The summer movie season has historically been a time for money over substance (if it isn’t always that way), and the 2004 summer was no different. However, it sure beat last summer’s barrage of ill-conceived sequels. Hollywood produced a whopping 11 sequels in the summer of 2003, and only one of them actually delivered (“X2: X-Men United”).
This time around, Hollywood has cut down on the number of sequels and, for the most part, delivered solid summer entertainment. The sequels this summer include “Shrek 2,” “Harry Potter and the Prisoner of Azkaban,” “Spider-Man 2,” “The Bourne Supremacy,” and “Before Sunset.” All of these are worthy follow-ups.
While we received very funny entries from Ben Stiller (“Dodgeball: A True Underdog Story”) and Will Ferrell (“Anchorman: The Legend of Burgundy”), we still got a lot of comedic junk thrown in the mix with the likes of “White Chicks,” “New York Minute,” “A Cinderella Story,” “Soul Plane,” “Garfield: The Movie,” and remakes of “Around the World in 80 Days” and “The Stepford Wives.” Remarkably, some of the funniest bits in the cinema this summer came in Michael Moore’s “Fahrenheit 9/11.” Hollywood can definitely improve upon its comedies.
However, the 2004 summer movie line-up shined in the art theatres. Moviegoers were treated to a feast of independent films, and some of these ranked among the best of the summer. Here are a few of the best and worst movie experiences from the past four months.
Director Mike Hodges made one of the quintessential revenge pictures in the early 1970s with “Get Carter,” and he has returned to form with another revenge picture, similar in story but much more mature and restrained. “I’ll Sleep When I’m Dead” stars Clive Owen (also starred in the mediocre “King Arthur”) as ex-con Will Graham, who comes back to his old stomping ground in London to find and kill the man who led his brother to suicide. The film deftly handles the psychological complexities of violence, its consequences on others, and human nature. In other words, this is not just a revenge flick. It features an outstanding performance by Owen.
The antithesis to the brooding, slow burn nature of “I’ll Sleep When I’m Dead” is the fast-paced thriller “The Bourne Supremacy.” Matt Damon turns in a fine performance as the tortured CIA assassin, creating a character that is both a vulnerable human and an extremely effective killing machine. Director Paul Greengrass’ handheld camerawork only adds to the intensity and immediacy of Bourne’s exploits.
Another very worthy sequel is “Before Sunset,” director Richard Linklater’s follow-up to 1995’s “Before Sunrise,” about a young American man and French girl who meet on a train in Vienna and spend the day together. The new movie is a continuation of their story, picking up nine years later when the two meet again, this time in Paris. The movie is an intimate look at two people just living life. Essentially a 90-minute conversation, the film lacks a plot, but it’s still incredibly intriguing.
Conversation is the core of another very good movie released this summer. Director Jim Jarmusch’s “Coffee and Cigarettes” is a series of vignettes in which people discuss a variety of topics over a cup of joe while smoking a few cigs. Though some vignettes lack focus, the standouts are absolutely hilarious and terrifically offbeat.
One movie that turned out completely unfunny was the awful remake of “The Stepford Wives.” The movie can’t decide if it’s a comedy, a thriller or a drama. Thus, it fails to work as any of these. The script is lifeless, and Nicole Kidman and Matthew Broderick turn in atrocious performances. “The Stepford Wives” was one of the worst movies in recent years and clearly the worst of the summer.
Ironically, “The Day After Tomorrow” is funnier than “The Stepford Wives,” but it’s not supposed to be a comedy. Director Roland Emmerich’s latest disaster movie is unintentionally silly and completely lacking in logic. The film also fails to succeed with its conservationist message.
Another film with political agenda is the alleged documentary “Fahrenheit 9/11.” Is it funny? Yes, and the humor is intentional. But is it insightful? Not really. Or credible? Questionable. Moore is a great filmmaker, but with “Fahrenheit,” all he did was spray fuel on the bonfire of Bush-haters.