The Ten Best Films of the Year 2002

Written by: Brian Orndorf

1) Punch-Drunk Love

            Sadly misunderstood in its theatrical release, Paul Thomas Anderson’s “Punch-Drunk Love” was a kaleidoscope of human behavior observation and the birth of Adam Sandler as a contender in the big boy world of dramatic acting. Sandler’s performance was delightfully nuanced and rich with energy, and it took him light years away from his already beloved (and rightfully so) comedies. This is PTA’s fourth film, and he continues to grow as an artist, taking chances with his own material, and also with his audiences’ expectations. “Love” isn’t the easiest motion picture. It takes a lot of work to unearth the charms hidden within the piece. Yet, if the patience is there, a rewarding and downright exquisite film awaits you. 
Review: http://www.modamag.com/punchdrunklove.htm

2) Gangs Of New York

            “Gangs Of New York” was Martin Scorsese’s handmade valentine to his beloved era of filmmaking (Italian neo-realism classics from the 40s, 50s, and 60s), and it took the cake in terms of the sheer scale of production, and the delicate workmanship contained within. This was a stunning picture, layered with amazing performances (most notably from Daniel Day-Lewis), a rousing score, an even pace (at nearly three hours), and a filmmaker finally allowed to reach the limits of his imagination.
Reviews: http://www.modamag.com/gangsofnewyork2.htm (Brian)
http://www.modamag.com/gangsofnewyork.htm (Katherine)

3) Chicago

            An eruption of song, dance, and sin, “Chicago” was an utter joy to behold. A lovely production, made all the more amazing as it was director Rob Marshall’s feature film debut. Renee Zellweger shines in the lead role of Roxie Hart - an unusual choice for the role, but her proficient vocals and spry footwork were perfect. Catherine Zeta-Jones wraps her deep-throated voice around her songs with luxurious resonance, and Richard Gere… just didn’t embarrass himself. One of the few films this year that trafficked in sheer delight, and it earned its grins at every turn.
Review: http://www.modamag.com/chicago.htm

4) Bowling For Columbine

            Michael Moore’s button-pushing documentary about handgun violence in the world had all the power, comedy, sincerity, baiting, animation, and Charlton Heston a movie could ask for. This was a desperately needed picture, touching on a subject few films cover. Another striking achievement from the loathed filmmaker, and another reason why his output is so important in the cinematic landscape. It’s easy to dismiss this picture as blatant left-wing propaganda, but until someone else gets out there and continues to explore various political hot potatoes with the extravagant boldness of Moore, he’s got my vote all the way.

Review: http://www.modamag.com/bowlingforcolumbine.htm

5) Spider-Man

            Without a doubt, “Spider-Man” was a high-tech, glossy, monster-budgeted summer extravaganza. However, “Spider-Man” was also the best comic book adaptation to hit the screens since Richard Donner’s “Superman” in 1978.  A soaring action/adventure picture, stocked with highly caloric set pieces, and special effects that rendered the “Spider-Man” movements with grace and mind-bending flexibility. Heaps of credit must be paid to director Sam Raimi for infusing the picture with his boundless sense of fun, and to actor Tobey Maguire, who couldn’t be a more perfect choice for the webcrawler. It was king of the year at the box office, and it deserved every last penny.
Review: http://www.modamag.com/spiderman.htm

6) The Bourne Identity

            We saw a new James Bond film, and the insidious “XXX,” but only Doug Liman’s “The Bourne Identity” seemed to get the spy film just right. A taut, well-written, subtle action blockbuster, “Bourne” learned from the mistakes of its forefathers and sidestepped all the malarkey that clutters up the genre (one-liners, overblown climaxes, lifeless plotting). I enjoyed the new Bond, but Jason Bourne’s Parisian adventure proved how invigorating some guns, girls, martial arts, and a little amnesia can genuinely be.

Review: http://www.modamag.com/identity.htm

7) Frailty

            Bill Paxton is known for his quirky acting, but who knew he made such a knockout director? In his feature film debut as a filmmaker, Paxton completely nails the southern gothic flavor needed to bring the profoundly scary “Frailty” to life. Bringing a fresh take on the horror/thriller genre of chills, Paxton weaves this complex tale of spirituality, brotherhood, and axe-murdering with the ease of a seasoned veteran. Paxton also manages to fiddle with his stale acting career a bit with an equally impressive supporting performance as the demented Dad character. It turns out Paxton was learning in the years he spent working with directors James Cameron, Sam Raimi, and Walter Hill. “Frailty” signals the entrance of a class act filmmaker.
Review: http://www.modamag.com/frailty.htm (Brian)
http://www.modamag.com/frailty_dvd.htm (Kage, DVD review)

8) Rabbit-Proof Fence

            Phillip Noyce’s “Rabbit-Proof Fence” was a powerful film experience. Weaving alarming true-life facts with powerful drama (captured in gorgeous widescreen photography), the film was a unique emotional and visceral experience. As factual adaptations go, this is one of the best in years, as it found the ability to teach without preaching, and elicit tears without begging. Couple that with three terrific lead performances by children who haven’t even acted before, and “Fence” seems all the more an honest-to-God motion picture miracle. 

Review: http://www.modamag.com/rabbitprooffence.htm

 9) Red Dragon

            Though it struck some people as possibly one too many trips to the buffet, Brett Ratner’s take on the Thomas Harris novel, “Red Dragon,” was, to me, a delectable return to the macabre horror that the Hannibal Lecter franchise was all about. Also made brilliantly as “Manhunter” in 1986, Ratner’s fresh spin on the material managed to improve on the earlier film’s faults, which was no small feat. An amazing cast really makes the picture, with Ralph Fiennes tearing the screen apart as the psychotic killer, Francis Dolarhyde. “Dragon” proved Ratner has more up his sleeve than Jackie Chan/Chris Tucker gags, and I hope he continues his rise to the top of the young filmmaker heap.

Review: http://www.modamag.com/reddragon.htm

 10) Me Without You
           In the year of the “Ya-Ya Sisterhood,” and other female-bonding films, “Me Without You” dared to dramatize the more poisonous effects female relationships can bring. A small English import, the picture was inventive, funny, and overridingly true to life. And for a period piece set over the last three decades, it went in distinctive directions rather than simply the disco-to-yuppie route. A fantastic, honest film.

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