98. TOMBSTONE (1993, GEORGE P. COSMATOS)
Starring: Kurt Russell, Val Kilmer, Sam Elliot, Michael Biehn, Powers Booth, Bill Paxton, Jason Priestly, Charlton Heston, Billy Bob Thornton, Billy Zane, John Corbett, Thomas Hayden Church, Michael Rooker and Dana Delany
97. THE PHANTOM OF THE OPERA (2004, JOEL SCHUMACHER)
Starring: Gerard Butler, Emmy Rossum, Patrick Wilson, Miranda Richardson, Simon Callow, Ciarán Hands and Minnie Driver
First off, we have probably the best Western of the 90's (with the exception of maybe Unforgiven...naw, I like this one better) and that of course is George P. Cosmatos' Tombstone.
Given the fact that the world of film has basically abandoned the once dominating Western genre, it is nice to know that there was still a bit of a revival in the early 90's. The few entertaining throwback's to the former most popular style in Hollywood really make me miss some of those older ones.
Anyway, with the story of Wyatt Earp and his famous battle at the O.K. Corral, Cosmatos gave the world the first of two adaptations of the life of the famous gunslinger within a span of a year. The result was definitely the better of two (I have never seen Costner's Wyatt Earp but I'm still making that call).
Of course, I shant bore you with the whole story of Earp and his brothers retiring to the town of Deadwood to live out the rest of their days to all of sudden be thrown back into the game of law-enforcement, so don't expect a synopsis!! ...Wait a second...
The Earp family is also joined by friend and seemingly immortal Doc Holliday, but I'll get to him in just a second.
What makes this film so great to watch isn't really the directing or cinematography. Admittedly, there has been sharper Westerns made on those fronts. No, what really makes this movie what it is, is the interpretation of the characters. Wyatt Earp and Doc Holiday were the original action heroes. So that's exactly how Kurt Russell (mustacheo'd to the brim) and Vil Kilmer play them. They don't go so far as to make the action take over the role, but they take it a level that still makes it undeniably fun to watch.
Kilmer especially deserves praise for his performance. You completely lose any resemblance of Batman or Jim Morrison here and are given a completely original and raw portrayal of one of the greatest anti-heroes of all-time. He single-handedly takes this film from a B-Grade action flick to a potential Oscar contender, a jump that not many people can do (think Nicholson in Burton's Batman). This is, in my mind, the most unappreciated performance of the entire 1990's.
The film's writing works in favor of the characters as well. There is some really quality dialogue floating down the way of Kilmer, and even towards Michael Biehn's Johnny Ringo, Holliday's villainous counterpart. Any confrontation that the two of them have with one another is just an absolute treat to watch.
Of course, the movie suffers from a couple of flaws. There is a confusion put forth as to whom the true villain of the story is. Because there are so many men to keep track of, the pure evil of Powers Booth's Curly Bill is lost within the confines of the overall film. If they had noticed this, Johnny Ringo should have had more screen time, but alas, they didn't and the movie suffers a tad because of it. There are also no really strong female characters to work of of here, but, what are you gonna do.
A fantastic ensemble of actors here, ranging from Thomas Hayden Church to Jason Priestly to Mr. "Game Over Man, Game Over!!" himself, Bill Paxton playing Earp's youngest brother. Oh, and how could a Western not be complete without the man who is a cowboy in everything he plays, Sam Elliot.
Tombstone is a really entertaining movie, and you should see it for Kilmer if nothing else.
Jumping from a fairly dude-oriented movie to a much more romantic affair, #97 on my list is Joel Schumacher's The Phantom of the Opera.
Based on Andrew Lloyd Webber's prolific stage musical, as well as being co-written by Webber, the film is as true an adaptation of the original piece as it could have been. I can only suspect that having Webber on board with the project helped immensely.
I'm sure you all know what the plot of the film concerns, but if you don't, it is pretty much a Phantom who terrorizes the new owners of an Opera house in Paris. He falls in love with a young girl whom he takes under his wing and teaches her to sing well enough to become the new star attraction at the theater. He goes on to become an obsessed stalker type of guy who kidnaps the girl after she falls for an old friend and then of course the chase begins. Oh yeah, and he wears a mask over half his face because he is deformed. It's great.
The film feels very much like you are watching a stage version of the musical which I believe is a great thing. This way, you are able to sense the power and grace of the brilliant live performance. The art direction and costumes/makeup are superb. The actual Opera itself is breathtaking to look at.
Schumacher's direction really makes his audience remember that once upon a time, the man could do something right. I mean, yes, it is the same guy who gave the world Batman Forever and then Batman and Robin, but you would never know that after watching this film. It's very crisp and professional looking. The warm, gold cinematography makes everything very lovely to look at. It's just too bad Schumacher still couldn't get it right after this one and went on to do The Number 23. Sigh.
The casting is for the most part dead on. Emmy Rossum, upon multiple viewings, does eventually get a little annoying as the lead character Christine, but not to the point where you want to stop watching. Pre-famed Gerard Butler and Patrick Wilson play the Phantom and Raoul, Christine's childhood crush whom she re-acquaints with, and each battle every scene to prove who can be better. I must admit, that it's pretty much a draw.
Butler only has something like six speaking lines, and the rest are sung. That is remarkable. He really gets the acting and singing thing down pat, and outside of the stage, that is a ridiculously hard thing to nail. His rendition of "Music Of The Night", the Phantom's sort of "theme" is one I prefer to any stage recording that I've ever heard. If there is ever any doubts over Butler's acting ability in the future, this is the movie to go to. Or maybe Dracula 2000. Ha!
Simon Callow and Ciarán Hands are great comic relief, chewing up the scenery as the bumbling new owners of the Opera house. Miranda Richardson gives her best school-marm impression, playing the Phantom's only human contact, Mme. Giry. And even though she is the only main character part whose voice was dubbed by a professional, Minnie Driver gives a very capable and rather out-of-left-field performance as the diva of the theater who battles for the leading performance after Christine makes it big. A damn fine group of supporting character actors, who all give it their all in the vocal area. A grand collection of pipes. Well...besides Driver anyway.
Pretty much, if there were to ever be a filmed version of the stage show, this is as good as anything you will ever see try. It's fun to watch. It's engaging. And the soundtrack is still one of the greatest ever made. One of the best Broadway adaptations of all-time.
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Say when.
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