BY BERT EHRMANN
Well, it's the end of the year and what kind of a man
would I be if I didn't list the movies I felt were the best in 2004!?
(Answer: A better one.) But still, I must press on like every other
critic in the country at the end of the year and release my "list."
In my opinion, the best film of 2004 was director Michael Mann's Collateral.
In Collateral, Tom Cruise plays Vincent, an assassin assigned to kill
the prosecutor and witnesses of a major case set to go against a crime
family in modern day Los Angeles. Jamie Fox plays Max, an unlucky
cab driver that just happens to pick up Vincent as a fare but is wrangled
into driving him around all night as he goes from hit to hit.
What really drove Collateral home for me was that most of the hits
Cruise does during the movie take place off screen - a daring move
on Mann's part to shift this action to the side-lines rather than
having it front and center.
Shot on digital video, Collateral gives L.A. an almost nightmarish
quality. Eyes glow from ambient light and the night sky burns a putrid
orange from the light pollution below. The movie is almost perfect,
with a few minor nit-picky slips along the way. (The best bit of the
movie is when two coyotes to cross the street in front of Max's cab.
It's sheer movie genius.)
The rest of the "darn good" movies of 2004, in alphabetical order,
are:
The Alamo - I only know of one other person who liked, let alone loved,
The Alamo as I did. The Alamo received almost all negative ratings
from reviewers and scathing comments from those who actually saw it
in theaters. I thought it was a unique look at the Alamo siege while,
at the same time, providing an interesting perspective on the defenders
such as David (don't call him Davy) Crocket. I felt that The Alamo
did one thing that the multitude of Alamo movies and specials have
failed to do; humanize the characters.
Eternal Sunshine of the Spotless Mind - (Or, are we little more than
a collection of memories?) When I describe this movie to those who
haven't seen it, I say that Eternal Sunshine is what Total Recall
would have been if it were written by Charley Kaufman (Being John
Malkovich). In Eternal Sunshine, Jim Carrey (Yes, that Jim Carrey)
plays a depressed man who slowly learns that just a few days prior
he had his memory erased in order to forget a lost love. The movie
unfolds in a seemingly jumbled manner, with events from the past being
intermingled with current and future events, but it somehow all works
in the end, and on second viewing all makes perfect sense.
Garden State - It's hard to say just how much Garden State hit home
with me when I first saw it. Many of the details in the movie seemed
to mirror my own life; from a death in my immediate family, growing
older and even meeting friends from high school after not seeing them
for nearly a decade. It is once in a rare while that a movie strikes
me in such a way.
Napoleon Dynamite - It's wild and wacky. The kids and teens of today
will be watching Dynamite on TBS twenty years from now reliving old
memories.
Spartan - I must admit that if this list were written before I had
seen Collateral, Spartan would have been at the top. Spartan follows
a government agent known only as "Scott" who is tasked with rescuing
the President's daughter when she's kidnapped and sold into slavery
- they don't know of her political connections. Let's just say that
killing is one of the less violent options in Scott's pallet of persuasion.
It sounds like the generic spy-drama that has been made a million
times before, but what really draws me to the movie again and again
is the way the story unfolds in an extremely realistic manner. The
characters don't spell out the plot points for the audience, major
characters die when the audience least expects it, and, like in life,
the plot is a bit messy. At one point, Scott makes detailed plans
about rescuing the girl, only to see his plans go up in smoke when
he has to think on his feet or lose her.
The real power of Spartan is that it's just about impossible to see
what's going to happen next. In any other movie the plot unfolds in
the "normal" manner - characters go from A to B to C. In Spartan the
characters take this same trip, just down a road that the audience
has never been down before.