A Reel Opinion: The Top 10 Best Films of 1999

2024 is about to become history. Which means it has now been nearly 25 years since the glorious year of 1999 came to a close. In this year when we were all fearing Y2K coming down to destroy us, we were treated to some fantastic films…which brings us to Reel Speak’s Top 10 Films of 1999. 

 

1999 was a year of transition. Only two years removed from the success that was TITANIC, Hollywood was now planning to roll out big-budget, effects-driven films…a new movement that would eventually bring us THE LORD OF THE RINGS, HARRY POTTER, and the mighty MCU. STAR WARS would aid in that movement, returning to the big screen after a 16-year absence. But despite the wizardry of CGI and inflated budgets, there was still room for small films to make waves, such as M. Night Shyamalan’s THE SIXTH SENSE, Paul Thomas Anderson’s MAGNOLIA, and the eventual Best Picture winner, AMERICAN BEAUTY. 1999 would also see the on-screen debuts of Amy Adams, Idris Elba, Zooey Deschanel, Kathryn Hahn, Regina Hall, Hugh Jackman, Michael B. Jordan, Brie Larson, Simon Pegg, and Ben Whishaw. 

 

The best films of 1999 are the ones that are still talked about today. The acclaimed movies that have proven longevity across our culture; quoted often, parodied, debated, and fondly remembered. Here is the best of 1999: 

 

 

 

 

 

 

10. AMERICAN BEAUTY

 

Sam Mendes has made some great movies in the last 25 years, ranging from James Bond and WWI…and this Best Picture winner of 1999 is one of them. A black-comedy about an ad-executive infatuated with his teenage daughter’s best friend, AMERICAN BEAUTY sported an excellent cast, and was one of the last big box office earners that wasn’t attached to a franchise. Much of this film’s praise has waned over the years, for many reasons, but if we look past those reasons and just focus on what’s on the screen…this is an excellent package of acting, directing, and writing. 

 

 

 

9. THE IRON GIANT

 

1999 was a big year for animation, and some of its biggest steps were taken by this Brad Bird sci-fi flick that bombed at first, but has gained a huge following and re-appraisal over the years...and today is considered to be one of the best animated films of all time. 

 

 

 

 

8. TOY STORY 2

 

Disney was at the front of the great year for animation. TARZAN swung into theatres and closed out their Renaissance Era, and with TOY STORY 2 they set their course for the next 25 years. This direct sequel to the 1995 Pixar film became a classic on its own, once again injecting adult themes into a “kids” movie. TOY STORY 2 introduced new characters into the Pixar catalog and provided depth to the existing ones. How good is it? Have fun holding back the tears when Sarah McLachlan starts singing When She Loved Me. 

 

 

 

7. THE INSIDER

 

When the conversation moves to the best films of Michael Mann, most of it moves towards HEAT (1995), or THE LAST OF THE MOHICANS (1992). And sitting in third place would be this real-life drama about a whistleblower in the tobacco industry. Al Pacino and Russell Crowe are outstanding, and the themes and story (whistleblowing and journalism), are even more relevant today. 

 

 

 

 

6. FIGHT CLUB

 

We don’t talk about FIGHT CLUB. 

 

 

 

 

 

5. STAR WARS EPISODE I: THE PHANTOM MENACE

 

George Lucas brought STAR WARS back to the big screen with this special-effects assault on the senses that would finish as the highest grossing film of the year. Although met with mixed reviews and fan-hate at the time, it has gained new respect; rightfully finding praise for its action (best lightsaber fight ever), universe and lore building, and one of John Williams’ greatest scores.  It also prepared the franchise for the next 25 years of films and TV series. 

 

 

 

 

4. THE GREEN MILE

   

 

Frank Darabont helmed this adaptation of the Stephen King novel of the same name, which continued Tom Hanks’ remarkable run in the Nineties and made the late great Michael Clarke Duncan one of the most beloved actors of the era. Set in a prison in the deep south and centered around some remarkable events, THE GREEN MILE was a commercial success and sent everyone staggering home with its emotional punches.

 

 

 

 

3. THE SIXTH SENSE

 

The movie that sent chills down everyone’s spine with just one line about dead people. M. Night Shyamalan redefined the twist ending with this psychological thriller and ghost story that had everyone talking in 1999, and had many people running back to the theatre to see it again. Nominated for six Oscars, it was the second-highest grossing film of the year behind STAR WARS. 

 

 

 

 

 

 

2. THE MATRIX

 

When something odd happens, or if someone needs to make a comment on the state of the world today, they just might say “there’s a glitch in the matrix”. That ongoing reference to this sci-fi action film by the Wachowskis speaks volumes to its longevity. Although loaded with action, the Wachowskis showed that sci-fi could still belong to the thinking-man and gave the genre new life. Keanu Reeves, Lawrence Fishburne, Carrie-Anne Moss, and Hugo Weaving starred in roles that would make them pop culture icons, and the visual effects would revolutionize the industry. A generation-defining film. 

 

 

 

 

 

1. THE MUMMY 

 

It took more than one generation of waiting for this remake of the 1932 classic which is everything that a big-screen adventure should be. Treasure hunter and adventurer Rick O’Connell (Brendan Fraser), and librarian Evelyn (Rachel Weisz), accidently awaken Imhotep (Arnold Vosloo); a cursed ancient Egyptian priest who threatens to cover the world in darkness. A high-energy film with the old-school feelings of Errol Flynn, the Golden Age of Hollywood, Indiana Jones, and even the style of David Lean…THE MUMMY packed in several genres; action, adventure, romance, and horror…and presents them in a classic way that is timeless. Famed composer Jerry Goldsmith turns in one of his best scores, and the visual effects were a leap forward at the time. When Fraser had his Oscar run to Best Actor in 2022, most of social media referenced or resurrected THE MUMMY, and the film stands as one of the best remakes in history. When a film does all that and more, it’s an easy pick for the best of 1999. 

 

 

 REEL SPEAK'S TOP 10 BEST FILMS OF 1999

1. THE MUMMY
2. THE MATRIX
3. THE SIXTH SENSE
4. THE GREEN MILE
5. STAR WARS EPISODE I: THE PHANTOM MENACE
6. FIGHT CLUB
7. THE INSIDER
8. TOY STORY 2
9. THE IRON GIANT
10. AMERICAN BEAUTY

A Reel Review - THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM

All of this Earth knows the tale of the War of the Ring, as told by J.R.R. Tolkien in his epic fantasy The Lord of the Rings, and adapted for the big screen by Peter Jackson in his equally-epic trilogy of films in 2001 through 2003. Set within that war is the pivotal skirmish known as the Battle of Helm’s Deep, set around the ancient stronghold of the same name within the kingdom of Edoras; home of the horselords. Helm’s Deep has a long history in Middle-Earth, and here in 2024 it is brought to the big screen for the first time in THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM. 

 

Set nearly 200 years before the War of the Ring, King Helm the Hammerhand (Brian Cox), flees with his people and heirs to the stronghold of Helm’s Deep, while being pursued by the vengeful Wulf (Luke Pasqualino), and his army of wildmen. When Helm falls ill during the long siege through a brutal winter, the responsibility of protecting his kingdom falls to his only daughter, Hera (Gaia Wise). 

 

Directed by Kenji Kamlyama, THE WAR OF THE ROHIRRIM is an epic story, told in stunning anime style, set firmly within the Middle-Earth that was created for the screen by Peter Jackson (Jackson serves as a producer here). While some story beats that we see in Jackson’s second film, THE TWO TOWERS, are done again here, ROHIRRIM does enough with it to make it new. The key here is character; Helm’s actions and ego alone lead to Wulf’s thirst for revenge, and Hera’s childhood history with Wulf adds to the drama. For a film set in a fantasy world, it is surprisingly character-driven. 

 

Battles, chases, and duels are presented in breathtaking animation. Every shot is a painting and sometimes it’s hard to know exactly where to look. The film is consistent in look and design to Jackson’s films; the buildings and settings are recreated down to the smallest detail, and the re-use of certain cues from Howard Shore’s iconic score brings it all together. Call it nostalgia maybe, but it does feel like going home again. 

 

The entire cast is excellent. Brian Cox brings the thunder and eventual grief to Helm. Gaia Wise is fantastic as Hera, and gives us a new Middle-Earth hero to remember. Luke Pasqualino is great as Wulf. Miranda Otto reprises her role as Eowyn, who serves as the narrator. 

 

THE WAR OF THE ROHIRRIM is a packed film, and the 134-minute running time is felt…but that’s what epic films are supposed to do. It serves as a prequel and a sequel, and is a solid entry into the library of Middle-Earth on the big screen. 

 

BOTTOM LINE: See it 

Reel Facts & Opinions: The History of Middle-Earth Animation

This week, J.R.R. Tolkien’s fantasy world of Middle-Earth returns to the big screen with THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM. This anime style epic will be the fourth time Middle-Earth has been presented in animation on the big and small screen. The history of Middle-Earth in animation has as many peaks and valleys as the Misty Mountains. Here is how it unfolded: 

 

 

THE HOBBIT (1977)

It began with the adaptation of Tolkien’s The Hobbit by famed animation company Rankin/Bass, who was famous for their beloved TV specials RUDOLPH THE RED-NOSED REINDEER, FROSTY THE SNOWMAN, and SANTA CLAUS IS COMIN’ TO TOWN. Orson Bean would voice Bilbo, and famed actor John Huston would provide the voice of Gandalf. Folk singer Glenn Yarbrough would provide music. The 78-minute movie would air on NBC in November of 1977, and despite mixed reviews, its teleplay would win a Peabody Award. Over time, THE HOBBIT has become a beloved and favored adaptation of Tolkien’s book. And maybe most importantly...for a generation it was their gateway to Tolkien. 

 

 

THE LORD OF THE RINGS (1978)

Divisive and controversial animator and filmmaker Ralph Bakshi would be the first to bring Middle-Earth to the big screen with this ambitious attempt. Early work aimed for three movies, but eventually settled on two two-and-a-half hour films. The voice-cast included Christopher Guard (Frodo), John Hurt (Aragorn), William Squire (Gandalf), and Anthony Daniels (Legolas). The film used a process called rotoscoping, a technique where scenes are first shot live-action and then traced onto animation cells. The result was a bizarre presentation that boggles the eyeballs. Despite mixed reviews and hostility from fans, THE LORD OF THE RINGS was a box office success, but a sequel would never be made…leaving Bakshi’s vision incomplete. 

 

 

THE RETURN OF THE KING (1980)

After the wacko mushroom-induced visions of Bakshi’s Middle-Earth, Rankin/Bass went back under the mountain with this TV special that adapted the very back half of the third book, The Return of the King. Done in the same animation style as THE HOBBIT from 1977, along with returning actors, THE RETURN OF THE KING was a loose sequel, despite the huge gap in the story. Reviews were mixed, and today the movie is barely recalled in the halls of Middle-Earth entertainment. 

 

 

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM (2024)

Middle-Earth goes anime style this year, with this 134-minute epic that serves as a prequel to Peter Jackson’s live-action LORD OF THE RINGS trilogy. Set 183 years before Jackson’s films, ROHIRRIM tells the story of Helm Hammerhand, a legendary king of Rohan defending his people from an invading army. The cast includes Brian Cox, and Miranda Otto reprises her role as Eowyn/the narrator. Christopher Lee posthumously voices Saruman through archival recordings. It is directed by anime artist and director Kenji Kamiyama. This will be only the second time an animated Middle-Earth film will see the big screen, and that makes it a journey worth taking. 

 

*

 

THE WAR OF THE ROHIRRIM arrives December 13^th, with screenings on the 12^th in standard and IMAX formats. 

A Reel Preview: The Year in Film 2024 - Episode XII

2024 is about to exit stage-right, and it is going out with a bang. The final month of the year is a packed one, with some of the most anticipated films and Award-seekers lined up. Here’s what’s coming to the big screen in December: 

 

 

THE RETURN – A retelling of Homer’s Odyssey, with Ralph Fiennes (THE GRAND BUDAPEST HOTEL), playing Odysseus arriving home after 20 years of fighting the Trojan War. The cast includes Juliette Binoche and Charlie Plummer. 

 

 

 

WEREWOLVES – In this action/horror flick, a supermoon event turns everyone exposed to moonlight into a werewolf. Frank Grillo (THE WINTER SOLDIER), stars. 

 

 

 

KRAVEN THE HUNTER – Aaron Taylor-Johnson (NOCTURNAL ANIMALS), plays the most feared hunter in this adaptation of the Marvel Comics Character by Sony Pictures. Ariana DeBose and Russell Crowe co-star. 

 

 

 

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM – This anime film is set 183 years before the events of Peter Jackson’s THE LORD OF THE RINGS trilogy, and tells the story of the famed Helm the Hammerhand and the early days of Helm’s Deep. 

 

 

 

SEPTEMBER 5 – This historical drama recounts the events of the 1972 Munich Olympic hostage crisis from the perspective of the broadcast crew. 

 

 

 

MUFASA: THE LION KING – This photorealistic-animated film serves as a prequel and sequel to the 2019 remake of THE LION KING. It is directed by Oscar-winning director Barry Jenkins (MOONLIGHT). 

 

 

 

SONIC THE HEDGEHOG 3 – Sonic and his pals return for a third outing, this time teaming up with Dr. Robotnik to battle a new adversary. Ben Schwartz returns as Sonic, Jim Carrey reprises Dr. Robotnik, and Idris Elba is back as Knuckles. Keanu Reeves also joins the cast.

 

 

 

THE BRUTALIST – In this historical epic that has been gaining awards buzz all year, Adrien Brody plays a Hungarian-Jewish architect who emigrates to America after WWII. The cast includes Guy Pearce and Felicity Jones. 

 

 

 

BABYGIRL – In this erotic thriller, Nicole Kidman plays a CEO who starts a secret romance with an office intern. 

 

 

 

A COMPLETE UNKNOWN – Timothee Chalamet (DUNE), plays Bob Dylan in this biopic. It is directed by James Mangold (WALK THE LINE, LOGAN), and co-stars Edward Norton, Elle Fanning, and Boyd Holbrook. 

 

 

 

BETTER MAN – In one of the most eye-catching films of the year: this is a biopic of British pop-singer Robbie Williams, with Williams portrayed by a CGI chimpanzee. 

 

 

 

NOSFERATU – Robert Eggers (THE WITCH, THE LIGHTHOUSE, THE NORTHMAN), directs this much-anticipated remake of the famed 1922 horror film, based loosely on Bram Stoker’s Dracula. The cast includes Bill Skarsgard, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, and Willem Dafoe. 

 

 

 

*

 

Next week, Reel Speak previews the first month of 2025. 

A Reel Review: MOANA 2

In 2016, Walt Disney Animation Studios took the world by surprise with its massive hit, MOANA. Based on ancient Polynesian myths, the film made instant icons out of its lead characters, and provided earworm tunes by Lin-Manuel Miranda that everyone seems to know. Eight years after Moana’s first adventure, she returns in MOANA 2. 

 

Moana (Auli’i Cravalho), seeks to bring all the peoples of the ocean together. She reunites with the demigod Maui (Dwayne Johnson), to find the legendary island Motufetu, which was sunk by the storm god Nalo. 

 

Directed by David Derrick Jr., Jason Hand, and Dana Ledoux Miller, MOANA 2 is another fun adventure across the ocean, with sea-monster battles, wild chases, unexpected allies, and voyages under the surface of the ocean…all wrapped up in ancient Polynesian lore. Not looking to repeat itself, Moana this time sets out on her journey by assembling a crew (a ship-builder, farmer, and historian), and first needs to rescue her ally Maui from the clutches of another god (Awhimai Frase). The stakes are high; Moana, through a series of visits from her ancestors, is warned that the ocean will become empty of peoples unless they can reunite at Motufetu. 

 

The story works and is centered on Moana’s desire to save everyone and her family (including her adorable little sister), but does have its lumps. MOANA 2 was first put together as a series and then reworked into a film, and the seams are noticeable. The early goals for Moana and Maui aren’t clear, and Moana’s stepping-off point involves repetitive, revolving-door visits from the afterlife. 

 

All that is balanced out by a boat-load of fun. The action scenes of chases and battles are very well staged and executed, and the emotional scenes and the funny scenes really work; there are plenty of LOL and tissue-grabbing moments. The crew Moana assembles is very well done, and the character beats are perfect. The animation is amazing (the water scenes are breathtakingly real), and cinematography is excellent; some of the shots are simply stunning. 

 

The entire cast is excellent and seem to be having fun behind the scenes, but MOANA 2 does fall short in the musical numbers. The absence of Lin-Manuel Miranda is felt here (likely an omission due to the original start as a streaming series), as the songs are just okay. They are mostly forgettable, but even worse is they don’t serve much of a purpose in the film; take them away and not much changes. 

 

MOANA 2 has its rough patches, but it is worth seeing thanks to its strong story (which is very relevant to our times), character beats, and a welcome return to Moana’s world. It’s a gorgeous film to look at, and its heart beats to that Disney magic. This is a journey that should be taken, rough seas and all. 

 

BOTTOM LINE: See it 

 

 

A Reel 20: THE POLAR EXPRESS

“Well, ya comin?”

This month marks the 20^th anniversary of THE POLAR EXPRESS. 

 

Directed by Robert Zemeckis and based on the 1985 children’s book of the same name by Chris Van Allsburg, THE POLAR EXPRESS was a CG-animated film that followed a young boy who joins a group of children aboard a mysterious locomotive and train bound for the North Pole on Christmas Eve. 

 

The rail to the North Pole goes back to 1999, when veteran actor Tom Hanks optioned the book after reading it to his children, with the intent of making a live-action version. The project went to Castle Rock Entertainment, with director Rob Reiner (A FEW GOOD MEN, THE PRINCESS BRIDE), set to direct. After a few postponements, Robert Zemeckis was brought on to direct. 

 

Zemeckis, who had pushed the boundaries of filming technology with his films BACK TO THE FUTURE, WHO FRAMED ROGER RABBIT, and FORREST GUMP, decided to make the film using CG-motion capture. At the time, the process was lengthy and expensive, costing around $1 million per minute of footage. 

 

Tom Hanks, who had worked with Zemeckis on GUMP, would be cast and would play several different parts, including the train conductor and Santa Claus. Alan Silvestri would provide the music, including the theme song Believe. 

 

On release (which included 3D and IMAX), THE POLAR EXPRESS would open in second place behind THE INCREDIBLES, and it would earn through the holidays to finish as the 15^th highest grossing film of 2004. It would also set a record for the highest grossing IMAX film before AVATAR arrived in 2009. It would be nominated for three Oscars (Sound Editing, Sound Mixing, Original Song), and Believe would win a Grammy. The film would inspire real-world holiday train-excursion experiences around the world. 

 

*

 

THE POLAR EXPRESS was met with divisive reviews on release. While some considered it to be a holiday classic, others criticized the lifeless, CG human characters. The praise and the criticism are well-justified; the film has gone on to permanent viewing around the holidays, often being seen on many broadcast channels. The film has a gorgeous look; everything is aglow and while the CG human characters do seem plastic-like, there is a heart to the film that gets around it. As a story about a boy looking to recapture the magic that he lost, it really works and brings back many memories of trying to get to sleep on Christmas Eve. 

 

*

 

“Seeing is believing, but sometimes the most real things in the world are the things we can’t see.”

A Reel Review: GLADIATOR II

In the year 2000 A.D., famed director Ridley Scott (ALIEN, BLADE RUNNER), delivered one of, if not his greatest film, GLADIATOR; an action-packed, emotional ride of a film that would win Oscars, make a mega-star out of Russell Crowe, and provide some of the most iconic scenes and lines in all of cinema. For the last two decades Scott has been toying with the idea of a sequel, and here in 2024 he finally enters the arena again. 

 

Nearly 20 years after the events of the first film, the corrupt twin Emperors Geta (Joseph Quinn), and Caracella (Fred Hechinger), rule Rome and set out to conquest the rest of the world. Battle-weary General Acacius (Pedro Pascal), is sent to invade a country in North Africa, and comes back with Hanno (Paul Mescal), who fell during the defense of his city and lost his wife. Hanno is purchased by Macrinus (Denzel Washington), and sent into the Colosseum to fight in deadly gladiator games. 

 

Directed by Ridley Scott, GLADIATOR II starts with familiar plot beats that nearly replicate the first film. Hanno is out for revenge against Acacius, who also happens to be fed-up with the twin Emperors and is secretly planning a revolt. This moves into the wider picture with Rome in turmoil, and the film eventually gets into many twists and turns that gives GLADIATOR II its own identity. The film becomes a political thriller with plenty of surprises including shifting alliances, betrayal, murder, and royal lineage long kept secret. 

 

When GLADIATOR II isn’t weaving a web of political intrigue, it delivers big-time on the action. With visual effects more accessible now, Scott brings to the screen action sequences that he couldn’t do in 2000. The fighting scenarios in the Colosseum are breathtaking; perfectly staged and acted, and the large battles outside of Rome are a thrill. The scale of the film is impressive, and seeing thousands of extras on horseback is old-school cinematic glory. Even with the spectacle, characters are never lost in it all, and Scott never forgets the intimate moments. 

 

As a legacy sequel, GLADIATOR II has the requirement to remind of us of its roots. The ties to the original film are done well and come in unexpected ways. Some flashbacks from GLADIATOR are neat to see but often feel a step too far. The film has a brisk pace and breezes through its 148 minutes, and it looks gorgeous with some stunning shots. The score by Harry Gregson-Williams is a generic snooze other than the few times the original music is re-used. 

 

Acting is excellent. Paul Mescal and Pedro Pascal have never been better. Denzel Washington shows more energy and charisma than we’ve seen from him in years and steals the show. Joseph Quinn and Fred Hechinger are also scene-stealers. Legacy characters played by Connie Nielsen and Derek Jacobi are done very well. 

 

The third act of GLADIATOR II throws even more surprises at us, with the real villain of the film revealed late in a whopper of a twist, and by the time the smoke clears after the final battle our minds need a few minutes to catch up. When it’s all over GLADIATOR II doesn’t hit the emotional or iconic moments that its predecessor had, but that’s okay when we are so very entertained. 

 

BOTTOM LINE: See it 

A Reel Review: WICKED

The Wonderful Wizard of Oz, the first novel in the Oz series of books by L. Frank Baum, has been the basis for several pillars in our culture. The first and most definitive came in 1939 with the classic THE WIZARD OF OZ. The second came in 2003 with the Broadway smash Wicked, which was a loose adaptation of a novel by Gregory Maguire…which told the story of the early friendship between the famed Wicked Witch of the West and Glinda the Good. Here in 2024, we get another trip down the yellow brick road, with Jon M. Chu’s big screen adaptation of the Broadway show. 

 

After the apparent death of the Wicked Witch/Elphaba (Cynthia Erivo), at the hands of Dorothy, Glinda (Ariana Grande), recounts her first encounter with her, which includes their days as students at Shiz University. 

 

Directed by Jon M. Chu and based on the long-running Broadway play, WICKED is a dazzling musical using a monkey-load of modern visual effects to return to that magical, colorful, and wonderful world of Oz. Despite the large setting, WICKED early on finds a great balance between the spectacle and its characters. The bulk of the film is centered around the initial rivalry and eventual friendship between Elphaba and Glinda. Elphaba, who is treated as an outcast due to her green screen color, is forced upon the prim-and-proper Glinda as a roommate, and is then accepted by the Dean of Sorcery (Michelle Yeoh), as a sorcery student…a position coved by Glinda. 

 

The tension between the two makes for an emotional, and workable character-driven story. There is a heart to WICKED with Elphaba’s skin color working against her, and she is constantly mistreated by nearly everyone at the university. Great lengths are taken to make this real-world issue of those who are different being treated badly work in Oz, and it all works beautifully. 

 

WICKED also has the task of operating as a prequel to eventual story of Dorothy that we all know so well, ticking off items such as the creation of the yellow brick road, the Wicked Witch’s outfit and broomstick, and the flying monkeys. It is executed well and never feels forced. WICKED also has to work as a movie musical, and the performances are nothing short of dazzling. The film is also saturated in Oz lore, with subtle and sneaky references to the 1939 film. Pacing is brisk, and the 160-minute run-time flies by. Visual effects are standard for a film of this scale (not tremendous, not terrible), but the overall production design is breathtaking. 

 

Acting is superb. Cynthia Erivo and Araina Grande are perfectly matched, and both give their characters a lot of heart. Michelle Yeoh is excellent as always. Jeff Goldblum comes in as the Wizard and is a blast. 

 

WICKED is only part one of the entire adaptation, and it has a solid ending that stands very well on its own. But the many story threads here are so good it is going to be a very long wait before part two arrives next year; there is a lot to look forward to in our next trip to Oz, and should finish as another wonderful pillar in our culture. 

 

BOTTOM LINE: See it 

 

A Reel 20: NATIONAL TREASURE

“Who wants to go down the creepy tunnel inside the tomb first?”

This month marks the 20^th anniversary of NATIONAL TREASURE. 

 

Directed by Jon Turteltaub and released by Walt Disney Pictures, NATIONAL TREASURE was a treasure hunt and heist film where a historian races against competing treasure hunters and the FBI to find a Freemason fortune lost for hundreds of years…which includes a map hidden on the Declaration of Independence. 

 

The search for this treasure began in 1999, when filmmaker Jon Turteltaub, who had success in directing 3 NINJAS (1992), COOL RUNNINGS (1993), and PHENOMENON (1996), developed the idea along with film executive Charles Segars, with a script by Jim Kouf. In 2001, the project was picked up by Touchstone Pictures and would be produced by legendary producer Jerry Bruckheimer. Drafts of the script would be written by nine different writers. 

 

The impressive cast would include Nicolas Cage as Benjamin Franklin Gates, along with Sean Bean as his rival. Diane Kruger would play an archivist, and Justin Bartha would play Gates’ sidekick. Jon Voight would play Bates’ father, and Christopher Plummer would play his grandfather. Harvey Keitel would play the FBI agent in charge of the chase. Filming would take place mostly on location in Los Angeles, Washington D.C., New York, Philadelphia, and Utah. Trevor Rabin would provide the score. 

 

Despite mixed reviews, NATIONAL TREASURE would be a box office hit, and would have the best opening weekend for a Disney film until it was surpassed by CHICKEN LITTLE in 2005. It held on to the No. 1 spot for three weekends, and would finish as the 12^th highest grossing film of the year worldwide. Trevor Rabin would win a BMI Film & TV Award for the score. A sequel would follow in 2007, along with a TV series in 2022. 

 

*

 

NATIONAL TREASURE, showing no shame, borrows heavily from the famed INDIANA JONES franchise; racing from location to location following clues while being pursued by bad guys, searching tombs and tunnels, and providing a thrill a minute. NATIONAL TREASURE did not quite reach the heights of INDY, but it certainly did try its hardest and does recapture the spirit. Saturated in American history, it takes its liberties with what really happened and has a blast with it, and is a good example of how much fun the movies can be when they don’t follow the rules of reality. Over time it has become a bit of a cult classic, and perhaps its best legacy happens on the streets of Philadelphia. Much like tourists pointing at the Empire State Building looking for King Kong, tourists in Philly point at Independence Hall where Nic Cage went sprinting after another clue. That’s the type of thing that goes for a couple hundred years.

 

 

“I’m going to steal the Declaration of Independence…”

A Reel 20: THE INCREDIBLES

“No matter how many times you save the world, it always manages to get back in jeopardy again…”

 

This week marks the 20th anniversary of THE INCREDIBLES. 

 

Written and directed by Brad Bird, and produced by Pixar Animation Studios and released by 
Walt Disney Pictures, THE INCREDIBLES followed a family of superheroes who live in hiding after a government mandate, who eventually come into battle with a vengeful foe. 

 

THE INCREDIBLES was conceived by Brad Bird in 1993, who came up with the idea as a metaphor for his own struggles with his career and family balance. After Bird’s animated film THE IRON GIANT struggled at the box office in 1999, Bird brought the idea to his old classmate John Lasseter at Pixar. Bird wrote the script alone, which was a departure from Pixar’s standard of having several writers on their projects. 

 

Bird brought in animators from his IRON GIANT team, who had to make the leap from 2D to 3D animation. With this being the first feature length film from Pixar with all human characters, new technology was developed to animate detailed human anatomy, including clothing, skin, and hair. 

 

The cast would include Craig T. Nelson (Mr. Incredible), Holly Hunter (Mrs. Incredible), Jason Lee (Syndrome), Samuel L. Jackson (Frozone), along with Sarah Vowell, Spencer Fox, and John Ratzenberger. Brad Bird would provide the voice of Edna. Michael Giacchino did the score. 

 

THE INCREDIBLES was released wide on November 4th in 2004, and was met with excellent reviews. At the box office, it would finish as the 4th highest grossing film of the year, behind SHREK 2, HARRY POTTER AND THE PRISONER OF AZKABAN, and SPIDER-MAN 2. At the 77th Academy Awards, it would win Best Animated Feature and Sound Editing, and be nominated for Original Screenplay and Sound Mixing. A sequel would follow in 2018, and the characters would have a strong presence in Disney parks. 

 

*

 

2004 was a different time for superheroes on the big screen. Although there were hits such as SPIDER-MAN that year and X-MEN a couple years before, things were quiet for our caped wonders. After all, this was four years before IRON MAN and the MCU began. THE INCREDIBLES cannot be credited with launching the genre that would dominate screens for the next two decades, nor can it be lumped into the lot…simply because it is the most of unique of its kind. As an original work, it was not tied down to endless comic origins, and as a Disney release, had strong family themes that resonated. True to Pixar form, it spoke to older audiences; exploring themes of men dealing with middle-age and feeling their best days are behind them. And for fans of cinema, THE INCREDIBLES was saturated in film lore…borrowing elements from James Bond and classic good vs. evil tropes, while offering thoughtful deconstructions of the classic superhero character. One of Pixar’s most super. 

 

“…we’re superheroes. What could happen?”