While the Oscar nominees were still going, Old School launched the Frat Pack and How to Lose a Guy in 10 Days (somehow) grossed over $100 million, here are other films that opened in February 2003.
Shanghai Knights
Why I Chose It: not long after the events of Shanghai Noon, Chon Wang and Roy O'Bannon being a new adventure in London to restore the honor of Chon's family against a corrupt political officer and the Boxers (led by Donnie Yen!). Along the way, Wang and O'Bannon run to action, have hijinks with the English culture and meet Charlie Chaplin and Sir Arthur Conan Doyle. I actually liked this film more than Shanghai Noon, due to the sequel escalation and the fact that setting the film in London gives a film a lot of possibilities. Much like the first film, Jackie Chan and Owen Wilson have fun with the material and the fight scenes are among Chan's most exciting in his work in Hollywood (the fight scene in the hotel lobby is a highlight). I also liked the idea of the two teaming up with pre-fame Chaplin (played by a young Aaron Taylor-Johnson) and Doyle and unlike other cases, this is a case of historical fiction that works. It's too bad that the planned third film (Shanghai Dawn) never got produced.
Stone Reader
Why I Chose It: throughout history, there has been many authors who have completely disappeared from the public eye after a book or two. This fascinating documentary is about one man's search for the author of the book The Stones of Summer, Dow Mossman. Along the way, we get to know more about Mossman and why he stopped writing and his life now. In a way, the documentary reminded me of a lot of coming-of-age films (main character searches for something and when he or she finds it, the discovery could be a make or break) but for real. The film is as much of director Mark Moskowitz's as it is Mossman's as his journey takes up a major part of the film. Moskowitz is a lot like us, trying to get people to dig up this obscure work. But while most of us fail, he is succeeding by making this film and making people aware of Mossman. Mossman is also extremely interesting for his background and the places that he's gone in life. In short, a better journey than say, rich kids talking about emulating Salinger or Kerouac's journeys.
Daredevil
Why I Chose It: this pick was a mere coincidence, as I had chosen to spotlight it before Ben Affleck was cast as Batman. Anyway, I feel that this is an underappreciated comic book adaptation that was didn't get the reputation that it deserved (due to the film being heavily cut and Affleck doing Gigli right after). But despite the edits, it is still a fun and well-paced film with Affleck making for a serviceable lead as a blind lawyer by day and The Man Without Fear by night. The late Michael Clarke Duncan makes for a great Kingpin while Colin Farrell is clearly having fun as Bullseye. I can understand the hate for the love plot (and the Nu Metal soundtrack is a bit annoying) but that is only a minor blip in an otherwise entertaining and exciting movie.
All the Real Girls
Why I Chose It: David Gordon Green is a bit of an odd duck. Much of the time, we don't know if to expect a slow-burning but throught-provoking drama or a broad, big-budget comedy from him. This one falls into the former and it is perhaps one of his best. Focusing on a womanizer in a small Southern town who has run out of potential women to break their hearts, his luck soon changes when the teenaged sister of one of his best friends comes back to town. While courting her, he begins to feel something different and soon begins to see her as more than just a one-night stand. However, her brother stands in the way between the two. Paul Schenider and Zooey Deschanel are strong in the lead roles and Green's direction is very natural and unforced. In a way, the South seems to bring out a lot in filmmakers (see Terrence Malick and Jeff Nichols) and Green makes great use of the potential that comes in shooting in a land that seems to be cut off from much of the United States. Also, this is a good opportunity to watch a film where Deschanel is not the "manic dream pixie girl" of hipster fantasties. If you want, watch it with Undertow or George Washington.
He Loves Me, He Loves Me Not
Why I Chose It: before essentially disappearing from US screens for a spell (though the recent releases of Therese and last year's Delicacy have remided this), Audrey Tautou was everywhere. After the smash success of Amelie (which grossed $30 million in the US and resurrected Jean-Pierre Jeunet's career), distributors left and right were releasing other films that Tautou made before Amelie or after its success. This is one of the better ones, a dark comedy about an obsessive university student and her whirlwind relationship with a doctor. Tautou really pushes herself here in the lead, as she breaks the type that she created with Amelie by playing a psychologically confused character who makes up stories to improve her own life, even if it means harming others in the process. In short, the kind of film that you wouldn't expect a Hollywood starlet to do so close after a big success. Also, it breaks the mold of romantic comedies by being dark without being farcial or cliche (or insulting its audiences with inanity). Even if you are not into subtitles or non-linear storytelling, I think Tautou's appeal should be enough to sell it to a passerby.
Dark Blue
Why I Chose It: the 1992 riots in Los Angeles, along with the events leading up to them, was a period in American history that showed us that even after the progression of civil rights in the United States, there was still a lot of work to be done in fighting racial prejudice. This film, directed by Ron Shelton and written by David Ayer and James Ellroy, takes place during that time frame and focuses on a fictional story that ties into the events. Kurt Russell does well in a rare villain role and his supporting cast is also strong (especially Ving Rhames as the assistant chief). Shelton, Ayer and Ellroy also do well with the subject matter, analyzing the behavior and moral compass of Russell's character. In a way, the film could be seen as a precursor to the later film Rampart (which is a better film than the reputation suggests) as both analyze corruption throught the history of the LAPD. In short, an unexpected but well-made drama that deserves another look.
Open Hearts
Why I Chose It: Susanne Bier's career has often consisted of making challenging films that have had trouble connecting with American audiences (with After the Wedding being perhaps the sole exception). However that doesn't change the fact that she is one of the most daring directors in international cinema, with an Oscar and a few acclaimed films to her name. This film (which can only be rented in the US through Netflix, for some reason) was perhaps her breakout project, a Dogme 95 project on the after-effects of a car accident. The film feels extremely natural (perhaps due to the filmmaking techniques) and the character's emotions and choices don't feel like contrived or done for the sake of entertainment. This is a premise that actually could happen to you. Though you may know Bier today for the original (and better) Brothers, After the Wedding or Things We Lost in the Fire (another film I may cover someday), this is definitely a good one to look back at.
Next week: November 2010.