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Dan Owen reviews
P a r t O n e
In the first Special of Dan’s Movie Digest (DMD) I’ll take aretrospective look at the films of 2002 that stuck most in my memory. Ofcourse, I can’t cover every film released (so sorry if your favourite ismissing from this list), but most of the generally popular films shouldbe 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 LikeBeckham, 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, theirprogenitors (Star Wars Episode II, Two Towers, Die Another Day, StuartLittle 2,Jason X,Blade II).
So what didn’t 2002 do? Make us laugh. Beyond Goldmember we had to makedo with dismal Mr Deeds, workmanlike MIB II and the average My Big FatGreek Wedding). Robin Williams was too busy being serious and Jim Carreytoo 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 aBest Picture and/or Best Director award. Two Towers is unlikely to enjoythe same success as Fellowship due to its status as a sequel.
A film sadly overlooked in the UK, 24 Hour Party People was MichaelWinterbottom’s nifty portrayal of the ‘Madchester’ music scene of themid-80s to early-90s, starring comedian Steve Coogan. UK audiencescouldn’t see beyond Coogan’sAlan PartridgeTV persona, so in a rare twist it was the Yanks who began applaudingWinterbottom’s entertaining and energetic film. Definitely one to get on DVDand curse yourself for not taking the cinema plunge. 
Trainspotting director Danny Boyle‘s latest movie triumphed at the UKbox-office. Boyle, smarting after the disappointing The Beach, made alow-budget yet impressively executive digital-video zombie film called28 Days Later. Even the stigma and conventions of the zombie genredidn’t detract Boyle from managing to craft a genuinely involvingextrapolation 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 Hillare amongst this country’s biggest global money-makers, so don’t knockHugh’s career. Especially now he’s begun to distance himself from hisbumbling screen shtick. About A Boy adapted the Nick Hornby novel andretained the British setting (for once!) to give us an enjoyable treatfor fans of easy-going humour. Grant’s was as affably charming as ever but now capitalizing on his roguish demeanour he found for BridgetJones’ Diary. Solid laughs from the directors of Yank sex-farceAmerican Pie, no less! Maybe the British Are Coming thing was toopremature.
Ali G Indahouse proved that TV show translations can be adequatelytweaked for the movie world, although there’s no denying it’s bestsuited to video rental. Sacha Baron Cohen unleashed his Britishpiss-take of American black gangster culture with great aplomb, crammingloads of rude-crude gags into its short running time. The result waspredictably formulaic, yet still a very funny piece of low-browentertainment with a UK vibe. But now, surely, the joke has truly wornout?
The summer saw snaggle-toothed 60’s spy Austin Powers dance his way backinto filmgoers affections with Austin Powers In Goldmember. Peopleflocked back for more spy-spoofery, helping the film smash The Spy WhoShagged Me’s record-breaking takings. Yes, so the plot was looser thanever, the gags mainly clones from previous adventures, but theoverriding sense of wacky fun and some deliciously funny moments madeGoldmember a deserved worldwide smash.
Ridley Scott continued his comeback run following Gladiator and Hannibalwith Black Hawk Down a pulsating, violent, gritty war drama depictingthe US missions disaster in Somalia during the early-90’s. Full ofvisual genius and sonic menace, yet almost devoid of characterizationand plot it still became the most effective depiction of war in filmsince Saving Private Ryan.
One superhero franchise cruelly overlooked by the general public inrecent years has been Blade. Wesley Snipes returned as thesword-wielding vampire-slaying vigilante in Guillermo Del Toro’s BladeII which became the second-best superhero film of the year behindSpider-Man. Del Toro literally soaked his film in blood, pumped up thesoundtrack, cranked up the CGI-enhanced fights and set the enjoymentfactor to overload. The outcome was extreme, riotous, action-packed funfrom start-to-finish. Want to see a vampire Dirty Dozen stakingPredator-esque Nosferatu’s? Look no further.
Matt Damon confounded expectation by becoming a decent-enough actionhero in The Bourne Identity. He starred as an amnesiac chased aroundEurope by secret agents, hooking up with German film star Frank Portente(Run, Lola, Run!) in the interim. Some great stunts, an intriguingstoryline, strong performances, and refreshingly Euro-themed. Goodentertainment.
Satirist Michael Moore caused the world’s eyes that little but widerwith his magnificent docu-film Bowling For Columbine. He sought touncover the cynicism and deep-rooted madness behind America’s guncontrol laws. The film contained some funnily poignant stunts and trulymemorable interviews. Perhaps best suited to TV or video, but withoutquestion 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 maybe more American than momma’s apple pie, but her physicaltransformation, together with a near-perfect English accent, won eventhe sternest critics over. The film is funny in that affectionatelyBritish way pioneered by 1994’s Four Weddings… and gave Colin Firthand Hugh Grant their meatiest roles in years. Hard not to like on somelevel.
The French made everyone sit up in 2003 with Asterix & Obelisk… er, Imean Brotherhood Of The Wolf. Riding the wave set in motion by CrouchingTiger, Hidden Dragon, this Gaelicart-house/martial-arts/fantasy/horror/period drama had everyone talking.Some found it extremely entertaining and unique others found it flatand unbalanced. Whatever your opinion, there’s no denying it madeBritish efforts look dated.
Moulin Rouge! proved there’s life in the musical yet by reinventing thegenre as a glitzy mix of old and new. But in Chicago, a belated filmadaptation of the successful stage musical, the project returns to itsroots with satisfying results. Renee Zellweger is fantastic as Roxie,Catherine Zeta Jones shines as vampish Velma, while even Richard Gereimpresses. Not as much fun as you may hope, but the period detail andengrossing storyline make up for that.
Page Content copyright © Dan Owen, 2003.
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Reviewer of movies, videogames and music since 1994. Aortic valve operation survivor from the same year. Running DVDfever.co.uk since 2000. Nobel Peace Prize winner 2021.