Film Faves: 1997
It's time for another edition of Film Faves!
For those of you who are unfamiliar, Film Faves is a feature on The Gibson Review wherein I count down my favorites of a specific topic of film. It is not intended as an objective Best Of list, merely a subjective celebration of film and a peek at what I love most. Film Faves counts down twelve favorites, skipping the traditional Honorable Mentions, because ten is often too few but anything more than a dozen can get a bit out of hand. Currently, Film Faves is going back in time, year by year. This month, I will be looking at the year 1997.
Let's get right to it.
This year was actually a pretty good year for movies. It was a year that featured a good share of comedies that were huge hits and became a part of pop culture for a time, such as The Full Monty and Men in Black. There were also a lot of decent action films that did pretty well at the box office like Pierce Brosnan's second time stepping into 007's "shaken not stirred" line of work in Tomorrow Never Dies, the "President kicks terrorists off his plane" Air Force One, and the highly anticipated Jurassic Park sequel, The Lost World.
Actually, 1997 saw the release of many good films, including The Apostle, Breakdown, Con Air, Donnie Brasco, Face/Off, G.I. Jane, The Game, Gattaca, The Ice Storm, Jackie Brown, My Best Friend's Wedding, Romy and Michelle's High School Reunion, Seven Years in Tibet, and Wag the Dog.
Unfortunately, Chris Farley, a Saturday Night Live favorite, died in 1997 of a cocaine overdose. Beverly Hills Ninja would not be his last film as Almost Heroes and an appearance in the film Dirty Work would both be released the next year.
It seems that the nineties produced a lot more crap films than the aughts, maybe it's just me. But even a good year like 1997 trotted out An American Werewolf in Paris, Anaconda, Batman & Robin, Bean, Excess Baggage, George of the Jungle, I Know What You Did Last Summer, Metro, Mortal Kombat: Annihilation, The Peacemaker, The Postman, The Saint, Spawn, Speed 2: Cruise Control, Spice World, Steel, Vegas Vacation and many others.
Here are my favorites of...
1997:
12. Titanic
I’m starting off with a popular one, I know. Yes, it was over-hyped to the point that 14 years is still too soon for many. Yes, that damn Celine Dion song is nigh-unbearable. Despite that, I will defend Titanic as a great movie. Here’s why: this film’s plot may involve a love story, but it is really about the ship through and through. The film takes its time in order to familiarize the audience with the ship’s geography and how it was organized to suit the class system of the time. Cameron excels at depicting the contrasting atmospheres of the upper class top decks with the lower class lower decks. This film is rich in detail and only a director as committed and passionate as James Cameron could achieve such a level of detail – and it pays off, because it really helps make you feel like you’re on the ship and know it well. The last hour, which depicts in great detail the crash and sinking of the ship, is spectacular on both a visual and emotional level. I saw this film twice in theaters and couldn’t help but feel it was the closest I would ever get to actually experiencing the horror the passengers went through while trying to fight their way to safety and (mostly) failing. These are the film’s greatest strengths. As for the love story, well, it’s a construct by which to help us better experience some of the class conflicts and to have an emotional anchor to what is otherwise a disaster film. As such, I think it succeeds, which is most probably a testament to the leads Kate Winslet and Leonardo DiCaprio. Had someone on par with, say, Freddie Prinze, Jr. and Jennifer Love Hewitt been cast it would’ve been the disaster many feared the film would become (this poster came before the film's delay to December). All of these elements helped make it something people wanted to tell their family and friends about and return to, thus making it the highest-grossing film ever. That is, until Cameron outdid himself with Avatar thirteen years later.
11. Private Parts
I was initially quite reticent about this film when I first saw it many years ago, based on Howard Stern’s reputation. The fact that Stern didn’t write the script makes the film’s authenticity somewhat suspect. And there are moments when its commitment toward presenting Stern in the best light is questionable. However, I was completely won over by Howard Stern’s performance; he is as much a natural in front of the camera as he is behind a mic – and very funny! Paul Giamatti stars as Stern’s nemesis at WNBC. This early role as ‘Pig Vomit’ gives us some great chemistry as he and Stern antagonize each other. It may not be the cold, hard truth and Stern’s divorce from his wife years after this film’s release may undercut the heart of the film, but Private Parts is a surprisingly enjoyable watch. If only they cut out those “get the girl naked on camera” interludes with Gary...
10. Chasing Amy
This used to be one of my favorite Kevin Smith films – and it may still be, however, I’m not a teenager anymore and I’m noticing as I’m getting older, my enjoyment of his films is not as enthusiastic as it once was. Some of his jokes don’t land like they used to and the film comes off more like Smith’s response to the decade’s sexual politics, complete with ‘eye-opening’ discussions about what defines intercourse, than an actual story. Also, his low-budget production did not age well. Still, Chasing Amy is notable for probably being the most frank film about the gay vs. straight sex discussion of the time (Smith’s lone misstep comes when Alyssa’s friends discover her new love interest is a man) and it probably blew the minds of many naïve high school & college boys. Not only that, but there’s a lot to enjoy about this film. It captures well the feeling of finding someone awesome only to discover that person is unavailable and how our limited perspectives can push that person away completely. It also has great performances by Jason Lee and Joey Lauren Adams. Smith fans will notice references to such personal interests as hockey, Degrassi Jr. High, and Catholicism, as well as appearances by Smith buddies Matt Damon, Ethan Suplee, Scott Moser, Casey Affleck, Brian O’Holloran, and Joe Quesada. Chasing Amy hasn’t aged well, but it’s an interesting flick to watch as a young adult and return to in your thirties.
9. L.A. Confidential
This film deserves to be seen more often; I don’t hear enough people talk about it these days. It’s a complex crime film about the desire some have for justice and fame – and how those two often become intertwined with corruption. This film is full of complex characters, which elevates it above any by-the-numbers mystery. The most memorable of them are hot-headed Officer Bud White (Russell Crowe), noble Det. Lt. Ed Exley (Guy Pearce), fame-seeking Det. Sgt. Jack Vincennes (Kevin Spacey), and glamorous prostitute Lynn Bracken (Kim Basinger). The amazing cast doesn’t end with those characters: James Cromwell, Danny DeVito, David Strathairn, and Simon Baker round it out. It’s worth noting that this film made Russell Crowe and Guy Pearce stars, which is interesting when you consider how the poster places them in the background of Basinger's breasts. It’s a fine film and I encourage anybody who enjoys well-told crime stories to check it out.
8. Cop Land
Here’s another crime film about corrupt cops that I would argue has an even more amazing cast: Sylvester Stallone, Harvey Keitel, Robert De Niro, Ray Liotta, Robert Patrick, Peter Berg, Janeane Garofalo, Michael Rapaport, Annabella Sciorra, Noah Emmerich, John Spencer, Cathy Moriarty, Edie Falco, and Debbie Harry. Stallone is cast against type as an ineffectual, lumpy sheriff who slowly learns his friends and the town he protects may be more sinister than he ever realized. It is Stallone’s best performance since the original Rocky and has yet to be beat subsequently. Unlike majority of his other roles, Stallone isn’t merely leaning on attitude; on the contrary, here he digs deeper and brings out a sadness and apprehension to become what he’s been told all his life he could not. Interestingly, John Travolta and Ray Liotta were both considered for the lead role, although I think things turned out for the better (Travolta would star in Mad City and Face/Off that year). Cop Land is a fine film for fans of crime sagas with oversized casts.
7. The Wedding Singer
Adam Sandler stars as a small-town wedding singer who gets stood up at his own wedding in what may be the best comedy of Sandler’s career. The humor rarely aims for the lowest common denominator, unlike Little Nicky or even Billy Madison, and whose lead comes off less like a cartoon and more like an actual character. Of course, The Wedding Singer is a huge nostalgia-trip for anyone born in the ‘70s or early ‘80s with references to Dunkin’ Donuts and summer TV reruns, as well as the requisite ‘80s pop culture references. It does lay it on thick with the slimy Glen character. Even after he admits to cheating on cute-as-a-button fiancée Drew Barrymore, we see him be even more of a dick. And the editing is a bit weird at times as one or two scenes (including the final scene) just seem to end suddenly. Oh well, it’s tough not to enjoy The Wedding Singer despite that as both a comedy and a sweet date movie.
6. Austin Powers: International Man of Mystery
Mike Myers introduced us to one of the funniest characters of the late nineties and quickly replaced Jim Carrey as the most quotable comedic actor of the time. Myers took the fish-out-of-water concept, married it with the James Bond archetype, and applied that to the politically correct ‘90s. All he had to do was surround Powers with a combination of present-day straight men and spy movie caricatures and Myers had comedy gold. I enjoyed (and remembered) the sequel, The Spy Who Shagged Me, much more, but the first is still a lot of fun.
5. As Good As It Gets
It doesn’t get much sweeter or more like classic Hollywood than this film without becoming saccharine. Jack Nicholson gives us one of his best late-career performances as Melvin, an OCD curmudgeon who falls for Plain Jane waitress Carol, played by Helen Hunt. Melvin’s fumbling attempts to capture her heart is endearing as we are the only ones privileged with his soft side. Greg Kinnear is incredibly affecting as the gay neighbor Simon whose normally jolly life falls apart and finds himself relying on his gay-bashing, hateful neighbor. As Good As It Gets is probably the year’s best romance because the ‘will they/won’t they’ plot takes a back seat to the character development of Melvin, Carol, and Simon. It is a very nice film full of heart and tenderness. It is also James L. Brooks’ last great film so far.
4. Grosse Pointe Blank
A hitman goes to his high school reunion. High-concept comedy doesn’t get richer than that. John Cusack stars as the hitman who returns to the small town he left behind for a life of cold-blooded violence. What’s great about Grosse Pointe Blank is it marries the typical Return Home tropes we can all relate to (seeing the high school crush again, catching up with old friends, seeing the town’s changes) with one of the most unlikely character types, the hitman. Cusack does a great job balancing these two lives within his character. My favorite scene has to be when Blank meets Mr. Newberry (Mitch Ryan), the father of his high school crush played by Minnie Driver. Blank’s upfront confession of his profession and Mr. Newberry’s congenial acceptance of the profession, as if it were something like sales, creates an out-of-this-world moment that is hilarious. This film is nearly as brutally violent as it is hilarious (we do see Ray Stantz die quite horrifically) and it never feels uneven. Plus it has a great soundtrack! It is my favorite comedy of 1997.
3. The Fifth Element
This wild and ADD-paced sci-fi action film was directed by Luc Besson, the same man who previously directed the hitman thriller Leon. While that film proved Besson excelled at directing action, nobody would’ve guessed he could be responsible for such a fun, tongue-in-cheek, sci-fi spectacle as The Fifth Element. If you haven’t seen this film in a long time you may wonder if it holds up or seems cheesy and lame these days. No question about it, it holds up very well. You may be able to shoot about as many holes into this thing as a Mangalorian mercenary can its bounty, but you’d end up being quite a stick in the mud given this film clearly isn’t aiming to be a sci-fi classic, just a good time. However, Besson does an amazing job at world-building, going so far as to add details that weren't required, but add to the experience. Watching it now, I was struck by how incredible the score is. The film wouldn’t have nearly as much energy or enjoyment without that lively beat in the background. The Diva’s classical vocals, contrasted with the action beat score really help make the opera scene one of the best fight sequences I've ever seen. You can’t talk about The Fifth Element without mentioning the cast. Milla Jovovich has never been so likeable or awesome (or quotable!). She perfectly conveys a sense of innocence, wonder, and confidence – and is a joy to watch kick butt. Her Leeloo is a excellent addition to the Kick-Ass Sci-Fi Heroines gallery. Bruce Willis gives another awesome “Can you believe this?” performance as Korben Dallas, a retired member of Special Forces turned taxi driver. Chris Tucker probably gives the best performance of his career as the flamboyant and annoying radio DJ Ruby Rhod. Tucker’s high-pitch rejoinders actually fit in perfect with the tone of the film. Ian Holm and the rest of the supporting cast give pitch-perfect performances, balancing humor and impending doom throughout. What a fun flick!
2. Boogie Nights
Here’s yet another example of how 1997 was a year for dramas with enormous casts. I revisited this film last year and I'm glad I did. I love this movie! If you love a movie that gives you great character development than you’d be hard-pressed to do better than Boogie Nights. But this isn’t just a performance piece to spotlight some up-and-coming actor; Boogie Nights is a really great story about self-discovery, ambition, and excess. Paul Thomas Anderson excels in every way with this film, bringing out excellent performances, creating appropriate paces and tones for both the rollicking ‘70s and disastrous ‘80s, and using the camera in amazing ways. It is outrageous that Boogie Nights was over-looked by the Academy in favor of lesser, yet popular, films like The Full Monty and As Good As It Gets, further proof that perhaps five nominees was too limiting.
1. Contact
This film, directed by Robert Zemekis (Back to the Future, Forrest Gump), takes the top spot of 1997 away from Boogie Nights, in part because I remember it gave me the best movie-going experience of that year. After witnessing The Trip and being exposed to the film’s eye-opening ideas, I was literally speechless for at least a half hour after the credits rolled. Contact blew my mind. Another reason: I thought Ellie Arroway (played by Jena Malone and Jodie Foster) was one of the greatest characters I ever saw on film. She’s resolute in her beliefs and quest to find proof of those beliefs, yet quite fragile. Her story is a compelling one: raised with a passion for science and the existence of extraterrestrial intelligence, she devotes her life to some day receiving a message from the stars. When she finally gets what she’s devoted her life and career to she is faced with political, professional, religious, and philosophical hurdles that stand in the way of being a part of one of mankind’s greatest moments. Contact was also notable for its depiction of how a message from space might actually appear and be received by the government and religious groups. Also, The Trip during the film’s climax is a visual spectacle akin to 2001: A Space Odyssey. Jodie Foster gives one of the strongest and most dimensional performances of her career. And Matthew McConaughey reminds us he actually acted once upon a time, playing Ellie’s handsome religious foil. Contact is yet another one of those brilliant, yet criminally underrated, sci-fi films for smart people.
That about wraps it up for 1997, a year full of incredible ensemble casts and notable films. What are some of your favorites? Vote on the poll to the right and leave a comment either below or on Facebook or drop an email at thegibsonreview@gmail.com
Next time on Film Faves, aliens, vampires, secret missions, conflicted agents, and star-crossed lovers. It's 1996!
For those of you who are unfamiliar, Film Faves is a feature on The Gibson Review wherein I count down my favorites of a specific topic of film. It is not intended as an objective Best Of list, merely a subjective celebration of film and a peek at what I love most. Film Faves counts down twelve favorites, skipping the traditional Honorable Mentions, because ten is often too few but anything more than a dozen can get a bit out of hand. Currently, Film Faves is going back in time, year by year. This month, I will be looking at the year 1997.
Let's get right to it.
This year was actually a pretty good year for movies. It was a year that featured a good share of comedies that were huge hits and became a part of pop culture for a time, such as The Full Monty and Men in Black. There were also a lot of decent action films that did pretty well at the box office like Pierce Brosnan's second time stepping into 007's "shaken not stirred" line of work in Tomorrow Never Dies, the "President kicks terrorists off his plane" Air Force One, and the highly anticipated Jurassic Park sequel, The Lost World.
Actually, 1997 saw the release of many good films, including The Apostle, Breakdown, Con Air, Donnie Brasco, Face/Off, G.I. Jane, The Game, Gattaca, The Ice Storm, Jackie Brown, My Best Friend's Wedding, Romy and Michelle's High School Reunion, Seven Years in Tibet, and Wag the Dog.
Unfortunately, Chris Farley, a Saturday Night Live favorite, died in 1997 of a cocaine overdose. Beverly Hills Ninja would not be his last film as Almost Heroes and an appearance in the film Dirty Work would both be released the next year.
It seems that the nineties produced a lot more crap films than the aughts, maybe it's just me. But even a good year like 1997 trotted out An American Werewolf in Paris, Anaconda, Batman & Robin, Bean, Excess Baggage, George of the Jungle, I Know What You Did Last Summer, Metro, Mortal Kombat: Annihilation, The Peacemaker, The Postman, The Saint, Spawn, Speed 2: Cruise Control, Spice World, Steel, Vegas Vacation and many others.
Here are my favorites of...
1997:
I’m starting off with a popular one, I know. Yes, it was over-hyped to the point that 14 years is still too soon for many. Yes, that damn Celine Dion song is nigh-unbearable. Despite that, I will defend Titanic as a great movie. Here’s why: this film’s plot may involve a love story, but it is really about the ship through and through. The film takes its time in order to familiarize the audience with the ship’s geography and how it was organized to suit the class system of the time. Cameron excels at depicting the contrasting atmospheres of the upper class top decks with the lower class lower decks. This film is rich in detail and only a director as committed and passionate as James Cameron could achieve such a level of detail – and it pays off, because it really helps make you feel like you’re on the ship and know it well. The last hour, which depicts in great detail the crash and sinking of the ship, is spectacular on both a visual and emotional level. I saw this film twice in theaters and couldn’t help but feel it was the closest I would ever get to actually experiencing the horror the passengers went through while trying to fight their way to safety and (mostly) failing. These are the film’s greatest strengths. As for the love story, well, it’s a construct by which to help us better experience some of the class conflicts and to have an emotional anchor to what is otherwise a disaster film. As such, I think it succeeds, which is most probably a testament to the leads Kate Winslet and Leonardo DiCaprio. Had someone on par with, say, Freddie Prinze, Jr. and Jennifer Love Hewitt been cast it would’ve been the disaster many feared the film would become (this poster came before the film's delay to December). All of these elements helped make it something people wanted to tell their family and friends about and return to, thus making it the highest-grossing film ever. That is, until Cameron outdid himself with Avatar thirteen years later.
I was initially quite reticent about this film when I first saw it many years ago, based on Howard Stern’s reputation. The fact that Stern didn’t write the script makes the film’s authenticity somewhat suspect. And there are moments when its commitment toward presenting Stern in the best light is questionable. However, I was completely won over by Howard Stern’s performance; he is as much a natural in front of the camera as he is behind a mic – and very funny! Paul Giamatti stars as Stern’s nemesis at WNBC. This early role as ‘Pig Vomit’ gives us some great chemistry as he and Stern antagonize each other. It may not be the cold, hard truth and Stern’s divorce from his wife years after this film’s release may undercut the heart of the film, but Private Parts is a surprisingly enjoyable watch. If only they cut out those “get the girl naked on camera” interludes with Gary...
This used to be one of my favorite Kevin Smith films – and it may still be, however, I’m not a teenager anymore and I’m noticing as I’m getting older, my enjoyment of his films is not as enthusiastic as it once was. Some of his jokes don’t land like they used to and the film comes off more like Smith’s response to the decade’s sexual politics, complete with ‘eye-opening’ discussions about what defines intercourse, than an actual story. Also, his low-budget production did not age well. Still, Chasing Amy is notable for probably being the most frank film about the gay vs. straight sex discussion of the time (Smith’s lone misstep comes when Alyssa’s friends discover her new love interest is a man) and it probably blew the minds of many naïve high school & college boys. Not only that, but there’s a lot to enjoy about this film. It captures well the feeling of finding someone awesome only to discover that person is unavailable and how our limited perspectives can push that person away completely. It also has great performances by Jason Lee and Joey Lauren Adams. Smith fans will notice references to such personal interests as hockey, Degrassi Jr. High, and Catholicism, as well as appearances by Smith buddies Matt Damon, Ethan Suplee, Scott Moser, Casey Affleck, Brian O’Holloran, and Joe Quesada. Chasing Amy hasn’t aged well, but it’s an interesting flick to watch as a young adult and return to in your thirties.
This film deserves to be seen more often; I don’t hear enough people talk about it these days. It’s a complex crime film about the desire some have for justice and fame – and how those two often become intertwined with corruption. This film is full of complex characters, which elevates it above any by-the-numbers mystery. The most memorable of them are hot-headed Officer Bud White (Russell Crowe), noble Det. Lt. Ed Exley (Guy Pearce), fame-seeking Det. Sgt. Jack Vincennes (Kevin Spacey), and glamorous prostitute Lynn Bracken (Kim Basinger). The amazing cast doesn’t end with those characters: James Cromwell, Danny DeVito, David Strathairn, and Simon Baker round it out. It’s worth noting that this film made Russell Crowe and Guy Pearce stars, which is interesting when you consider how the poster places them in the background of Basinger's breasts. It’s a fine film and I encourage anybody who enjoys well-told crime stories to check it out.
Here’s another crime film about corrupt cops that I would argue has an even more amazing cast: Sylvester Stallone, Harvey Keitel, Robert De Niro, Ray Liotta, Robert Patrick, Peter Berg, Janeane Garofalo, Michael Rapaport, Annabella Sciorra, Noah Emmerich, John Spencer, Cathy Moriarty, Edie Falco, and Debbie Harry. Stallone is cast against type as an ineffectual, lumpy sheriff who slowly learns his friends and the town he protects may be more sinister than he ever realized. It is Stallone’s best performance since the original Rocky and has yet to be beat subsequently. Unlike majority of his other roles, Stallone isn’t merely leaning on attitude; on the contrary, here he digs deeper and brings out a sadness and apprehension to become what he’s been told all his life he could not. Interestingly, John Travolta and Ray Liotta were both considered for the lead role, although I think things turned out for the better (Travolta would star in Mad City and Face/Off that year). Cop Land is a fine film for fans of crime sagas with oversized casts.
Adam Sandler stars as a small-town wedding singer who gets stood up at his own wedding in what may be the best comedy of Sandler’s career. The humor rarely aims for the lowest common denominator, unlike Little Nicky or even Billy Madison, and whose lead comes off less like a cartoon and more like an actual character. Of course, The Wedding Singer is a huge nostalgia-trip for anyone born in the ‘70s or early ‘80s with references to Dunkin’ Donuts and summer TV reruns, as well as the requisite ‘80s pop culture references. It does lay it on thick with the slimy Glen character. Even after he admits to cheating on cute-as-a-button fiancée Drew Barrymore, we see him be even more of a dick. And the editing is a bit weird at times as one or two scenes (including the final scene) just seem to end suddenly. Oh well, it’s tough not to enjoy The Wedding Singer despite that as both a comedy and a sweet date movie.
Mike Myers introduced us to one of the funniest characters of the late nineties and quickly replaced Jim Carrey as the most quotable comedic actor of the time. Myers took the fish-out-of-water concept, married it with the James Bond archetype, and applied that to the politically correct ‘90s. All he had to do was surround Powers with a combination of present-day straight men and spy movie caricatures and Myers had comedy gold. I enjoyed (and remembered) the sequel, The Spy Who Shagged Me, much more, but the first is still a lot of fun.
It doesn’t get much sweeter or more like classic Hollywood than this film without becoming saccharine. Jack Nicholson gives us one of his best late-career performances as Melvin, an OCD curmudgeon who falls for Plain Jane waitress Carol, played by Helen Hunt. Melvin’s fumbling attempts to capture her heart is endearing as we are the only ones privileged with his soft side. Greg Kinnear is incredibly affecting as the gay neighbor Simon whose normally jolly life falls apart and finds himself relying on his gay-bashing, hateful neighbor. As Good As It Gets is probably the year’s best romance because the ‘will they/won’t they’ plot takes a back seat to the character development of Melvin, Carol, and Simon. It is a very nice film full of heart and tenderness. It is also James L. Brooks’ last great film so far.
A hitman goes to his high school reunion. High-concept comedy doesn’t get richer than that. John Cusack stars as the hitman who returns to the small town he left behind for a life of cold-blooded violence. What’s great about Grosse Pointe Blank is it marries the typical Return Home tropes we can all relate to (seeing the high school crush again, catching up with old friends, seeing the town’s changes) with one of the most unlikely character types, the hitman. Cusack does a great job balancing these two lives within his character. My favorite scene has to be when Blank meets Mr. Newberry (Mitch Ryan), the father of his high school crush played by Minnie Driver. Blank’s upfront confession of his profession and Mr. Newberry’s congenial acceptance of the profession, as if it were something like sales, creates an out-of-this-world moment that is hilarious. This film is nearly as brutally violent as it is hilarious (we do see Ray Stantz die quite horrifically) and it never feels uneven. Plus it has a great soundtrack! It is my favorite comedy of 1997.
This wild and ADD-paced sci-fi action film was directed by Luc Besson, the same man who previously directed the hitman thriller Leon. While that film proved Besson excelled at directing action, nobody would’ve guessed he could be responsible for such a fun, tongue-in-cheek, sci-fi spectacle as The Fifth Element. If you haven’t seen this film in a long time you may wonder if it holds up or seems cheesy and lame these days. No question about it, it holds up very well. You may be able to shoot about as many holes into this thing as a Mangalorian mercenary can its bounty, but you’d end up being quite a stick in the mud given this film clearly isn’t aiming to be a sci-fi classic, just a good time. However, Besson does an amazing job at world-building, going so far as to add details that weren't required, but add to the experience. Watching it now, I was struck by how incredible the score is. The film wouldn’t have nearly as much energy or enjoyment without that lively beat in the background. The Diva’s classical vocals, contrasted with the action beat score really help make the opera scene one of the best fight sequences I've ever seen. You can’t talk about The Fifth Element without mentioning the cast. Milla Jovovich has never been so likeable or awesome (or quotable!). She perfectly conveys a sense of innocence, wonder, and confidence – and is a joy to watch kick butt. Her Leeloo is a excellent addition to the Kick-Ass Sci-Fi Heroines gallery. Bruce Willis gives another awesome “Can you believe this?” performance as Korben Dallas, a retired member of Special Forces turned taxi driver. Chris Tucker probably gives the best performance of his career as the flamboyant and annoying radio DJ Ruby Rhod. Tucker’s high-pitch rejoinders actually fit in perfect with the tone of the film. Ian Holm and the rest of the supporting cast give pitch-perfect performances, balancing humor and impending doom throughout. What a fun flick!
Here’s yet another example of how 1997 was a year for dramas with enormous casts. I revisited this film last year and I'm glad I did. I love this movie! If you love a movie that gives you great character development than you’d be hard-pressed to do better than Boogie Nights. But this isn’t just a performance piece to spotlight some up-and-coming actor; Boogie Nights is a really great story about self-discovery, ambition, and excess. Paul Thomas Anderson excels in every way with this film, bringing out excellent performances, creating appropriate paces and tones for both the rollicking ‘70s and disastrous ‘80s, and using the camera in amazing ways. It is outrageous that Boogie Nights was over-looked by the Academy in favor of lesser, yet popular, films like The Full Monty and As Good As It Gets, further proof that perhaps five nominees was too limiting.
This film, directed by Robert Zemekis (Back to the Future, Forrest Gump), takes the top spot of 1997 away from Boogie Nights, in part because I remember it gave me the best movie-going experience of that year. After witnessing The Trip and being exposed to the film’s eye-opening ideas, I was literally speechless for at least a half hour after the credits rolled. Contact blew my mind. Another reason: I thought Ellie Arroway (played by Jena Malone and Jodie Foster) was one of the greatest characters I ever saw on film. She’s resolute in her beliefs and quest to find proof of those beliefs, yet quite fragile. Her story is a compelling one: raised with a passion for science and the existence of extraterrestrial intelligence, she devotes her life to some day receiving a message from the stars. When she finally gets what she’s devoted her life and career to she is faced with political, professional, religious, and philosophical hurdles that stand in the way of being a part of one of mankind’s greatest moments. Contact was also notable for its depiction of how a message from space might actually appear and be received by the government and religious groups. Also, The Trip during the film’s climax is a visual spectacle akin to 2001: A Space Odyssey. Jodie Foster gives one of the strongest and most dimensional performances of her career. And Matthew McConaughey reminds us he actually acted once upon a time, playing Ellie’s handsome religious foil. Contact is yet another one of those brilliant, yet criminally underrated, sci-fi films for smart people.
That about wraps it up for 1997, a year full of incredible ensemble casts and notable films. What are some of your favorites? Vote on the poll to the right and leave a comment either below or on Facebook or drop an email at thegibsonreview@gmail.com
Next time on Film Faves, aliens, vampires, secret missions, conflicted agents, and star-crossed lovers. It's 1996!