TRACKING SHOTS

Our favorite films of 2002

3. The Believer (Henry Bean).
Brutal, rich, and rewarding.
4. Hell House (George Ratliff).
A documentary about the annual Halloween spookhouse put on by a funadmentalist church in Texas made for the scariest movie of the year.
5. About a Boy (Chris & Paul Weitz).
One of the years earlier delights. I'm not qualified to say it was Hugh Grant's best work, but it didn't make me want to wring his neck, so that's something.
6. Rabbit-Proof Fence (Phillip Noyce).
Why this isn't getting more end-of-year attention is beyond me.
7-8. (tie) Happiness of the Katakuris (Takashi Miike) and Chaos (Hideo Nakata). Two strange visions, one aptly described as "The Sound of Music with a body count," the other a solid psychological thriller, from Japanese cult directors.
9. Lilo & Stitch
(Dean DeBlois & Chris Sanders).
Disney gets it right for a change.
10. The Endurance (George Butler).
Simply one of the most amazing stories of the past century.
11. The Man Without A Past
(Aki Kaurismäki).
A Finnish Depression-era "forgotten man" film?

12. The Two Towers (Peter Jackson).
Too bad I was sick of hearing about it even before I saw it.
13. Bowling for Columbine
(Michael Moore).
See above comment.
14. The Independent (Stephen Kessler).
May Morty make another 472 films, all as good as Venus de Mofo or The Man in the Iron Lung.
15. Punch-Drunk Love
(Paul Thomas Anderson).
Will the P.T. Anderson and Adam Sandler audiences ever intersect again?
16. Lagaan (Ashutosh Gowariker).
Brisk and thoroughly engaging at 225 minutes.
17. Scotland, PA (Billy Morrissette).
Macbeth for laughs? Hell yes!
18. Spider-Man
(Sam Raimi).
The best comic-book movie is still Ghost World, but this one had so many opportunities to fall flat, yet didn't.

Best "bad" movie:
Blue Crush (John Stockwell)
Worst "good" movie:
Blind Spot: Hitler's Secretary
Worst: Garmento, House of 1000 Corpses, Attack of the Clones, Hollywood Ending, Wendigo.

Sasha Stone
I went through 2002 with scant few films that were both moving and intellectually challenging. Usually, I knew exactly where the film was going and how it would end. If I'm lucky, I get entertained along the way. It is especially hard to concentrate on films without feeling that they respond, in some way, to what's happening in the world today. As we wait to see whether or not we're going to attack Iraq, we focus on films and the Oscars nonetheless. It makes us feel silly, yet we can't stop. Here are ten (well, eleven really) examples of films that moved, inspired and challenged my beleaguered brain. For them, I am grateful.
1. The Pianist (Roman Polanski).
Polanski's unflinching look at isolation and fear produced my single most profound and unshakable cinematic moment of the year. The entire film rests on Adrien Brody's shoulders -- we watch in horror as the smirk is slowly, systematically wiped off of his face. There wasn't a better drama released in 2002. Like most great films, it requires time and thinking to absorb, and consequently it probably won't get the Oscar attention it deserves.
2. Spirited Away (Hayao Miyazaki).
American filmmakers are incapable of making a film like Spirited Away. Our references are all shared. Rarely do animators here (with a few exceptions, of course) draw from a wholly original base. Hayou Miyazaki does. His paintings are dream landscapes; his characters are complex; his themes are powerful. He made not just the best animated film of the year but one of the best films. For that, he is in a category by himself.
3. Far From Heaven (Todd Haynes).
Artful, spectacularly melodramatic, precise and assured - Todd Haynes is a director of real cinematic art, like Miyazaki -- every frame was carefully constructed, every line of dialogue had a purpose. He committed to his theme and he stuck it out to the last. Julianne Moore has never been better. Even though I was aware that Haynes was toying with me, I never ceased being moved by the film, caught up in the love story and the tragedy of the "perfect" family.
4. Gangs of New York (Martin Scorsese).
Yes, about a fourth of it is botched - yes, it has problems - but the good parts, the three quarters, are better than most any other film. Why? Because I count effort and accomplishment here - what a filmmaker is trying to do makes a difference to me - so I can't look at his film in any other way than to be awed by the enormous undertaking. He being Martin Scorsese. Yes, to a degree the film can't quite get out from under the pressure of being a year overdue, and all that Harvey Weinstein publicity (which is why critics seem to delight in taking the film apart, particularly in Los Angeles - god forbid they should be fooled by The Harvey) touting the Great Marty. Nonetheless, the film itself is a wild ride -- my favorite thing about it is how he tosses off the slang without explanation. Daniel Day-Lewis gives the year's best male performance (along with Adrien Brody).
5. Lovely & Amazing (Nicole Holofcener).
A wonderful, depressing look at us girls and the silliness we get wrapped in about our physical selves. Funny, perceptive, and all done with ease by Holofcener. Emily Mortimer ought to have been recognized for standing there, buck nekked, while Dermot Mulroney scrutinized her perfect/imperfect frame.
6. City of God (Kátia Lund & Fernando Meirelles).
They used non-actors, like in Rabbit-Proof Fence, for this film, though you'd never know it. The subject matter and brilliant direction grind against each other, as we are swept through decades at a time, following characters who either sink or swim in Rio, the "City of God." Unfortunately, because poverty offers no other kind of future, swimming means becoming a drug dealer or a hood. Our hero, Rocket, loves to take pictures, and that ultimately helps him out of the City.
7. Adaptation (Spike Jonze).
Ah, the joys of Charlie Kaufman and his sick and twisted mind. Strangely enough, the scenes in the film that are taken from Susan Orlean's novel are among the best in the film -- particularly since Meryl Streep and Chris Cooper are in them. But the other half is also grand, with Nicolas Cage as the two sides of Kaufman's personality, trying to succeed in life, in love.
8. About Schmidt (Alexander Payne) and About a Boy (Chris & Paul Weitz).
Two films about lost men finding themselves. Both funny and sad. Jack Nicholson and Hugh Grant deliver their best work, especially so for Grant, who has been doing slapstick for so long I forgot he could really act.
9. Y Tu Mamá También (Alfonso Cuarón).
Ah, the beauty of ignorance, the allure of young minds that live in the moment -- two horny teens convince a beautiful older woman to go on a road trip to the beach. But of course, it all reaches a point where everything changes -- it gets strikingly serious at the end and you realize you were lulled along, just like in life, only to realize there isn't anything funny about death.
10. Bowling for Columbine (Michael Moore).
Even if it's obvious, it still needed to be said. Except for the last part with Charlton Heston, it's a perfect film. It certainly is informative. Is it objective? Probably not. But someone has to get the message across, and no one can like Michael Moore.

Outstanding performances of the year:
Julianne Moore and Dennis Quaid (Far From Heaven).
Diane Lane for surrendering herself fully (Unfaithful) .
Catherine Keener and Emily Mortimer (Lovely & Amazing).
Daniel Day-Lewis (Gangs of New York).
Adrien Brody (The Pianist).
Meryl Streep, Chris Cooper, Nicolas Cage (Adaptation).
Jack Nicholson and Dermot Mulroney (About Schmidt)
Robin Williams (One Hour Photo)
Renée Zellweger, Richard Gere, Catherine Zeta-Jones, Queen Latifah (Chicago)
Maggie Gyllenhaal and James Spader (Secretary)
Eminem (8 Mile)

The Year of the Woman: Mira Nair (Monsoon Wedding, Hysterical Blindness), Jill and Karen Sprecher, (13 Conversations About One Thing), Rebecca Miller (Personal Velocity), first time in decades that two female-driven productions are up for Best Picture (The Hours, Chicago). The discovery of the brave and spectacular heroine: Chihiro in Spirited Away. Nia Vardalos and Rita Wilson slam-dunking My Big Fat Greek Wedding.

Melissa B. Cummings
This year, it was difficult for me to put together my "Best of" list because I saw so many movies that were very, very good. But unfortunately none of them (not even The Two Towers) really made me jump out of my seat with excitement and say it was better than everything else I saw. Therefore, instead of ranking my list like I usually would, I just compiled the 10 movies I liked the best, and am not saying one was any better than another. So, in somewhat chronological order:
13 Conversations About One Thing (Jill Sprecher).
There are many excellent performances in these intertwining stories about discovering, defining and creating happiness. The movie demonstrates how people perceive success and contentment, and how they often harbor resentment against those who seem to achieve it more easily. I found something I could relate to in almost all of the stories, and I thought it dealt with these personal issues in a unique way.
Signs (M. Night Shyamalan).
While not a perfect film, Signs is an interesting twist on the usual alien invasion tale. I felt that the film showed a realistic portrayal of how regular people might react if such an invasion took place. They didn't save the world, or even try to; they just dealt with the immediate danger in a way that anyone might. The movie just felt real, and I appreciated that.
Lovely & Amazing (Nicole Holofcener).
This is an honest, humorous and heart-breaking look at how neurotic women become regarding self-image and self-esteem. The movie does an excellent job of showing how, when it comes to self-image, we teach by example. The film is full of great performances, especially by Brenda Blethyn and Raven Goodwin, as her daughter.
Igby Goes Down (Burr Steers).
Another in the long line of sad, depressing, but ultimately satisfying movies of 2002. Kieran Culkin is excellent as the unhappy, unappreciated Igby, who has to deal with a self-absorbed mother, manic-depressive father and condescending brother, while simply trying to find some satisfaction in his own life. While not a completely original tale, I found the story and performances definitely worthwhile.
The Emperor's New Clothes (Alan Taylor).
A charming, funny movie that speculates what could have happened had Napoleon Bonaparte escaped from exile and tried to return to power. Ian Holm is wonderful as both the Emperor Napoleon and the look-alike who takes his place in captivity. While not by any means profound, this is a movie that just made me smile, and sometimes we need that.
Star Trek: Nemesis (Stuart Baird).
A fine ending to the Star Trek film saga, Nemesis can also be appreciated by those not necessarily experts on the Trek world. But as a fan myself, I really enjoyed this final chapter. The story was engaging, the special effects were great, and the entire Next Generation series was wrapped up nicely.
The Two Towers (Peter Jackson).
While I didn't find it as engaging as The Fellowship of the Ring, this installment was still a cinematic triumph. Jackson once again captured the essence of Tolkien's story, and took enormous care to put it up on the screen. Of course, Gollum and the battle of Helm's Deep were CGI masterpieces, but all of the little details - the costumes, sets, props - are what have really made the Lord of the Rings films stand out above the rest.
Chicago (Rob Marshall).
This movie was just plain fun, the way a movie musical should be. Musicals can go wrong in so many ways, but the film's direction and pacing were excellent - never choppy or dragging. While the leads were obviously not professional Broadway singers and dancers, it actually gave the film a more natural feeling (although it did take me a while to get used to Richard Gere hamming it up). The performances were all very good and the production numbers were fantastic. I hope Chicago's success inspires the production of more high-quality movie musicals.
About Schmidt (Alexander Payne).
Jack Nicholson gives a wonderful performance as a man who has spent his life doing what others expected of him, but comes to feel he has never made a difference in any of the lives he's touched. I found the film funny, sad and ultimately moving. The supporting cast was great, and Kathy Bates was excellent, as always. But Jack really deserves praise for his honest, touching performance.
The Lion King: IMAX version (Roger Allers & Rob Minkoff).
While technically not from 2002 (since it is the exact same film that was released in 1994), it's still one of my all-time favorite animated films, and seeing it again on the (really) big screen was a lot of fun.

3. Y Tu Mamá También (Alfonso Cuarón).
Cuarón put Hollywood to shame by successfully filling the screen with more tangible life than any slew of studio pictures put together. An irreverent road movie, a portrait of Mexico at the millennium, it earns its stripes with a wistful coda that exposes the entire story as the passing from youthful exuberance to rueful experience, and the humanity we discard along the way.
Indelible scene: On the diving boards, when the mention of Salma Hayek does the trick.

4. Spirited Away (Hayao Miyazaki).
An animated trip-fest from the great Miyazaki, jammed with visual references to everything from Japanese folklore to John Tenniel's Alice in Wonderland illustrations. A huge treasure trove that invites repeated viewings, making it the perfect DVD for children, especially when, as a parent, you're going to be watching with your kid.
Indelible scene: The mysterious train ride over water.
5. Far From Heaven (Todd Haynes)
A remarkable triumph of revisionist mimesis, at the juncture where history and film study (specifically that of Douglas Sirk's "weepies") meet. By telling us with such formal precision that things were not what they seemed both in life and film in 1950's America, Haynes opens the door onto similar questions for our own day and age, at a time when cultural (and political) assumptions go just as unquestioned. Julianne Moore seems to have delivered a touchstone performance, but equally impressive is Dennis Quaid's maturation with this role. The scenes of his clandestine homosexual awakening are a revelation, all the more so for the somewhat ambiguous morality with which Haynes paints them.
Indelible scene: First visit to a 1950's gay bar.
6. Adaptation (Spike Jonze).
It may be a bit "inside" for non-writers or those outside the movie industry, but Charlie Kaufman, Spike Jonze, and their A-list cast provide more guiltless belly-laughs than any other picture this year. Meryl Streep once again proves that her technical success as a dramatic actress only belies her inestimable comic chops. Extra points for getting her to loop the most outrageous line of her career.
Indelible scene: Hollywood, California. Five billion years ago.

9. Lovely & Amazing (Nicole Holofcener).
As with her 1996 Walking and Talking, which also showcased the divine Catherine Keener, Holofcener crafts a vigorous female-centric view of the world. It's a welcome, distinct counterpoint to the dominant male movie culture, an all-too-rare missive from the other side. Her theme is feminine self-image, and while steadfastly refusing to tie up all the loose ends, she and her note-perfect cast create a catalog of pitfalls, both societal and self-imposed, in any modern woman's quest to embody those elusive qualities of the title.
Indelible scene: Struggling actress (Emily Mortimer) asks successful television actor (Dermot Mulroney) to enumerate her physical flaws.
10. Auto Focus (Paul Schrader) Underrated and readily despicable, Schrader gives his critics an easy opening, as usual. Per his custom, his cinematic vision is a one-way ticket to damnation, without the usual narrative reversals and other pleasures we've come to expect even from so-called "arthouse" fare. For those who can endure it, Schrader's scathing portrait of obsessive sexual narcissism and its relationship to celebrity boasts a detail-rich recreation of the mid-1960's through the 1970's, two stunningly Brechtian performances (Greg Kinnear and Willem Dafoe, not to ignore the terrific supporting cast), and a black humor so mordant that it curdles before our eyes in the final reel.
Indelible scene: Bob Crane (Kinnear) and shutterbug buddy John Carpenter (Dafoe) masturbate together to a video replay of one of their sexual conquests.

Revival of the Year:
Diary of a Lost Girl: G.W. Pabst's 1929 follow-up to Pandora's Box, and the second of his legendary collaborations with enduring silent film icon Louise Brooks features an even better lead performance. Although subject to censorship in its production, Pabst was nonetheless able to construct an entirely modern film in every way - shot selection, acting, morality. One warning: viewing may lead to an unbridled obsession with the timelessly beguiling Miss Brooks.

Special mention:
The Wire (feature quality 13-part HBO series), David Simon's riveting depiction of why we're losing the war on drugs, featuring flawless performances on both sides of the law and an increasingly suspenseful narrative that plays like a gem-sharp noir novel.

Guilty pleasure:
Resident Evil (Paul W. S. Anderson), a legitimate translation of classic videogame to genre picture, it plays like George Romero meets Alfred Hitchcock.

The Bourne Identity (Doug Liman).
A spy thriller with more action, and nicely done. Now, if Doug Liman would direct a Bond film with Clive Owen starring, that would be about the only thing that could ever draw me back to the Bond franchise. Too bad it'll never happen.
The Two Towers
(Peter Jackson)
I could have done with fewer Arwen interludes and dwarf tossing jokes (one dwarf tossing joke is one too many), but it didn't disappoint. and Gollum was simply amazing. I look forward to the extended cut DVD, which will hopefully flesh out the scenes that seemed rushed in the theatrical version.
About a Boy (Chris & Paul Weitz).
Like Greg, I didn't want to wring Hugh Grant's neck, and that's saying something. The more unlikeable he is, the more I like him. A very charming film that will hopefully do better on video than it did theatrically. Possession (Neil LaBute).
I haven't read the A.S Byatt novel. From what I hear, those who have are disappointed in the film, but I enjoyed it for much the same reasons I enjoyed Enigma. It's a talky movie mystery.
From the San Diego Asian film festival:
My Sassy Girl (Jae-young Kwak).
Aan utterly charming Korean romantic comedy, which unfortunately isn't likely to be released here anytime soon since the remake rights were sold - to Madonna (the horror! the horror!)
Waterboys (Shinobu Yaguchi).
A breezy Japanese comedy about a male synchronized swim team. Naoto Takenaka (Rampo) is a hoot as their coach, a dolphin trainer by day.