack of substantial entertainment when the core of the movie is Angelina Jolie getting dirty in dark places wielding a flash light. This kind of stuff may have worked at summer camp around the fire to scare people, but on the big screen the only ones to cower in terror will be the extensively naive.

Not to lambast this clunker too much, because there is some credible acting from the star leads. Denzel Washington at least makes his role non-laughable which is saying a lot in respect, and Jolie looks like she is a fresh talent but this ain’t her vehicle to hitch on to. Her “gifted” police specialist at finding evidence doesn’t seem to special to me with the easily found clues that anyone could trip over.

The suspense in The Bone Collector boils down to flashes of gore and jumps to frighten instead of the meticulous psychological and intense battles in Lambs and Se7en. The serial killer genre is at a glut again, and The Bone Collector is merely the fat of that over-extension that would serve best to be cut loose.

Nate’s Grade: C-