Dan Owen reviews

DAN'S   MOVIE   DIGEST

2 0 0 2   r e t r o s p e c t i v e

P a r t   O n e

In the first Special of Dan's Movie Digest (DMD) I'll take a retrospective look at the films of 2002 that stuck most in my memory. Of course, I can't cover every film released (so sorry if your favourite is missing from this list), but most of the generally popular films should be included.

2002. The year blockbuster marketing goliaths delivered the goods (Harry Potter 2, The Two Towers, Signs, Minority Report, Goldmember, Die Another Day, Spider-Man) and the lesser blockbusters at least entertained (MIB II, Star Wars Episode II).

A rare year when the Brits succeeded at the box-office (Bend It Like Beckham, About A Boy, 24 Hour Party People, 28 Days Later, Bridget Jones' Diary, The Guru, Ali G, Dog Soldiers) and war films crashed-and-burned (Hart's War, We Were Soldiers, Windtalkers).

A year when the strange hit a nerve (Mulholland Drive, Donnie Darko, The Ring) and sequels actually lived up to, or improved on, their progenitors (Star Wars Episode II, Two Towers, Die Another Day, Stuart Little 2, Jason X, Blade II).

So what didn't 2002 do? Make us laugh. Beyond Goldmember we had to make do with dismal Mr Deeds, workmanlike MIB II and the average My Big Fat Greek Wedding). Robin Williams was too busy being serious and Jim Carrey too busy filming releases for 2003...

2002 also didn't produce many obvious Oscar contenders for next year. Road To Perdition is about the only major (popular) release tipped for a Best Picture and/or Best Director award. Two Towers is unlikely to enjoy the same success as Fellowship due to its status as a sequel.

A film sadly overlooked in the UK, 24 Hour Party People was Michael Winterbottom's nifty portrayal of the 'Madchester' music scene of the mid-80s to early-90s, starring comedian Steve Coogan. UK audiences couldn't see beyond Coogan's Alan Partridge TV persona, so in a rare twist it was the Yanks who began applauding Winterbottom's entertaining and energetic film. Definitely one to get on DVD and curse yourself for not taking the cinema plunge.

Trainspotting director Danny Boyle's latest movie triumphed at the UK box-office. Boyle, smarting after the disappointing The Beach, made a low-budget yet impressively executive digital-video zombie film called 28 Days Later. Even the stigma and conventions of the zombie genre didn't detract Boyle from managing to craft a genuinely involving extrapolation of modern British society through horror-induced satire. Oh, the blood and rats had something to do with it, too.

We have a lot to thank Hugh Grant for. Four Weddings... and Notting Hill are amongst this country's biggest global money-makers, so don't knock Hugh's career. Especially now he's begun to distance himself from his bumbling screen shtick. About A Boy adapted the Nick Hornby novel and retained the British setting (for once!) to give us an enjoyable treat for fans of easy-going humour. Grant's was as affably charming as ever � but now capitalizing on his roguish demeanour he found for Bridget Jones' Diary. Solid laughs � from the directors of Yank sex-farce American Pie, no less! Maybe the British Are Coming thing was too premature.

Ali G Indahouse proved that TV show translations can be adequately tweaked for the movie world, although there's no denying it's best suited to video rental. Sacha Baron Cohen unleashed his British piss-take of American black gangster culture with great aplomb, cramming loads of rude-crude gags into its short running time. The result was predictably formulaic, yet still a very funny piece of low-brow entertainment with a UK vibe. But now, surely, the joke has truly worn out?

The summer saw snaggle-toothed 60's spy Austin Powers dance his way back into filmgoers affections with Austin Powers In Goldmember. People flocked back for more spy-spoofery, helping the film smash The Spy Who Shagged Me's record-breaking takings. Yes, so the plot was looser than ever, the gags mainly clones from previous adventures, but the overriding sense of wacky fun and some deliciously funny moments made Goldmember a deserved worldwide smash.

Ridley Scott continued his comeback run following Gladiator and Hannibal with Black Hawk Down � a pulsating, violent, gritty war drama depicting the US missions disaster in Somalia during the early-90's. Full of visual genius and sonic menace, yet almost devoid of characterization and plot � it still became the most effective depiction of war in film since Saving Private Ryan.

One superhero franchise cruelly overlooked by the general public in recent years has been Blade. Wesley Snipes returned as the sword-wielding vampire-slaying vigilante in Guillermo Del Toro's Blade II � which became the second-best superhero film of the year behind Spider-Man. Del Toro literally soaked his film in blood, pumped up the soundtrack, cranked up the CGI-enhanced fights and set the enjoyment factor to overload. The outcome was extreme, riotous, action-packed fun from start-to-finish. Want to see a vampire Dirty Dozen staking Predator-esque Nosferatu's? Look no further.

Matt Damon confounded expectation by becoming a decent-enough action hero in The Bourne Identity. He starred as an amnesiac chased around Europe by secret agents, hooking up with German film star Frank Portente (Run, Lola, Run!) in the interim. Some great stunts, an intriguing storyline, strong performances, and refreshingly Euro-themed. Good entertainment.

Satirist Michael Moore caused the world's eyes that little but wider with his magnificent docu-film Bowling For Columbine. He sought to uncover the cynicism and deep-rooted madness behind America's gun control laws. The film contained some funnily poignant stunts and truly memorable interviews. Perhaps best suited to TV or video, but without question one of 2002's most commendable releases.

Renee Zellweger was embraced by the British public in Bridget Jones' Diary as the titular weight-obsessed London working girl. Zellweger may be more American than momma's apple pie, but her physical transformation, together with a near-perfect English accent, won even the sternest critics over. The film is funny in that affectionately British way pioneered by 1994's Four Weddings... and gave Colin Firth and Hugh Grant their meatiest roles in years. Hard not to like on some level.

The French made everyone sit up in 2003 with Asterix & Obelisk... er, I mean Brotherhood Of The Wolf. Riding the wave set in motion by Crouching Tiger, Hidden Dragon, this Gaelic art-house/martial-arts/fantasy/horror/period drama had everyone talking. Some found it extremely entertaining and unique � others found it flat and unbalanced. Whatever your opinion, there's no denying it made British efforts look dated.

Moulin Rouge! proved there's life in the musical yet by reinventing the genre as a glitzy mix of old and new. But in Chicago, a belated film adaptation of the successful stage musical, the project returns to its roots � with satisfying results. Renee Zellweger is fantastic as Roxie, Catherine Zeta Jones shines as vampish Velma, while even Richard Gere impresses. Not as much fun as you may hope, but the period detail and engrossing storyline make up for that.