The Wasteland Reviewer

The Wasteland Into the Past: 2002

Welcome to The Wasteland into the Past! Join this journey backwards in time as I take a cinematic look at years past. Each article will focus on a singular year and my Top 5 films from that year. Turn back the clock with me…and let’s get started! 

2002

The Lord of the Rings: The Two Towers

How do you make a middle chapter in a continuous trilogy feel like a cinematic achievement in its own right? Just follow the blueprint set up by Tolkien and Peter Jackson. The Two Towers works so well (and to many is the best of the three films) because it delivers a satisfying narrative that fits into the greater context of the saga. First off, Jackson and company continue their impressive filmmaking prowess. You get more of Jackson’s horror-like elements injected in like the marshes full of horrifying ghosts. You get Howard Shore’s continued excellence composing the trilogy with a whole new set of motifs for Rohan. The costuming and character designs continue to spark wonder (especially with the introductions of Ents). There are some great set pieces from a production design standpoint with Helm’s Deep acting as one of the greatest castles and battlefields ever brought to film. The world-building is incredible with the whole new nation of Rohan with its own specific culture (the same can be said about the Ents as well). The third act of this film is one of the greatest war scenes in the history of cinema with plenty of impressive writing that pacing the battle out to perfection. The final charge of the calvary is one of the most epic moments put to film. The structure of twists and turns paired with a good sense of humor, plenty of character moments, and real emotion make this a battle something truly special. We witness the revitalization of Rohan which becomes a key piece of the war with Mordor. You get plenty of iconic and memorable new characters with Bernard Hill’s King Theodon, Miranda Otto’s Eowyn, Karl Urban’s Eomer, and the dastardly turn of Brad Dourif as Grima Wormtongue. Welsh acting legend John Rhys Davies even pulls double duty as he adds some impressive motion capture work for Treebeard, the leader of the Ents. “The March of the Ents” is one of the most epic and goosebump inducing sequences in film. The biggest introduction of a major character must be Smeagol/Gollum who becomes a deeply significant element in Frodo and Sam’s journey. Frodo continues to persevere with Samwise at his side (all while struggling with Gollum’s mere presence). Aragorn gets the opportunity to rise up and take a leadership role with Gimli, Legolas, and the newly resurrected Gandalf the White at his side. Even Merry and Pippin get a chance to make a difference as they become key players in taking out Saruman and Isengard. This is a truly special film that conquers the middle film of trilogies curse.

Signs

M. Night Shyamalan had quite an amazing three-film run, didn’t he? The Sixth Sense was a megahit that garnered immense praise and success for Shyamalan. Unbreakable is a beloved film that flew more under the radar but has gotten plenty more attention recently. Then there is Signs. This is an intriguing film as it is hailed as a masterpiece by some and the beginning of the end for others. Signs certainly highlight the approach to acting and presentation that has become synonymous with Shyamalan’s films. There is something “off” and unnatural way that these characters interact with each other. Signs does still offer up affecting performances that have a more naturalistic element to them. From a filmmaking standpoint, Shyamalan offers up some impressive elements. The way the camera navigates the space is quite effective with strong blocking that accentuates the visuals of the scenes. There are some exaggerated close-ups as well which are quite effective in portraying the emotional states of the characters. But it is the staging of the horror elements in the film that leave such an impact. There are numerous scenes throughout the film that are downright terrifying and have left a lasting impression in pop culture and cinematic circles. The silhouette on top of the barn. The partial leg in the cornfield. THAT video from the news. The hand underneath the door and later in the basement. The reflection in the television. All of it is terrifying. The score from James Newtwon Howard is an all-time masterclass of setting tone, atmosphere, and eliciting emotions. Shyamalan succeeds with Signs because he can capture the terror and beauty of life and the world around you. There is plenty of suspense and tension. This is a harrowing exploration of alien entities and the other coming in and disrupting the “peace” of our lives. There are plenty of deeply resonant themes that Shyamalan navigates including the rich tapestry of faith in Signs. Mel Gibson’s Graham has lost his faith when his wife dies and this whole journey brings him back to God, the cloth, and believing in life again. The fate that manifests to overcome the malicious alien presence is both satisfying for the narrative and themes. Many complain about the use of water in the film but the details in the script give that element power and meaning in a much more impactful way. The amount of detail and strong writing on display Shyamalan is quite impressive. Gibson delivers a vulnerable and intense performance that has weight. In turn, this gives weight to the film as Gibson is the anchor. Joaquin Phoenix, to no one’s surprise, delivers a moving, impactful, and committed turn as the brother who finds connection within this family dynamic. Rory Culkin and Abigail Breslin are both young and less experienced, but they find a way to queue into Shyamalan’s vision of the film. Terrifying scares. Rich exploration of faith. A detailed screenplay that adds plenty of layers to the film. Signs IS a masterpiece from Shyamalan and deserves to be in the conversation with The Sixth Sense and Unbreakable.

Catch Me If You Can

How do you know you are about to experience a special film when you begin to watch Catch Me If You Can? When the credits of the film are an artistic triumph and pull you right in from the jump, that makes the film something special. The Saul Bass style animation used at the beginning of the film are eye-catching, gorgeous, and exciting. They set the stage from the beginning that you are in for something quite thrilling. The John Williams score is a whimsical and intriguing jazz-infused score that gives the film its vintage atmosphere so perfectly. Steven Spielberg breathes life into the past and makes it come to life so vividly on-screen. This is a cat-and-mouse game from the start with espionage style intrigue. Williams’ score feels ripped out of a film like North by Northwest which you can feel Spielberg homages in some ways. The film has a playful feel through most of it as Frank Abagnale’s story is quite fun and exciting. But in true Spielberg fashion, Catch Me If You Can also finds cathartic moments of rich emotion that recontextualizes this fun romp into something more akin to a sad story of a lost young man trying to find meaning in the world. The expertly deft way that Spielberg walks this tightrope is what makes Catch Me If You Can something more than just a charming crime romp for nearly two-and-a-half hours. Abagnale’s story is tragic as he is a young man from a fracture home, and his man idol is a charlatan himself. Leonardo DiCaprio delivers an impressively charming and charismatic turn as the younger Frank Abagnale, who goes on these wild adventures of grifting anyone he can to find his path. There are moments where DiCaprio must dig deeper a Spielberg highlights why this young actor was going to become one of the most impressive leading men in Hollywood. One of the shining lights in the film is Christopher Walken who is just as charming as DiCaprio but there is a sadness underneath the surface. This is a man who has projected a larger-than-life persona who his son admires but unfortunately, it is all a sham. The fallacy leads to some of the more emotional moments of the film (sold perfectly by Walken). But then you have the hard-boiled investigator who is on young Frank’s tail. There would be no Jerry without Tom. No Roadrunner without Coyote. There would not be DiCaprio in Catch Me If You Can without Tom Hanks. More abrasive than many of Hanks’ roles up to this point, Carl Hanratty is a compelling investigator who is impressed by Abagnale’s exploits but is unrelenting as well. The journey of watching Abagnale commit such wildly entertaining grifts and watching Hanratty constantly catching up to him makes for such a fun and exciting ride. But the depth of this script and Spielberg’s execution gives the film more meaning and poignancy. Few filmmakers are as talented at capturing the entertainment of movie magic while also finding the heart and soul that allows the audience to truly connect. That is what Catch Me If You Can is. Entertaining. Meaningful. Human. Masterfully crafted. Just throw it onto the giant heap of Spielberg’s iconic cinematic achievements.

Adaptation.

How does one navigate the meaning and impact of a film like Adaptation? Spike Jonze and Charlie Kaufman just might be two of the most idiosyncratic and compelling artists in modern cinema. Their collaborations are rich in so many different meanings and contexts when it comes to filmmaking. A film about a book about flowers. That was the goal. But what occurs is a film about a writer’s failure to write a script about a book about flowers that turns into a metacontextual exploration of the artistic process, the internal strife of an artist, and a condemnation of what the commercialization of art wants for audiences. That sounds complex! But that is Jonze and Kaufman for you. Jonze gives the film a unique feeling that is a cross between a dream and aggressively mundane (something that feels like a Lynchian liminal space. There are discomfort and anxiety that is underneath the surface and boils up throughout the whole film. Jonze just understands how to get on the frequency that Kaufman is navigating through his storytelling. One of the most fun and clever elements of Adaptation is how Kaufman challenges cliched elements of commercial art and “cheap screenwriting” while specifically injecting these elements into the film and indeed elevating them in such poignant ways. The opening voiceover of the film is quite impact thanks the Kaufman’s thoughtful commentary and the authenticity of Nicolas Cage’s performance. The splitting of Kaufman’s creative side is quite the intriguing conflict has Kaufman’s stand-in, Charlie, wants to make something nervous, thoughtful, and challenging while his twin brother, Donald, picks up screenwriting on a whim and gains praise for his cheap commercial ideas that are provocations and tropes. The dual performance by Cage is incredible as he crafts two completely distinct personalities and physicality that come to life on screen. But there is so much more to this film than just the internal struggle of Kaufman manifested. Meryl Streep and Chris Cooper have a pair of incredible turns bringing this refined writer and crafty rogue to life and the connection that develops between them. There are so many wild twists and turns to this film and their story specifically that heightens the cinematic experience. Tension. Suspense. Danger. All things you expect from a film about a screenwriter with writer’s block adapting a nonfiction book about flowers. Bold and creative, the combination of Jonze, Kaufman, and Cage bring this thought-provoking and challenging film to life in the best ways possible.

Chicago

Are you ready to Fosse? One of the greatest creatives in the history of Broadway, Bob Fosse was a talented dancer and choreographer who brought a whole new sharp, intense, and seductive approach to the stage. One of his crowning achievements was a musical about female empowerment and murder…Chicago. This timeless classic came to the silver screen back in 2002 in the talented hands of director Rob Marshall. This musical hit theaters and exploded into box office success and took how some serious Oscar gold. A Best Picture winner, Chicago is one of the most infectious and engrossing cinematic musicals of the 21^st century so far. This story comes to life so vividly with plenty of fantastic costumes, hairstyling, and production design that capture the period perfectly. The boldest elements are when the film leans away from reality and delivers some dazzling, sexy, and sharp musical numbers. The “Cell Block Tango” sequence is the crown jewel of the film with its striking cinematography, sharp use of lighting and shadows, sexy and alluring costumes, and impressive physical and vocal performances from the cast. This is an iconic song to begin with, and Marshall injects this sequence with intensity, and the performers sell it perfectly. There is a wonderful mixture of musical numbers with “And All That Jazz”, “All I Care About”, “Mister Cellophane”, and “Razzle Dazzle” sparkle onto the screen with varying energy. The choreography, direction, and production are second to none. Few musicals in the last 25 years have such a distinctive and fully realized visual expression on screen. Marshall does not live in a realm of subtly…Chicago benefits greatly from that fact. The story is one of dangerous women trying to navigate a world of consequences. This is a morally ambiguous romp that is not worried about getting the audience to connect with some shady and guilty women. But the cast just brings so much life to this beloved story. Catherine…Zeta…Jones. Her performance is towering, confident, and brash to say the least. There have been few performers who came into a cinematic musical and absolutely stole the show. There is a reason she grabbed the Oscar. But the rest of the cast comes to play too with Renee Zellweger anchoring the film down as femme fatale Roxie Hart. Zellweger and Zeta-Jones match each other’s huge energy and star power. Richard Gere is a smug and charming lawyer who has fun with a few musical numbers. John C. Reilly offers up an empathetic and memorable turn as Zellweger sad husband. Musically inclined stars like Queen Latifah and Taye Diggs get to shine as well. Chicago is one of the best cinematic in recent memory for a reason. Marshall captured that Fosse energy and rode it to great cinematic success.