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              <p><font face="Arial, Helvetica, sans-serif"><font color="#336699"><font size="3" color="#000066"><b><font size="4" color="#21527B"><br>
                <font size="3" color="#0000CC"><!-- #BeginEditable "date" --><font face="Arial, Helvetica, sans-serif"><b><font face="Arial, Helvetica, sans-serif"><b><font color="#99CC99">Saturday, 
                18 September 1999</font></b></font></b> </font><!-- #EndEditable --></font></font></b></font></font></font></p>
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        <div align="left"><font face="Arial, Helvetica" size="" color="#8591a7"><b>"Perhaps 
          we should initiate the idea of "Critics Years." Like Dog Years, this 
          establishes the natural ratio of the number of films a critic sees versus 
          sane, uh, I mean, real people."</b></font></div>
        <p align="left"><br>
          <img src="../images_toronto_telluride/david_poland.gif" width=100 height=105 border=0 align=left><font face="Arial, Helvetica, sans-serif">First, 
          thanks to the many of you who wrote in with kind words about my appearance 
          on "Roger Ebert & The Movies". A few of you pointed out, accurately, 
          that I was talking at the speed of sound. None of you were cruel enough 
          to mention that I looked a little Kabuki-like. I do prefer my natural 
          skin tone. I am a hard color to find make-up for, and if I ever do a 
          lot of TV, I'm either going to have to spend a lot of time in a tanning 
          bed or have some color made up for me like <b>Lena Horne</b> or something. 
          In any case, the folks at the show were very kind to invite me and were 
          very generous, from Roger throughout the ranks. And to those of you 
          who are reading your first or second Hot Button because of the show, 
          welcome. And you regulars... well you know how I feel about y'all.</font></p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">And now, the real column 
          for the day... </font> </p>
        <p> </p>
        <p><font color="#21527B" face="Arial, Helvetica, sans-serif"><b>FESTIVAL 
          WRAP-UP</b></font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">49 movies. That's the full 
          number of movies from Telluride & Toronto that I got to see. Seems like 
          such a small a number after seeing so many films. And it's actually 
          less than that. My actual T-n-T viewings add up to 38 in 12.5 days (missing 
          the first night of Toronto and the first day of Telluride ). Just over 
          three films a day. The other 11 were films I saw at Sundance or in Los 
          Angeles before beginning my festive festival journey. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">On the other hand, in the 
          last weeks, I probably saw more films than the average American sees 
          in a movie theater in an entire lifetime. Perhaps we should initiate 
          the idea of "Critics Years." Like Dog Years, this establishes the natural 
          ratio of the number of films a critic sees versus sane, uh, I mean, 
          real people. By those standards, I probably saw three months worth of 
          films this month. Of course, so did a bunch of critics. I don't know 
          if we need this new standard or how we would use it. Perhaps to give 
          an excuse for someone...anyone...to say "I wouldn't do that to a critic." 
          </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">As my career evolves, I suppose 
          at some point I had better learn to disagree with Beckett, who used 
          "critic" as the ultimate insult. I love what I do and I fear the pitfalls 
          mightily. It's so easy to forget that we aren't the story. It's the 
          movies, stupid. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">And with that said, it's 
          time to give you my Top Ten for Telluride-n-Toronto. The only problem 
          is that I have 17 films I want to hold out for special notice. I've 
          marked each film with a "Te" for Telluride, "To" for Toronto and even 
          an "S" for Sundance so you know where the films have already played. 
          I guess listing films backwards is the most dramatic way to do it, so 
          now that I have been seen on TV in drag (I hate looking at myself), 
          I'll be a drama queen. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">First, here are the films 
          that didn't make the cut. Some, like <b>My Best Fiend</b> or <b>Anywhere 
          But Here</b>, I really liked. Others, like <b>Black & White</b>, I really 
          hated. Others fall in between. But I've written about all of them, so 
          you can do the math. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">THE NEXT TIERS<br>
          <b>Anywhere But Here</b> (To)<br>
          <b>Black & White </b>(Te/To)<br>
          <b>Breakfast of Champions </b>(To)<br>
          <b>The Cider House Rules</b> (To)<br>
          <b>Deterrence</b> (To)<br>
          <b>Dogma</b> (To)<br>
          <b>Dracula</b> (Te)<br>
          <b>East Is East</b> (Te/To)<br>
          <b>Farewell, Home Sweet Home</b> (Te)<br>
          <b>The Five Senses</b> (To)<br>
          <b>Gamera 3: Revenge of Iris</b> (To)<br>
          <b>Goat on Fire And Smiling Fish</b> (To)<br>
          <b>Gregory's Two Girls</b> (To)<br>
          <b>Happy, Texas</b> (To/S)<br>
          <b>The Jaundiced Eye</b> (To)<br>
          <b>Jesus' Son</b> (Te/To)<br>
          <b>Joe The King</b> (To/S)<br>
          <b>Judy Berlin</b> (To/S)<br>
          <b>Karussell</b> (Te)<br>
          <b>Komodo </b>(To)<br>
          <b>A Map of the World</b> (To)<br>
          <b>Mumford</b> (To)<br>
          <b>Music of the Heart</b> (To)<br>
          <b>My Best Fiend</b> (Te/To)<br>
          <b>Onegin </b>(To)<br>
          <b>Place Vendome</b> (Te)<br>
          <b>Rosetta</b> (Te/To)<br>
          <b>Snow Falling On Cedars</b> (To)<br>
          <b>Splendor</b> (To/S)<br>
          <b>To Walk With Lions</b> (To)<br>
          <b>Tumbleweeds</b> (To/S)<br>
          <b>Wisconsin Death Trip</b> (Te)<br>
          <br>
          And now, the seven films that didn't quite manage to break into the 
          Top Ten, but that I really hope you'll see and that have me as a fan 
          for life. In alphabetical order: </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>American Movie</b> (To/S) 
          - Wonderful documentary about a regular guy who needs to be a filmmaker. 
          Funny, horrifying and jaw-dropping at times, this one is a must-see 
          for any true movie lover. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>Grass </b>(To) - Another 
          documentary. But this one is on drugs. Well, drug. <b>Ron Mann</b> takes 
          the style of <b>Comic Book Confidential</b> and turns up the volume 
          to 11 to create a film that is irresistibly fun. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>Guinevere</b> (To/S) - 
          <b>Audrey Wells</b> makes a smart movie about young women who give themselves 
          to older men. Is it love? Is it an arrangement? Who is getting the better 
          the deal? The movie lets you decide for yourself and <b>Stephen Rea</b> 
          and <b>Sarah Polley</b> kick acting butt from start to finish. </font> 
        </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>The Limey</b> (To) - Terrific 
          new crime thriller from <b>Steven Soderbergh</b>. <b>Terrance Stamp</b>'s 
          best work ever as a bad guy with a righteous mission: to find out who 
          killed his daughter. This one is both post-modern and retro at the same 
          time. If you liked <b>Out of Sight</b>, you should check this out. </font> 
        </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>Me & Isaac Newton</b> 
          (To) - <b>Michael Apted</b> looks into the hearts of scientists and 
          finds (surprise!) hearts. A good movie that demands your attention. 
          Not the e-ticket that <b>Grass</b> is, but shows a richer level of personal 
          insight. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>Miss Julie</b> (Te) - 
          <b>Mike Figgis</b> is playing with the form and this adaptation of the 
          Strindberg play creates serious intensity with the great <b>Peter Mullen</b> 
          and the ever-stronger <b>Saffron Burrows</b>. She has the quieter role 
          here and holds steady against the hurricane that is Mullen. Yes, you're 
          going to have to put up with Strindberg, but Figgis makes it worth the 
          time. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif"><b>Sweet & Lowdown</b> (Te/To) 
          - A very good <b>Woody Allen</b> movie with a great performance by <b>Sean 
          Penn</b> and one of the first appearances of an actress who is about 
          to skyrocket, <b>Samantha Morton</b>. The title is perfect in describing 
          the movie. It is sweet and it is lowdown - or low key. It's not a laughfest. 
          But it is warm and watching Penn is a too rare treat.</font></p>
        <p><font face="Arial, Helvetica, sans-serif">10. <b>Princess Mononoke</b> 
          (Te/To) - This is <b>Roger Ebert</b>'s favorite film of the year so 
          far. I can't go quite that far. But it is a spectacular bit of animation. 
          Miramax has done an excellent job adapting the film to English, with 
          a <b>Neil Gaiman</b> script and mostly impeccable voice casting choices. 
          It would not be shocking for this to be an Oscar&reg; contender, assuming 
          that there isn't a mile of red tape because of the film's foreign-language 
          origins.</font></p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">9. <b>Mr. Death</b> (To/S) 
          - <b>Errol Morris</b> has created another masterpiece. No other filmmaker 
          brings the kind of artistry to the documentation of fact that Morris 
          does. Not only is the subject deceptively simple to start, but the three 
          act structure is both gripping and unforced. As I've written in this 
          column before, I fear that this film will be too smart for the room, 
          but I can't emphasize enough that this is both an insightful document 
          and powerful entertainment. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">8. <b>But I'm A Cheerleader</b> 
          (To) - This is the one real "discovery" film on my list. Three of the 
          Top Ten are from first time filmmakers, but this is the only one that 
          comes from someone who hasn't already had massive success in other areas 
          of the industry. In many ways, this film is a trifle. Perhaps I could 
          lose an argument that would give <b>Sweet & Lowdown</b> this slot instead 
          of this wild comedy about a heterosexual brain-washing camp for gay 
          kids. But <b>Woody Allen</b> can handle the lack of attention. <b>Jamie 
          Babbit</b> does what every young filmmaker should do. She got a script, 
          by <b>Brian Wayne Peterson</b>, that was simple and tight and left room 
          for comedic inspiration that wouldn't take away from the storytelling. 
          She made strong casting choices, from someone not so well known, like 
          <b>Melanie Lynskey</b>, to great cameo performers like <b>Ru-Paul</b>, 
          <b>Bud Cort</b> and <b>Mink Stole</b>. And when it came to the movie 
          itself, she made audacious choices. If you are going to use pink, Use 
          Pink! If you are going to do a penis joke, get the big shovel handle. 
          And if you are going to create a new Cruella DeVille, hire <b>Cathy 
          Moriarty</b>. This is a fearless, funny movie and it deserves not to 
          get stuck in the gay movie ghetto just because it has a story that involves 
          gay people. It's for everyone. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">7. <b>Me Myself I</b> (Te/To) 
          - One of the delights of Telluride and one of the most well-made commercial 
          comedies of the year. <b>Rachel Griffiths</b> is on the verge of becoming 
          the "it" girl on a studio level as well as on the indie front. The film 
          was kind of lost in the early days of Toronto amid the hubbub over <b>American 
          Beauty</b>. Sony Pictures Classics should challenge itself to have a 
          Miramax-level success with this movie. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">6. <b>American Beauty</b> 
          (To) - I really do like this movie. Yet, it is only number 6 on this 
          list. This film will resonate for a long time with a lot of people, 
          though the backlash has already begun. I've written a lot about it already, 
          so I will curb myself, but it lacks the one thing all of the Top Five 
          on my list today have: deep and abiding passion. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">5. <b>Mifune</b> (Te/To) 
          - This Dogma 95 production is modern, in that it makes no bones about 
          prostitutes being prostitutes and social climbers being social climbers. 
          But it is deeply old-fashioned in that it is all about what we really 
          desire when we strip away all the expectations of our daily lives. This 
          is, in its kinky way, a family film in the best way. It's about rediscovering 
          what family is all about. You never know what's going to lead you to 
          happiness. It may even be <b>Toshiro Mifune</b>. (Note: <b>Mifune</b> 
          was written into the story because the director, <b>Soren Kragh-Jacobsen</b>, 
          wanted to celebrate the great actor after he died, just before the film 
          started shooting.) </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">4. <b>The Straight Story</b> 
          (Te) - Just thinking about this film calms my restless soul. This should 
          be one of the big Oscar&reg; pictures this year, a thought confirmed 
          after seeing some of the weak sisters at Toronto that were meant to 
          be Oscar contenders. This is another film that has been written about 
          extensively in this column, so I won't preach to the converted. Go see 
          the film when it comes to your town. And remember not to expect any 
          asteroids. Let it wash over you and it will stir the spirit you sometimes 
          forget to take care of in this crazed world. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">3. <b>The Girl On The Bridge</b> 
          (Te) - I almost feel as though <b>Patrice LeConte</b> knows something 
          about me personally. His films effect me to a shocking extent. I still 
          daydream sometimes of falling in love with a beautiful hairdresser and 
          living over the shop in a perfect love. The court of show business is 
          not too different from the court of Versailles. And now, the question 
          of destiny and that one true love in the world hits every note right 
          once again. LeConte takes a run at a highly stylized production and 
          hits it right on the head where filmmakers like <b>Francis Coppola</b> 
          and <b>Woody Allen</b> have failed. I can't wait to see this one again. 
          Just seeing the clip on the "Roger Ebert & The Movies" tape got my heart 
          beating wildly. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">2. <b>Romance</b> (To) - 
          I had zero expectations for this film going in. I expected "just another 
          sex flick posing as art." And what I got was a daring, smart, funny, 
          cruel, fearless, stunning work on female sexuality and fear that I consider 
          one of the best films of the year and perhaps the most meaningful treatise 
          of the decade on how women really deal with sex. How can a film about 
          a self-abusive woman be a feminist work at the same time? Because it 
          tells the truth. Without fail. It will take some work for audiences 
          to get past the sex to the insight, but I believe they can do it. Too 
          bad the sex is all that's being sold. The film deserves better. </font> 
        </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">1. <b>The War Zone</b> (To/S) 
          - This has been my choice as the best film of the year since I saw it 
          at Sundance eight months ago. Fearlessness is, I'm realizing, the theme 
          of this list and there is no film more fearless in telling the truth 
          than <b>Tim Roth</b>'s first work as a director. Incest was a popular 
          topic for films last year, perhaps the best being the Dogma 95 film 
          from <b>Thomas Vinterberg</b>, <b>The Celebration</b>. <b>The War Zone</b> 
          is even more dangerous and threatening to anyone who might harbor a 
          sympathy to someone who falls into this unforgivable temptation. Because 
          Roth doesn't create villains who are easy to rage against. He creates 
          the very real people who we all know and work with who have a dark, 
          dark secret. And isn't it always the secret that destroys the soul, 
          even more than the act? This film is booked for a two-city run around 
          Oscar&reg; qualifying time. With all the mini-art-majors around, the 
          industry should be ashamed of itself for not taking this film on. The 
          war continues. </font> </p>
        <p> </p>
        <p><font face="Arial, Helvetica, sans-serif">Okay, that's it. Thank you 
          all for reading. Thanks to the <b>roughcut.com</b> crew for putting 
          me up in short order every morning for 20 straight days. And thank God 
          I'm home.</font></p>
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