For weeks and weeks now I've been trying to arrange what I felt were the best movies of 2002, and found it so frustrating I nearly put them in alphabetical order instead of by rank. Classifying the top films was really a case of comparing apples and oranges (more so than other years), so as you read this list, keep in mind that I could very easily arrange my selections in a different order and still be pleased with the outcome.

1. CHICAGO - It may not be deep or particularly moving, but it sure does razzle-dazzle 'em. Catherine Zeta-Jones steals the show whenever she's on screen, and both Richard Gere and Renee Zellweger are surprisingly good. I'm not exactly what you would call a musical kind of guy, but the truth is I can't think of a movie I enjoyed more this year (and it only improved after a second helping). A sexy, clever, well-constructed, cynical delight, Chicago takes advantage of the cinematic format without forfeiting its sense of theatrical charm.


2. MINORITY REPORT - If anyone other than Steven Spielberg had made this film, people would be raving about it as one of the best works of science fiction to come out in years and it probably would have landed a few Oscar nominations. What I liked best about Minority Report was how it always kept moving; instead of easing along and holding our hands to make sure we understand everything, the complicated and suspenseful plot simply follows its course. Spielberg may have added a little too much saccharine at the very end, but on the other hand he does prove to be a master at blending visual effects with reality. This was a wonderfully entertaining piece of filmmaking on every level, and it looked great too.

3. INSOMNIA - I don't care if William Goldman didn't care for the battle between Pacino and Williams, I thought Insomnia was an excellent thriller in every way possible. The use of a nightless environment in Alaska to reflect the inner turmoil of Pacino's corrupt detective was ingenious, and Christopher Nolan does a great job of simply telling an interesting story and adding a little style without being too flashy. The normally over-acting Pacino gives a subtle and moving performance that was hands down the least appreciated work from any actor all year long.

4. 25TH HOUR - I've always had mixed feelings about Spike Lee, usually whenever he opens his mouth, but I genuinely believe this is one of the most American movies ever made and a severely under-appreciated piece of filmmaking. Aside from the obvious 9/11 symbolism, there is so much subtext at work here that, frankly, I'm more than a little astonished by how few mainstream critics have embraced this film. 25th Hour is an honest portrayal of both the good and the bad, and by the end reveals itself as a poem to the people of New York and the entire country. Superb acting, writing, and direction, with two of the best cinematic sequences of the year (the mirror scene and the last five minutes).


5. THE QUIET AMERICAN - So many movies have been made about Vietnam during the late 60's, but what about before then? Based on Graham Greene's novel, Phillip Noyce paints a beautiful picture of this country back when the U.S. was just starting to take an interest, and uses the relationship of two men to examine the delicate balance between personal conflicts and political affiliations. Caine delivers what may be the best performance of his career, employing such a deadpan poker face that we cannot fully comprehend his true motives until the very end. The Quiet American is remarkably low-key to the point that many viewers will walk away from it not having fully understood the significance of the conclusion, and this, along with the beautiful cinematography, is precisely why I enjoyed it as much as I did.

6. CATCH ME IF YOU CAN - Steven Spielberg's second best film of the year is also damn good, and probably has more great scenes than any movie to be released in the past five or six years. DiCaprio shines as con man Frank Abagnale Jr., bringing plenty of charm and charisma to the role while still actually playing a real person, and Christopher Walken and Tom Hanks also give commendable performances. Catch Me If You Can is the type of fun, breezy movie that you can watch time and time again and never get tired of.

7. ROAD TO PERDITION - Sam Mendes first film was American Beauty, which I named as the best film of 1999, so I obviously had high hopes for Road to Perdition. While the direction and the breath-taking cinematography from the late Conrad L. Hall are both exceptional, the story isn't quite as good as it could have been, although it still offers a few great twists and a handful of memorable scenes. I particularly enjoyed Hanks' performance as a hitman estranged from his son, and of course Paul Newman, Jude Law and countless others are good as well. If this is Mendes' version of a sophomore slump, I can't wait to see what he comes up with next.


8. THE PIANIST - Roman Polanski's portrayal of one man's journey to survive the holocaust is not quite on the same level as Schindler's List, but it's pretty close and it does feel more intimate. The re-creation of World War II Warsaw is astonishingly realistic and the restraint on Polanski's part to never leave the point of view of our hero is impressive. Although the story is a bit longer than it should have been, Adrian Brody carries it during the slower moments and by the end we care about him quite deeply - a clear indication of a solid performance and a pretty good movie, as depressing as it may be.

9. ADAPTATION - As a huge fan of Being John Malkovich I had high expectations for Charlie Kaufman and Spike Jonze's big follow-up, so I was very pleased when the film delivered. The humor is a wry mix of satire and self-deprecating wit, and the complete mockery of Hollywood studio conventions is absolutely hilarious, especially to someone who watches hundreds of movies every year (most of them not as good as this one). In the end, what makes it worth watching isn't the brilliant writing so much as the excellent work from Nicolas Cage, Meryl Streep, and Chris Cooper. I especially like how once the story gets moving we no longer realize that Donald and Charlie are played by the same actor - a real testament to Spike Jonze's direction and Nicolas Cage's return as an actor.

10. CHANGING LANES - Paramount's marketing department wanted to make people think this was another simple-minded cat-and-mouse movie, which was a true injustice to this taut, psychologically intriguing, and very humanistic drama. With a couple of excellent lead performances from Samuel L. Jackson and Ben Affleck, I find amazing that this film actually made it to theaters without being chopped up and Hollywood-ized.

HONORABLE MENTION...

There were a lot of other good movies released in 2002 that I feel are at least worth mentioning, especially considering many of these films would probably have made it to my list last year. Alexander Payne's ABOUT SCHMIDT could have been better but was still superior to most films out there; FRAILTY was a scary revival of old-fashioned supernatural thrillers; ABOUT A BOY turned out to be a charming suprise from the guys who made American Pie; 13 CONVERSATIONS ABOUT ONE THING didn't receive much attention but was one the year's best ensemble pieces; Joe Carnahan's NARC was a solid police drama in the vain of 70's ultra-realistic films; TALK TO HER was bizarre and a little slow but admirably unique; and finally, the first two hours of GANGS OF NEW YORK were an absolute feast, which only made the final 45 minutes more disappointing. I'd also like to point out that CITY OF GOD would be on my list, but technically it's a 2003 release so I'll have to wait until next year.

Posted February 11, 2003 | link