In Contention

Tag: Office Space

  • Jennifer Aniston: best comic actress of her generation?

    Jennifer Aniston in The Good GirlApropos of nothing really, since the article is a week old and even I have no intention of seeing “Love Happens,” but my friend Jamie — who knows, albeit not very supportively, of my longstanding admiration for Jennifer Aniston — sent me this interesting Independent piece, and I thought I’d throw it out there.

    As some of you may have read before, I’ve long held the belief that Aniston is a genuinely gifted actress — and I haven’t had an awful lot of company on that one. Ben Walsh, however, joins me on that limb, saluting her consistently valiant contributions to largely unworthy films:

    These cynical, quite often facile films may lack depth, subtlety and, well, imagination, but Aniston never lets anybody down. In fact, now that Meg Ryan appears to have imploded, Aniston is probably – and this is a tad bold – the most gifted American comic actress of her generation. Her comic timing is immaculate and she could muster up playful sexual chemistry with a sideboard. And while her acting range isn’t huge, she’s never less than compelling.

    (more…)

  • Second life

    Seth Rogen in Funny PeopleOn Friday, John Foote raised the question of which recent films look likely to endure through the coming decades, despite, in many cases, having under-performed on initial release. You responded in your droves.

    Interestingly enough, Joe Queenan recently addressed a similar issue in a very good essay for The Guardian, contemplating the odd phenomena that lead certain films to largely escape the notice of critics and audiences in theaters, but then go on to gain cult status on DVD (or, back in the day, home video).

    Films he cites as key examples include “Fear and Loathing in Las Vegas,” “The Big Lebowski” (which many seem to have forgotten was dismissed by many as a misfire following the crossover success of “Fargo”) and “Office Space” (which barely made it to theaters at all), as well as far older titles that slow-burned their way to classic status, such as “The Wizard of Oz” and “It’s a Wonderful Life.”

    When it comes to predicting a similar path for current films, he dismisses naming broadly acclaimed specialty titles with moderate box-office (“The Wrestler,” “The Hurt Locker”) as too easy, too prestigious.

    (more…)

  • THE LISTS: Top 10 films of 1999

    (from left) Joe Pantoliano, Laurence Fishburne, Keanu Reeves and Carrie-Anne Moss in The MatrixRemember that Entertainment Weekly cover from November of 1999?  The headline boldly proclaimed: “The year that changed movies.”  Indeed, it has become nearly a cliche to harp on and on about those 12 months of solid product as a time not equaled since the glory year that was, 1939, but to many, the truth was the truth.  1999 was the best year for films in a long, long time.

    And it wasn’t a microscopic view of “quality” either.  A broad net was cast, from genre successes aplenty to art house sensations, both finding equal play in the film awards circuit that year.  And so it is that hammering out a list of the 10 best constitutes to be a pastime of sorts for the movie lover, especially those like me who were experiencing an awakening of sorts around that time.

    1999 was my first year of film school — the dark ages, as I like to call them (because I’ve come to know film school as a fool’s errand of sorts, an education not easily passed from one person to the next but better learned through trial and tribulation).  But I was still an eager, unjaded soul and took a trip to the local theater one day with a troupe of friends for our own double feature: Sam Mendes’s “American Beauty” and David O. Russell’s “Three Kings.”  It was our first real understanding of the year that had been unfolding right before our eyes.

    “American Beauty” has, of course, aged quite poorly, though Russell’s Iraq war film remains a staple of sorts, a unique blip in a consistently uneven genre.  This was already the year that had seen the release of the first “Star Wars” installment in over 20 years (however disappointing), the last great exhibit from the portfolio of the cinema’s greatest artist (Stanley Kubrick’s “Eyes Wide Shut”) and a science fiction masterpiece that owed as much to William Gibson as anything else (at least those ideas were making it to the screen).

    Moreover, this was a cinematic year that would see releases from more top-tier directors than any other year: Kubrick, Scorsese, Lucas, Lynch, Allen, Fincher, Burton, Leigh, Minghella, Anderson, Almodóvar, Mann, Lee, Stone, Jordan, Sayles, Soderbergh, Forman, Burton, Pollack, Darabont and Howard, while simultaneously launching the exciting careers of untold newbies.  The range of quality, as expected, was certainly wide, but that all of these guys were in neck deep in their work during the same stretch of time had plenty to do with the perception of 1999, then and now.

    So with that, I felt that this week’s top 10 list (a Tuesday regularity now, if you haven’t been keeping score) would address 1999, the year that was.  Here are my picks:

    (from left) Mark Wahlberg, George Clooney and Ice Cube in Three Kings10. “Three Kings” (David O. Russell)
    David O. Russell is a visionary of sorts, but he seems to always be right at the surface, just about to break through with an unyielding brilliance, never fully harnessing the wicked talent he clearly has.  But for a brief moment in the fall of 1999, he discovered an outlet in this Iraq War dramedy that became more famous for its off-screen drama than what unfolded on-screen.  Pity, because I would rank “Three Kings” in a list of the 10 greatest war films ever made without flinching.  George Clooney, Mark Wahlberg, Spike Jonze and Ice Cube headlined a sprawling cast that probably deserved some ensemble attention.

    (more…)