Originally posted on Midwest Film Journal

One of the most heartening transitions in Hollywood over the past ten years has been French-Canadian director Denis Villeneuve’s ascension from indie darling to big-budget auteur. What’s even more promising is that the progression has led to very few, if any, compromises to his artistic integrity along the way. After breaking out with the Oscar-nominated Incendies in 2010, it didn’t take long for him to graduate to thoughtful mid-budget films like Sicario and Arrival and to eventually command Christopher Nolan-scale projects like Blade Runner 2049 and the forthcoming (sigh) Dune.

2013 was an important year for Villeneuve, as it saw the release of two films that would exponentially speed his career along. The better remembered of the pair is Prisoners, a morality-based thriller with a star-studded cast which included Hugh Jackman and Jake Gyllenhaal that captured the attention of audiences worldwide to the tune of $120+ million. The lesser known of the couple, Enemy, is a decidedly smaller profile picture with a fraction of Prisoners‘ budget, even though it also stars Gyllenhaal in the lead role. Villeneuve has done plenty of great work the past decade and while Blade Runner 2049 is arguably his most accomplished movie, Enemy remains my personal favorite in his oeuvre.

The film is a loose adaptation of José Saramago’s novel O Homem Duplicado, Portuguese for “The Duplicated Man”, although it was retitled The Double when translated into English in 2004. Fittingly, Enemy had a doppelgänger of its own in 2013 by way of Richard Ayoade’s The Double, based on the unrelated Dostoyevsky novella of the same name. Since that title was already in use and presumably because the title The Two Jakes was already taken by some other movie, Villeneuve went with the title Enemy instead. It turns out to be the most apt title of all, as this is a movie chiefly concerned with a man at odds with himself, which is to say in conflict with his own desires and vices.

Gyllenhaal plays Adam Bell, a reclusive history professor who rents a movie on the advice of a fellow teacher and spots an extra in a bellhop outfit who looks identical to him. Curious, Bell discovers the actor is Anthony Claire and after confirming his likeness based on two other film appearances, Adam becomes obsessed with his apparent twin and eventually makes contact with him. After the men come together and remark on the impossible similarities, they diverge and search for answers on their own. Adam reaches out to his girlfriend, played by Mélanie Laurent, for advice, and to his mother, played by Isabella Rossellini, to see if it’s possible that he could have an identical twin that he doesn’t know about. Meanwhile Anthony’s wife, played by Sarah Gadon, becomes aware of Adam’s existence and is bewildered when she meets him face-to-face.

As one may expect, the central mystery of Enemy does not lead to a straight-forward conclusion and reveals more layers of psychological complexity as the story moves along. Without giving too much away about the details of the plot, it’s enough to say that the film’s primary theme is infidelity and what it takes to finally and fully commit to someone. Much like David Lynch’s erotic thriller Mulholland Drive, this is ultimately a puzzlebox movie where characters from both films literally stand with a key in their hands during pivotal moments in their respective storylines. Similarly, it’s difficult to watch Villeneuve’s film just once and grasp the entirety of its symbolism.

The reactions of those who have seen Enemy tend to fixate on one aspect, which is the film’s deliberately challenging concluding scene. Each person I’ve seen the film with for the first time tends to cycle through the same feelings of shock then amusement then befuddlement, though the implications of its meaning have made it more terrifying for me than anything else. When discussing authoritarian rule in a lecture hall during the opening scene, Bell says of systemic suppression that “this is a pattern that repeats itself throughout history.” I won’t share my interpretation of the ending here but I would urge first-time viewers to consider this early line in the film when sussing out the ending.

Regardless of how one reacts to the last scene, there’s no denying the benefit of getting two Jake Gyllenhaals for the price of one. Like all of the best dual roles, Gyllenhaal establishes credibility early on by crafting two distinct personalities that allow us to tell the difference between what is essentially the same person. He also does plenty with body language to establish distinguishing features of the two men, plaguing the meek Adam with a perpetual slouch while dignifying the coolheaded Anthony with the posture of confidence. One of my favorite shots in the films crawls in on a helmeted Gyllenhaal as Anthony as he sits on his motorcycle with his legs perched out like a spider waiting for prey while the web-like streetcar wires of urban Toronto lie overhead.

As Dune is presumably finished at this point and just waiting to be released at a time when a pandemic isn’t mercilessly ravaging the populace, Villeneuve’s next project has already been announced. Collaborating with Gyllenhaal once again, both as actor-director and co-executive producers, Villeneuve will head up The Son as a limited series for HBO. Based on a bestselling novel by Jo Nesbo, the show would seem to focus on an escaped convict who can’t remember his past and finds himself on the run while dealing with opioid addiction. It would seem that Jake and Denis teaming up is a pattern that repeats itself and I personally hope for a fruitful continuation of their reign.

Originally posted on Midwest Film Journal

Growing up in western Pennsylvania, I remember spending more time than I’d care to admit getting lost in the woods. As someone who wasn’t especially outdoorsy, I still couldn’t resist the urge to go over to friends’ houses during summer break and waste hours and hours going through whatever nearby forests we could find. There was something about exploring “uncharted” territory away from adults and the endless possibilities of discovery that never seemed to get old. But no matter how deep in we went, we always found our way out. It never even occurred to me that one day, maybe we wouldn’t.

This simple but haunting notion is just one of many that permeates the brilliantly effective and rightfully iconic The Blair Witch Project. Debuting at the Sundance Film Festival in January of 1999 and later scaring up almost $250 million that following summer, the film remains one of the most profitable horror movies of all time. The concept of a fictitious Blair Witch was first developed by co-directors Daniel Myrick and Eduardo Sánchez back in 1993 but as we all know now, the movie’s most salacious marketing hook was that audiences didn’t know the legend was entirely made-up. Shot on a combination of 16mm and VHS in October of 1997 (their last day of shooting was, appropriately, on Halloween), the largely improvised project featured three unknown actors — Heather Donahue, Michael C. Williams and Joshua Leonard — going into the woods to document the seemingly real Blair Witch legend.

While The Blair Witch Project didn’t create the found-footage technique, it gave it terrifying renewed potential. If you go into the film ignoring the indelible cultural impact that it’s had over the past 20 years and try to approach it as a factual account of these three student filmmakers getting in way over their heads, it remains one of the sub-genre’s crowning achievements. Its credibility starts early, with Heather haphazardly holding her ever-present camcorder as she meets Mike and recruits Josh for their new project. “I really want to avoid any cheese; I want this to be as straightforward as possible,” she forewarns her male cohorts as they pack the video gear into their car. Myrick and Sánchez wisely apply this thesis statement to their approach for the film’s simple and subtle scares.

After setting the table with some terrific naturalistic acting of Maryland locals recounting stories of the Blair Witch legend, the movie follows Heather, Mike and Josh as they begin their hike through the leaf-covered Black Hills forest. The first few days go about as well as planned, as they capture footage of a creepy graveyard and the equally creepy Coffin Rock while Heather narrates in a perfectly overwrought film student manner. What Myrick and Sánchez do so shrewdly over the remaining runtime is show how little it takes to psychologically break these people down and erode their very sense of being. It’s as if the filmmakers studied Maslow’s Hierarchy of Needs and thought “what if we slowly chip away at all of these from the bottom up until there’s nearly nothing left?”

First, it rains and the chilly autumn breeze turns into a stiffer and more unforgiving wind. After the fourth day, food and water become scarce and random noises throughout the woods make certain that a good night’s sleep is nigh impossible. Their bags are raided in the night and cairns are insidiously placed right outside their tents, indicating that they won’t be safe wherever they choose to camp out. Trust and whatever notion of “friendship” these three have slowly erode as they become more lost in their treacherous surroundings. Josh is seemingly kidnapped and tortured as Heather and Mike fruitlessly attempt to locate him amongst the array of identical-looking trees. After all of these awful events, we finally get to the top of Maslow’s pyramid when Heather tearfully admits to Mike “this is all I have!”, realizing that her dreams of becoming a revered filmmaker will never come true.

All of this leads to a spellbinding finale set in the abandoned house of a hermit who allegedly kidnapped and killed children under orders of the Blair Witch. The production design is terrific as Heather and Mike investigate the bloody handprinted walls and decrepit condition of the building. Myrick and Sánchez deftly juggle between Heather’s 16mm camera and Mike’s camcorder, ratcheting up the tension as Mike hastily makes his way to the cobblestone basement ahead of Heather. My favorite detail of the film’s chilling final minute is how we’re seeing the footage from Heather’s camera but hearing the audio from Mike’s camcorder, even though it hits the ground once he finally gets to the basement. That way, Heather’s shrieks become louder and louder until she finally gets to the room and sees Mike standing horrifyingly still in a corner of the basement.

It should go without saying but the mystique of The Blair Witch Project will likely never again be replicated in film history. Thanks to the ever-watchful entertainment industry, spoiler-ridden trailers and constant chatter on social media, we practically know everything about a given movie before it’s even released. This film’s marketing campaign went viral before “viral” was even a concept, utilizing the internet in ways that Hollywood hadn’t even begun to think about. Sure, Space Jam had a website (that, for some reason, still exists today) but it didn’t have nearly the depth of content of Blair Witch’s link-heavy web index. The convincing narrative that the site put forth even had message boards buzzing, long before the days of Reddit and 4Chan when internet conspiracy culture wasn’t an embarrassing hellscape of alt-right propaganda.

Indeed, there may never be another horror movie quite like The Blair Witch Project but that’s all the more reason to get lost in its wilderness when fall rolls around each year.

Originally posted on Midwest Film Journal

“Be excellent to each other and party on, dudes!” It’s a simple sentiment, sure, but something about this thesis statement from the cult comedy Bill & Ted’s Excellent Adventure has resonated with audiences since its release and perhaps right now even more than ever. Strip away the surfer dude parlance and you basically have calls to empathy and self-care that may not have seemed profound back in 1989 but have proven to be especially illuminating in overwhelmingly distressing times. Aside from the use of a homophobic slur by the main characters, I was surprised while recently rewatching Bill & Ted just how little of it feels dated by today’s standards and fittingly, the experience of seeing it again made me feel as if I was traveling back to a simpler time.

I’ve probably seen Excellent Adventure in full about 5 or 6 times but I doubt more than half of those viewings were for the entire film in one sitting. Growing up as a teen in the early 2000s, I remember Comedy Central playing the movie seemingly every week. When I was flipping through channels, a practice I’m mildly nostalgic for as I’m typing this sentence, I would often stop to catch wherever it was in its runtime. It was like loading scenes of a movie onto an iPod Shuffle, another reference that instantly dates me, and seeing what comes up. If it was the shopping mall montage of historical figures running amok or Napoleon shouting “merde!” as he slides down the bowling lane, you can be sure that the channel would remain unflipped for at least several minutes.

For the uninitiated, Bill & Ted’s Excellent Adventure involves two amiable California dudes who use a time-traveling phone booth to abduct important figures throughout history and pass their final school presentation. Though comedy is often a game of opposites, the characters of Bill and Ted are remarkably similar, to the point where they often make the same exclamations like “bogus!” and “gnarly!” in unison. Naturally, the key to making the relationship work is timing and chemistry, both of which leads Keanu Reeves and Alex Winter have a most magnificent amount. Their performances are harmonious and complimentary in a way that really sells the kind of kindred spirits these two slackers have become to one another.

Although Winter has mainly stayed out of the limelight since his breakout role as Bill S. Preston, Esq., Reeves has since become one of Hollywood’s most recognizable stars with huge franchise hits like The Matrix and John Wick. Due to the once popular “Sad Keanu” meme and his introverted personality, Reeves’ persona has typically relied heavily on the actor’s seeming stoicism, so it’s especially fun going back and watching him essentially be a goof for 90 minutes. I especially love how Reeves imbues Ted with the most laid-back temperament imaginable, even when pressed with trying circumstances. After ribbing Bill about his new stepmom, Bill seems genuinely upset when he tells Ted to shut up, to which Ted pauses a moment and then lights up a dopey grin to diffuse the tension. In a relatively low stakes movie, that brief confrontation has a surprising amount of impact because we recognize how strong of a friendship these two have with each other.

Excellent Adventure also has a playful spirit about the nature of time travel and just like its central duo, really doesn’t bother to take things too seriously. If you ask the movie if it operates on a fixed timeline or alternate timeline, it would answer “yes.” My favorite comedic paradox in the film is when the pair need a set of keys belonging to Ted’s police chief father to get out of a predicament. Ted has a bright idea: why don’t they go back in time after the history report is over, steal the keys and plant them near the police station at that moment so they can find them? Before we even have time to figure out if that makes any sense at all, Bill pulls the keys out of the grass near a sign where their future selves presumably placed them.

Catching up with the film now, it’s still a bit too broad and cartoonish in certain respects but even the bits that don’t work still skate by on good-natured charm. The plotline essentially operates as a feature length version of the Marshall McLuhan scene from Annie Hall, where Woody Allen manifests the media theorist out of thin air to show up a chatty intellectual in a movie line. Here, Bill and Ted nab famous historical figures throughout time as if to say to their teacher “see, we do know something of their work!” While Bill & Ted’s Excellent Adventure isn’t quite up to Annie Hall caliber, it’s just the kind of sweet and affable comedy that we could all use right about now.

Originally posted on Midwest Film Journal

We’ve all been there. You’re with your bros, ranking your favorite Coen Brothers’ movies, and things get tricky. You have 18 films with nary a stinker in sight, at least half of which could justifiably be in the top spot. Thoughts like “is there really no room for Barton Fink in my top 5?” and “can anything besides Intolerable Cruelty go in the bottom slot?” occupy your head. As someone who recently tried and failed to come up with such a daunting list, I’ve come to respect any attempt to conjure up a cogent Coen pecking order. However, one trend continues to befuddle me: the consistent underrating of the screwball spy comedy Burn After Reading.

Saddled chronologically between Best Picture winner No Country For Old Men and existential parable A Serious Man, Burn After Reading came in 2008 like a bit of respite between two pillars of heavier fare. I like to think of it as the loosening of the belt between plate one and plate two of Thanksgiving dinner. At a lean 96 minutes, it’s as tightly edited and efficiently rendered as anything the Coens have committed to celluloid to this point. But most importantly, the film is laugh-out-loud hilarious no matter how many times you’ve seen it, which I mark as a true test of a great comedy.

Of all the roles in Tilda Swinton’s career, her character in Burn After Reading would likely qualify as one of the more “normal” people that she has portrayed. She plays Katie Cox, the uptight and unrelenting wife of John Malkovich’s Osbourne Cox, a CIA analyst who gets sacked in the film’s opening scene and unwittingly sets into motion the comedy of errors to come. We discover early on that Katie is pursuing an affair with the likewise married US Marshal Harry Pfarrer, played with zig-zagging charm and kookiness by George Clooney. Her plan is to divorce “Ozzie” provided Harry can break it off with his wife Sandy (Elizabeth Marvel), who Katie affectionally refers to as a “cold, stuck-up bitch,” a term that Harry’s wife coincidentally uses to describe Katie.

As an unbiased observer, I may have to side with Sandy on this one. Adorn with outfits that scream “old money” and a hairstyle modeled after Edna Krabappel from The Simpsons, Katie is certainly not the most approachable person. In her mind, everyone constantly acts in an embarrassing manner and there’s nearly no situation that can’t be sped along with an exasperated “for fuck’s sake!” When her bumbling divorce attorney urges a “day of reflection” before pursuing legal action, she scoffs and quickly feigns a one-sided smile. Trapped in a storyline where characters make increasingly dubious decisions, she serves as the stern captain aboard this ship of fools.

Despite her seeming superiority, Katie is begrudgingly smitten with one of said fools. There’s something about Harry, be it his post-coital running routine or his penchant for high-quality flooring, that has captured the modicum of affection that she has to offer. That doesn’t mean she’s not willing to push him around too though. When Harry accuses Katie of forcing him to hastily split with Sandy, she assures him “I do *not* hammer!” as she punctuates each word with a pounding finger on the restaurant table. But the Coens save the funniest detail about Swinton’s character until the hour-and-twenty minute mark. The late reveal of her profession, which flies in the face of everything that we’ve come to know about her up to that point, is one of my favorite low-key punchlines in the entire film.

It’s a testament to how well-organized and tightly compiled this madcap comedy is. There’s not a single extraneous moment or wasted line and many scenes seem to rhyme with the scene previous to it. Take the opening, in which Ozzie gets ousted from his CIA position due to his alcoholism. After an outburst, which he mockingly echoes the “I have a drinking problem” accusation of his superior, we cut right to a close-up of Ozzie cracking a fresh ice tray for his first of many Cuba Libres. The Coens also intersperse the propulsive storyline with hilarious interjections by CIA higher-ups, played by David Rasche and J.K. Simmons, who are desperately trying to untangle the messy story that is unfolding before them. Like a pair of puzzled Greek gods profanely presiding over their subjects, their scrambling to try to “resolve” the situation is a brilliantly funny way to recontextualize the labyrinthine plot.

Strange to go this long talking about Burn After Reading and not mention the gonzo performances by Frances McDormand and Brad Pitt as a duo of hapless gym trainers who get in way over their empty heads. Pitt alone has a litany of silly face expressions and goofy dance moves to inspire pages of reaction GIFs on his own. He had done a little comedy before and has done some comedy since but I don’t think I’ve seen Pitt cut quite as loose as he does here. But for all the “foolishness” (to borrow a term from Katie) that’s on display, Burn After Reading works as well as it does because it’s balanced by factors like the straight-laced and tightly-coiled performance by Tilda Swinton.

Originally posted on Midwest Film Journal

Before he was Dominic, Riddick, or Groot, he was just Chris. When we think of Vin Diesel, we think of leave-your-brain-at-the-door actioneers but before the one-two punch of Pitch Black (well, technically it came out the same weekend) and The Fast and the Furious, there was 2000’s Boiler Room. Written and directed by Ben Younger, the film stars Diesel as Chris Varick, one of the many money-hungry brokers at the crooked firm J.T. Marlin. It is there that Chris and his cohorts spend their days in the titular location barking at potential clients about stock opportunities with the bravado of young bulls. The scene is strikingly similar to the one set by Martin Scorsese 13 years later in The Wolf of Wall Street, sans the midget tossing and stripper parades.

Revisiting Boiler Room after seeing The Wolf of Wall Street, it almost seems quaint by comparison. Even though both are based on the Wall Street exploits of the infamous Jordan Belfort, the former uses his story as a jumping off point where the latter is more of a warts-and-all biopic. Boiler Room’s version of Belfort, Michael Brantley, played by That Thing You Do’s Tom Everett Scott, is decidedly the much more tame version of his real-life counterpoint and only pops up a few times in the film. The story instead focuses on Giovanni Ribisi’s Seth Davis, a street-savvy college dropout who ditches his home-based unlicensed casino and climbs his way up the ladder at J.T. Marlin.

One thing I love about Boiler Room is how much it takes a page from the Glengarry Glen Ross playbook of allowing specific actors to take a scene and run with it. The most obvious example is the trio of training monologues from Ben Affleck, mirroring the same venomous intensity of Alec Baldwin’s Glengarry character. “They say money can’t buy happiness? Look at the fucking smile on my face. Ear to ear, baby!”, he hisses at the wide-eyed recruits after bragging about the details of his millionaire status. Later, he coaches them on his “act as if” philosophy with similarly colorful language. He’s arrogant, callous and greedy beyond measure but we can still understand the appeal of the world that he’s pitching for these young newcomers. In just a few scenes, he epitomizes the timbre of the calamitous yet vaguely enticing environment in which he inhabits.

Diesel gets his own spotlight moment, jumping over desks to beat out fellow brokers for a hot new phone lead. The chaos on the floor stops as they put his call over the speakers so they can hear the master at work. The victim on the other line is a hapless doctor who took the bait on an pharmaceutical tip and has no idea he’s about to buy 2000 shares in 2 minutes. Diesel’s line readings drip with prevaricator’s poison as he rakes this poor guy over the coals. “That great doc, if you want to miss another opportunity and watch your colleagues get rich doing clinical trials,” he says poised with a rebuttal for any objection. After he closes, he greets the applauding crowd of dazzled traders with a Diesel signature move he would re-create a year later in The Fast and the Furious: arms stretched out wide with shrugged shoulders and shit-eating smirk. “Diesel is interesting,” Ebert remarked in his review. “Something will come of him.”

Shady business practices and four-letter words aside, Boiler Room doesn’t quite dive as deeply into the same Wall Street culture vices as something like The Wolf of Wall Street. The film is largely sexless, with the exception of a sweet romance between Seth and a receptionist played by Nia Long. Thanks to some truly garish product placement, there’s more Coke addiction than coke addiction on display. And yet, the movie evokes a specific time and place quite brilliantly, even if the cringey, scratch-heavy music score by The Angel hasn’t aged quite as well as everything else. With a sound script and confident direction, Boiler Room is a high quality look inside the low quality world of chop stocks.

Originally posted on Midwest Film Journal

What did we do to deserve a year in film as excellent as 1999? By this point, most cinephiles and critics are at consensus that the final year of the 1990s is one of the finest when it comes to consistent cinematic output. Just ask a group of movie buffs what their ‘99 favorite is and you’ll likely end up with a variety of laudable choices. With available titles like Eyes Wide Shut, The Matrix and Being John Malkovich, among a list of plenty of worthy contenders that could fill the rest of this column, there really are no wrong answers. However, one answer has been seemingly grown more “wrong” in the 20 years since it took home Best Picture: Sam Mendes’ American Beauty.

By the time the 72nd Academy Awards arrived in March of 2000, the film was a critical and commercial hit, grossing over $350 million worldwide against a $15 million budget and scoring rave reviews in the process. It was a heavy favorite to take home the majority of the 8 awards for which it was nominated and indeed that came to pass, as it won in 5 categories including the top prize. When you look at the rest of the Best Picture field that year (The Cider House Rules, The Green Mile, The Insider, The Sixth Sense), it’s not difficult to see how a film like American Beauty would stand apart. In a group of films helmed by seasoned directors, with Shyamalan as a notable exception, it was the rabble-rousing new kid on the block that Academy voters were eager to champion.

So what’s become of American Beauty’s legacy since then? It’s difficult to pinpoint exactly when the cultural conversation turned against its favor, aside from its initial detractors. As early as 2005, Premiere Magazine cited it as one of the “20 Most Overrated Movies Of All Time,” even though that list also included truly unimpeachable offerings like 2001: A Space Odyssey and Fantasia. Since then, social media has allowed for a total relitigation of the film, years removed from the rapturous response from revered film critics like Roger Ebert and Todd McCarthy. It also goes without saying that after September 11th, the Great Recession and the country’s continuing political polarization, American Beauty’s concerns may read as trivial in retrospect.

But aside from the cataclysmic cultural shifts that have transpired, perhaps the most damning contribution to American Beauty’s decline has been the 2017 sexual misconduct allegations against Best Actor winner Kevin Spacey. With 15 accusers in counting, 3 of whom were victims of suicide last year alone, the assertions are troubling to say the very least. This along with a pair of confounding YouTube videos, in which Spacey gives cryptic advice as his House of Cards character Frank Underwood, has all but guaranteed that Spacey will never work in Hollywood again. Ridley Scott even scrubbed Spacey entirely from his 2017 film All The Money In The World, replacing him with Christopher Plummer merely a month before the release date.

These revelations about Spacey’s conduct make the film more difficult to revisit, especially given that much of the plot centers around Spacey’s Lester lusting after an underage girl. Recently rewatching the film for the first time in many years, I did my best to set the current context aside and watch as if it were 1999. In doing so, I was quite surprised with how much of American Beauty does hold up 20 years after its release. In his first screenplay for a feature film, Alan Ball shrewdly etches each of the main characters with a sardonic humor that still gives each of them their own unique voice and perspective. Its takes on middle-age malaise and suburban strife may not seem especially novel today but few films were investigating these themes as boldly as this one at the time of its release.

In his feature debut, Sam Mendes (who won Best Director back in 2000 and will likely do so again for 1917 on Sunday) showcases an impressive command of the form in the film’s opening moments. He lays out the plight of his put-upon protagonist along with his wife Carolyn and daughter Jane with cutting cynicism and economical editing. I was struck with just how much Mendes juggles thematically in this film, between the exploration of sexuality, materialism, homophobia, loss of identity and mortality. These are obviously touchy subjects for American cinema and Mendes pulls off the balance even better than I remembered.

Even if Mendes’ tale of middle class ennui doesn’t resonate with viewers, there’s enough technical prowess behind the camera to keep one engaged throughout. Thomas Newman’s still iconic musical score utilizes sensitive tuned percussion and lilting piano to counteract the dispassionate and glib tone of the film. In one of his last films before his passing in 2003, cinematographer Conrad Hall does career-best work with beautiful shot compositions and a sedate color palette that allows the color red to pop. He also throws in clever visual metaphors, as when Lester’s computer monitor at work captures his reflection against lines of code that resemble bars of a jail cell.

From Fight Club to Office Space, corporate imprisonment and subsequent liberation was a popular theme among 1999 films and it’s not difficult to see why. We were at the brink of a new millennium, with a host of new fears and anxieties at our doorstep. Y2K put us on high alert and in some ways, it feels like we never came down from it. The only escape, the film posits, is finding purpose and beauty in this world, even if its in observing an innocuous plastic bag dancing in the wind. Perhaps American Beauty is more pretentious in investigating this philosophy than some would like but that doesn’t make it any less deserving of a closer look.