The Year In Cinema
Since we began our 28 issue run way back in October, no less than 54 films have graced these hallowed pages (and that's not counting this weeks); and truth be told, we've reviewed some absolute arse. The sheer degree of complete toss that the humble Label Arts team have been forced to view through teary eyes and stiff arses this year is uncanny. Fortunately for us the 1999/2001 academic year has also yielded some of the most outstanding, jaw-droppingly shag-tastic Motion Pictures of recent years. So to remind you of the hits and the shits, the stuff that put a warm glow in your heart, or a big smelly Richard-the-third in your pants, here's our month-by-month guide to the Academic Year....
OCTOBER: Term began with a gigantic disappointment in the form of Kubrik's "damp squib of a swan song" 'Eyes Wide Shut', but business was quick to pick up. October delivered three of the most refreshing gems of 1999, namely Disney's rather spanking 'Tarzan', official "Funniest film of the Year" 'American Pie', and the run-screaming-to-Mummy brilliance of 'The Blair Witch Project'; branded by Chris Ward in Issue 3 "unlike anything you have ever seen or perhaps will see again...a true land mark in modern Cinema." Nuff said.
NOVEMBER: November upped the scare-stakes with 'Sixth Sense': less original than 'Blair Witch' but possibly scarier; boasting a career-best performance from Bruce Willis; and probably the best twist in any film since Darth Vadar announced Luke Skywalker's parentage in 'Empire Strikes Back'. Meanwhile, David Fincher sneaked out what is possibly one of the most revolutionary films of recent years in the form of 'Fight Club', an ingenious, devious and down right brilliant blend of black comedy and viscous satire. Easily my pick for film of the year.
DECEMBER: As we prepared to leave the safe confines of dear old L'boro, venturing out into the real world to munch Turkey, buy people we don't like things they don't want and get presents we'll never use; we managed to squeeze out a couple of reviews. 'The World is Not Enough' managed to prove that there's always room for Bondage, whilst 'Guest House Paradiso' set a new bench mark for crap comedy. As Chris Ward commented back in Issue 10, it was "...probably the worst film you'll see this decade, and I really, Really Mean that".
JANUARY: The spring term kicked off in the most stylish way possible, naturally with a Tim Burton film. 'Sleepy Hollow' ("if you like gore and a bit of mystery, then you'll love this movie" - Racheal Perkins in Issue 2000 01), but took a down turn with Martin Scorsese's 'Bringing Out the Dead', which had "absolutely no story line".
January also unleashed the CGI juggernaut that was 'Toy Story 2', branded by a joyous Marc Burrows "the best film EVER!!" back in issue 2000 02. Possibly a bit enthusiastic, but hey, it's a kids film. Woody and co. attacked the box office with the force of a stampeding bull elephant, and have been in residence in the Movie charts ever since.
FEBRUARY: Along with the romantic highlight that was this years Valentine's Day / Pancake Day (delete where applicable) February brought with it yet more films about disillusionment with society. Fortunately they were both exercises in outstanding film making, the first being Sam Mendes' debut feature 'American Beauty', which quite rightly cleaned up at the Oscars and got Kevin Spacey the recognition he rightly deserved, and as Racheal Perkins commented "showed off how sexy he can be when he tones up that upper body". Well quite. Secondly, February brought the latest pic from wonder-director Danny Boyle: 'The Beach', which also happened to feature that bloke from 'Titanic'... Leanardo Devinci or something, who actually acted his little, lacey socks off. And was still totally upstaged by Robert Carlyle.
MARCH: With the beginning of spring, came some of the best films of the year. In fact, March was a fantastic month for film in general, with 'Talented Mr. Ripley' (a "fascinating character study" according to Evan Leighton-Davis in Issue 2000 07) and 'Magnolia' both proving fantastic pictures. The real surprises however, where 'Being John Malkovich' and 'Three Kings', two witty, hip and intelligent pieces worthy of far more attention than they actually got. Despite this, nothing could compare to the re-emergence of a classic: Kubrik's mighty 'A Clockwork Orange' was re-released, repackaged and proved still as powerful, stylish and thrilling as ever.
Yours truly also attempted to predict the impending Oscar's results, and was 100% wrong on most counts.
APRIL: Despite this, April proved to be a little lacklustre as months go, but it wasn't without merits. An obvious highlight was Oliver Stone's 'Any Given Sunday': "a well acted, intelligent, action packed film that appears almost like a documentary of a real team"- Keith Smith in Issue 2000 12. More noteworthy however was Kevin Spacey fighting off Johnny Depp in order to claim the prestigious title 'Label Actor of the 90's', to add to his Oscar; which Evan Leighton-Davis managed to argue without mentioning Mr. Spacey until the last line... strange but true.
MAY: Last month proved to be the most bloodthirsty of the year, with adequate slasher 'Scream 3', god-awful thriller 'Final Destination', and sickening, slick satire 'American Psycho'. As well as this came the epic leviathan that was Ridley Scott's 'Gladiator', which also had more than it's fair share of gore, being "as refreshing a piece of cinema as you are likely to see in some considerable time". Nuff said.
So there you have it: a year of largely thoughtful films, where theme and content have walked hand in hand in genius. And you can't really say
