Directed By: Bryan Singer Written By: Christopher McQuarrie Starring: Kevin Spacey, Gabriel Byrne, Stephen Baldwin, Kevin Pollak, Benicio Del Toro, and Pete Postlethwaite Release Date: August 16, 1995 The Plot: A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup. Oscar Victories: Best Writing (Screenplay Written Directly for the Screen), Best Actor in a Supporting Role (Spacey) Alphabet Trivia: What actor regrets passing on the role of Dave Kujan?
This is a selection that I probably would not have picked, but being a fair person, and glancing at all the votes it received, there was no way that I could dismiss The Usual Suspects. I had thought about possibly asking someone else to review it, someone who thought it was a classic, but this makes the writing more interesting. I honestly forget the first time I saw this. It was long ago when I initially started to become obsessed with film. I didn't dislike it, but it was a "shrug your shoulders" sort of experience. Up until now, I always felt it was a tad overrated. I decided to watch it again, and actually, I bought for a decent price. I realized that my expectations were too high the first time at bat. Giving this thriller a second go around resulted in a much more enjoyable reaction.
The Usual Suspects was Director Bryan Singer's sophomore effort as a filmmaker. It was a long and strenuous ordeal to get the movie made. Screenwriter Christopher McQuarrie had written eight to nine drafts of the script, and finally Singer thought it was ready to be sent to studios in hopes of someone approving it. Nobody did, not even independent studios, except one European financing company who dished out some crucial cash. This enabled Producers Singer and Michael McDonald to make offers to actors; however, all who signed on had to accept payments significantly lower than normal. They all wanted to work on this though. The bad news landed another blow when that European money fell through. By then, the screenplay and the cast were tempting enough that Polygram agreed on a budget of 5.5 million. Shooting was wrapped in 35 days.
The reasons I am fond of this picture might or might not be similar to everyone else's. For starters, Singer successfully took two men who are extremely unreliable in terms of quality performances; renovated their negative traits, and shaped them into fascinating multi-layered characters. One is Stephen Baldwin, who after the horrendous Bio Dome, could not attract anything but B-movie trash. As the borderline insane entry man Michael McManus, Baldwin is a highlight in every scene, commencing with his version of the specified sentence at the lineup. He nails every line with sizzling humor and gripping no nonsense persuasion. The second is Kevin Pollak, who generally is nice and affable, but customarily forgettable. He plays Todd Hackney, an expert on explosives. Pollak's sharp comical tone is still present, but as a two-bit criminal, it is augmented. Pollak would definitely benefit from more villainous turns.
The remaining portrayals are solid as well. Gabriel Byrne is unfaltering and cunning as Dean Keaton with his pokerface expression. Keaton is an ex-cop, who became a known ruthless crook, but retired, and developed a relationship with his lawyer, Edie Finneran (Suzy Amis). Byrne's work always struck me as persistently too serious with that same recognized mood. I would classify his best job in Miller's Crossing, but he supplies a satisfactory submission here. Benicio Del Toro is Frank Fenster, McManus' partner. Thankfully, with the subtitles on, you can understand clearly what Del Toro's mumblings are, but that is half the fun. He is suave and hilarious during his short stint. It would mark the beginning of his rise to great heights. The standout is Kevin Spacey as Roger "Verbal" Kint, the crippled con-man who narrates and operates as the center of the show. Pushing aside how the plot transpires, Spacey is simply brilliant with a sly, harmless, idiotic façade shadowing his sneaky and merciless true self.
What could have easily been a monotonous interrogation sequence with Customs Agent Dave Kujan, executed with surprising guts by Chazz Palminteri, is instead a series of hypnotizing, hysterical, and harrowing exchanges. In the opening minutes, the five aforementioned criminals are apprehended into a line-up because a truck loaded with weapons was stolen. No one admits to it, and while breaking down the shady reasons they are sitting in jail together, they plan a revenge heist together. Switch then to the consequences of all the events that have gone down. Verbal Kint is being questioned by Kujan, and reveals what exactly occurred after the line-up. Or does he? As the chief storyteller and narrator, Kint may be unreliable.
Like George Lucas with Star Wars, calling Bryan Singer's approach to The Usual Suspects is anything but inventive. The list of master filmmakers he borrows from is endless. The most evident is of course Quentin Tarantino; namely Singer's utilization of a non-linear tale. Having said that, Singer lucratively crafts a unique neo-noir journey of suspense by means of what other directors triumphed in previously. The supporting team aids with eccentrically stimulating contributions, as does the imposing Production Design of Howard Cummings, Art Direction of David Lazan, and Set Decoration of Sara Andrews.
The circuitous storyline progresses adequately as a succession of heists and meetings where all the characters can swap, poke, and jab at one another. It is filler in some form, but don't get me wrong, it is indomitably entertaining filler that exists solely until the mammoth twist can hit us right in the head. The viewer thinks they know it all, but suddenly the truth is liberated, and the entire audience is fooled. This was not a desperate twist that we have grown to anticipate from certain genres these days, but one of astute trickery. I would not say Singer's tormenting and teasing of the audience in any way hurts the proceedings. We like to be toyed with on occasion. If done with enough patience and skill, the deception improves our assessment.
Christopher McQuarrie's screenplay is the most remarkable aspect of The Usual Suspects, by far. His prose is crispy and crackles with each moment. The insertion of humor is timed perfectly and is witty to a refined edge. The playful and vigorous score from John Ottoman, in addition to his outstanding editing, buff McQuarrie's script to a mirror shine. The Usual Suspects escalates and fuels its thrusters based on the enigmatic Keyser Soze, the invisible myth of a man orchestrating the entire shindig. The fact that he is not seen, only briefly heard, adds to his intimidation and the fear that he orders Kobayashi to instill on this quintet. This film resembles getting startled by a bee. It has a stinging sensation, and eventually swells into leaving a bigger impact.
2nd Place
3rd Place
V is for…
Vertigo
Vertigo
Directed By: Alfred Hitchcock Written By: Alec Coppel and Samuel Taylor Starring: James Stewart, Kim Novak, Barbara Bel Geddes, and Tom Helmore Release Date: May 9, 1958 The Plot: A San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her. Oscar Victories: None Alphabet Trivia: According to Elster, what are the four things that "spell San Francisco?"
What movie instantly springs to mind when history's best filmmakers are mentioned to you? If someone said "George Lucas", surely Star Wars would pop into one's head, and the same could be said of Peter Jackson and The Lord of the Rings. What about the directors who presented us with countless classics to regard like Spielberg or Kurosawa? For Hitchcockians, many would not hesitate to cite Vertigo as the master of suspense's crowning achievement. I would not be one of those people. Rear Window was his best in my opinion, but that's another review. In the span of five years from 1958 to 1963, Alfred Hitchcock would accomplish a feat no other director can claim to have equaled. He completed four straight undisputed classics: Vertigo, North by Northwest, Psycho, and The Birds.
Of that foursome I would say Vertigo is number one, but I didn't always feel that way. Back when I was watching all AFI top 100 films as quickly as possible, I watched this, and was impressed, but confused, and my final verdict was that it was ambitious and entertaining, but too weird. I could never erase its vivid images from my brain though. In researching for this review, I glanced at the frequently asked questions on the International Movie Data Base, and saw that many viewers had to see Vertigo more than once to fully appreciate and enjoy its genius. One user states that the initial screening will have some focusing on the plot holes and improbabilities, rather than the various profound themes. A whole new layer of skin can be discovered when watching Vertigo again.
Recently, I took a vacation to San Francisco. I was able to visit most of the common tourist attractions, as well as some scattered locations featured in a few of my favorite films. Admiring the beauty of San Francisco that Hitchcock captured with his camera in Vertigo instilled a newfound respect for this picture, and the city. His serpentine mystery slithers around to all the great sights such as the Golden Gate Bridge, The Presidio, Old Fort Point, and the Palace of Fine Arts. The cinematography from Roger Burks is an extraordinary wonder of visually breathtaking landmarks in one America's finest spots. His coverage of shadow, light, and vast areas to accentuate what is transpiring is unparalleled. One word can sum it all up…wow!
I refuse to lay out the plot. I'll trust that most of you are familiar with it, so I will not spoil any aspect, and analyze certain parts based on the assumption that the majority understand. From a technological standpoint, Vertigo displayed about as many innovative and influential techniques as Citizen Kane. Vertigo inspired several of the great directors still going strong today. Martin Scorsese and David Lynch are two obvious examples. Scorsese has written about how personal and fundamental it was in shaping his career. Hitchcock was undoubtedly at the pinnacle of his trade with his creation of so many novel shots for the period. To illustrate Scottie Ferguson's sense of vertigo, the simultaneous forward zoom and reverse tracking method, also known as the contra-zoom or trombone shot was formulated. In a later scene where Madeleine escapes the hotel baffling viewers, Hitchcock referred to that moment as an "icebox" scene. Only he could have pulled it off successfully.
There is no explanation for many of the sequences. This is intentional, premeditated, and adroit tantalizing of the audience by a consummate perfectionist. No other Hitchcock offering invoked as much thought-provoking discussion afterwards as Vertigo. In some Instances, it can drive one mad examining why particular events happened, and why others were never spoken about again. In a lesser effort, these would be observed as weaknesses right away, but the reason they are brilliant touches here is because we know Hitchcock to be an expert craftsman, and then as multiple viewings seep under our soul, the added coatings of obsession, differing forms of love, and exploitation of one's humanity are made bare. Once the mystery is solved, a brand spanking new door unveils itself, permitting further phenomenal facets of Vertigo to be absorbed.
The screenplay, eventually finished by Alec Coppel and Samuel Taylor, is based on Pierre Boileau and Thomas Narcejac's novel D'Entre les Morts. It is a superb mixture of manifold genres. The romance, mystery, and thriller elements interlace marvelously. The first script treatment was handed in by Maxwell Anderson, and was then titled Listen Darkling, but it took Taylor's alterations to Anderson's and Coppel's version to reach depth of Hitchcock's liking. The reception during release was negative, both in terms of critics' reviews and box office results. Signs of this arrived at Hitchcock's doorstep following preview screenings as well. Almost all thought it was perplexing. The dream sequence was often highlighted for disparaging comments. Decades later, it would receive standing ovations, and appear in the top 10 lists of numerous critics.
I can only imagine what Kim Novak went through during the course of filming. Dealing with the stickler Alfred pushing her to retake scenes over and over again was arduous enough, but toss in a fear of water during Madeleine's jump into the San Francisco Bay, and the mind can put together how her moods probably changed repeatedly. Nevertheless, she is amazing, passionate, and magnificent in a dual role that will keep all eyes locked on her. Her performance plays tricks on us as we attempt to dissect what her underlying motive is, or that of her husband Gavin Elster, portrayed in a minor bit by a glorious Tom Helmore. Hitchcock had this to say about a specific moment for Novak's character. "That scene in "Vertigo" where James Stewart forces Miss Kim Novak to alter her whole personality by altering her lipstick, hairstyle, even hair tint – for me it has the compulsion of a striptease in reverse. The woman is made insecure by being forced to make-up, not take off." The Last Samurai tried something similar, but not as subtlety proficient as is delivered by Hitch.
For James Stewart, this ranks as one of his best five turns, alongside Mr. Smith Goes to Washington, It's a Wonderful Life, and Rear Window. As Detective John "Scottie" Ferguson, Stewart is a hero with a handicap, but his world is gradually scraped down to nothing by the conclusion. Stewart is so exceptionally versatile, so manically infatuated with Madeleine, and so hauntingly convincing each second, that his existence on screen is comfortable as the complexities are exposed. Ferguson only starts out as the normal affable gentleman we had grown to expect from Stewart. Over the two hours though, a darker, more upsetting exterior manifests. Stewart is one of the greatest actors of all-time; this is just more proof, despite his being blamed by Hitchcock for the movie's failure. Barbara Bel Geddes contributes a stellar supporting part as Midge, a former girlfriend, and current friend of Ferguson.
The culminating stroke of sheer mastery was the score composed by Bernard Herrmann. His music boosts every single portion of Vertigo. It is not as memorable to hum as one by John Williams, but the manner in which it is integrated is pure excellence. Notably when Ferguson is tailing Madeleine and barely any dialogue is spoken. I happen to love little dialogue, but many do not. It allows the viewer to soak up the atmosphere to additional effect. Vertigo is a delicate, sexually devious, lingering tale of the macabre. Scholars primarily believe this film to be a confession of Hitchcock's own manipulation of women. Assuming that it is, my fondness of this emotionally draining masterpiece only improves.
2nd Place
3rd Place
W is for…
The Wizard of Oz
The Wizard of Oz
Directed By: Victor Fleming Written By: Noel Langley, Florence Ryerson, and Edgar Allan Woolf Starring: Judy Garland, Margaret Hamilton, Ray Bolger, Jack Haley, and Bert Lahr Release Date: August 25, 1939 The Plot: Dorothy Gale is swept away to a magical land in a tornado and embarks on a quest to see the Wizard who can help her return home. Oscar Victories: Best Music (Original Score), Best Music (Original Song) Alphabet Trivia: Who was the original choice to play Dorothy?
The Wizard of Oz is one of those surreal magical musicals that will never die. I have admired this fantasy for all of its splendor, radiant beauty, bright colors, endearing characters, and magnetic storyline since I was a child. My family owned an extremely old copy of this on VHS. It was an ancient looking cardboard case, not the big plastic ones like Disney, but a shoddy piece of material that over time, numerous moves, and thousands of viewings became pretty ugly in appearance, but as far as I know my parents still have it. It is a film that became a staple cinematic event for all of us. I had debated on whether or not Willy Wonka and the Chocolate Factory better deserved this spot. Both have invigorating visuals and memorable songs, but only one has Judy Garland, and that is the tie breaker. The Wizard of Oz is a special experience for all ages, and will continue to be just that until we are gone, and a new generation cherishes the enjoyment.
I believe it was Katharine McPhee on American Idol who scored points with millions after her rendition of "Somewhere Over the Rainbow." While it was good, the fact that she literally copied Garland's version just made me want to relive the manner in which she originally sang it. Nothing compares to that moment. Dorothy strolls around her farm looking longingly up at the sky belting that melody with more heartfelt desire than just about any other actress in history. I admit, there are times I tear up like a little school girl when I watch that scene. Even someone as manly as myself is shaken after seeing it countless times. It's that stirring. Above all the other songs throughout the film, "Somewhere Over the Rainbow" is the one that stands out from the rest. It left such an enormous impact on Garland's life, as well as our own.
The list of adaptations from L. Frank Baum's series of "Oz" books is endless. Anyone wishing to read more on this fairytale land should have no problems. Silent pictures, stage plays, various cartoons, and even a sequel entitled Return to Oz are all out there waiting to be discovered, but the 1939 version sits on a throne that can never and will never be challenged. I still have nightmares about the dismal and musicless 1985 sequel starring Fairuza Balk, and The Wiz for that matter. Unlike those, The Wizard of Oz is an excuse to dismiss any depression in one's life, put a smile on your face, and celebrate the spectacle as Dorothy and her three friends "follow the yellow brick road."
I thought my perception toward this classic would never change from the memories I possessed as a child. I was wrong. The Wizard of Oz has spurred so many intriguing theories, ideas, and side-projects that a whole new angle and veneration is waiting to be unearthed. For starters, I had read about syncing up Pink Floyd's "Dark Side of the Moon" album with it for years, but never tried it. One day my girlfriend and I gave it a shot, and it's safe to say the result is more than eerie in certain spots. I also wanted to solve other conjectures. The hanging munchkin is a hoax. Dispelling these speculations can be fun actually. No one deserves more credit for breathing added life into The Wizard of Oz in recent years than Wicked author Gregory Maguire. His insufferably boring novel generated an outstanding Broadway musical, whose ticket prices are continually on the rise. This "prequel" to the events in the 1939 film is terrific, and contains almost as much cheer and unforgettable music.
In 1939, it was good to be Director Victor Fleming. Two of his efforts, The Wizard of Oz and Gone With the Wind were nominated for Best Picture. Fleming is the name that is recognized, but he was not the only filmmaker contributing knowledge and skill. The two that were replaced from the problematic production were Melvin LeRoy and Richard Thorpe. King Vidor did some Munchkin scenes when Fleming left for Gone with the Wind. This was the peak of Fleming's career. Fleming had previously dealt with silent pictures, but after 1939 he would go on to make a few more films that are highly regarded (Treasure Island). His approach in handling the material is matchless. In the end, whatever adjustments he carried out transformed this into a legendary gift for all ages. The screenplay is not gleaming, but nonetheless a tender, compassionate, and clear combination of a delightful trancelike story with memorably loving dialogue. Noel Langley, Florence Ryerson, and Edgar Allan Woolf are the credited writers, but approximately thirteen others, including some cast members, also assisted.
Judy Garland epitomizes a country gal overwhelmed by a strange world. Her performance is transcendent, a glimpse at a young female's vulnerability and innocence. That expression in Dorothy's eyes whenever she speaks will melt your heart. Her line of attack in depicting Dorothy was something of languor intertwined with an unsteady delivery. She hits all the right notes, and her status at the time reflected that. She was known, but this propelled her to super stardom. Her cautiousness emits a sense of a woman who craved bigger and better things. The image of her, frightened, surprised, and affectionate in that blue dress, is eternal.
Dorothy meets three unique friends on her journey to Oz in case you didn't know. The Scarecrow comes first, played splendidly by Ray Bolger. He wobbles and falls so perfectly, and his tone of voice so supportive, yet helpless, that he is adored immediately. The Tin Man is Jack Haley underneath all that make-up. Haley replaced Buddy Ebsen luminously. I have always thought Haley has one of the most unforgettable smiles in all of cinema. Anytime I spotted him in a different movie, that's how I knew him. Bert Lahr is the cowardly lion, intimidating initially as a rough animal, but when confronted he starts crying. Lahr is a lovable oaf in this part, one that becomes strong and resolute. All of these men rose to fame out of vaudeville heading in to The Wizard of Oz. Each one is extremely unperturbed and cozy playing their dual roles. They emanate an aura that says even if the result was a failure, it would not have phased them.
Whenever I think of a witch, one of pure evil, Margaret Hamilton is what pounces into my mind. She is the supreme opposition for Dorothy. The Wicked Witch of the West is everything Dorothy is not, and that theme music viewers first hear when Miss Gulch is riding her bicycle is just spooky and ideal. Her costuming and make-up work is exceptional, and even though she is not the first ever "witch" character, I swear that anytime someone dresses up as in the black pointed hat and green make-up for Halloween, they are striving towards the creepiness of Hamilton. Glinda the good witch is Billie Burke, arriving via bubble to any destination. Her wand and dress are superlatively conspicuous, and Burke achieves a level of motherly optimism which elevates her emergences.
The special effects are not the carefully constructed big budgeted set pieces and computer generated imagery we observe today. If one scrutinizes them closely enough, the mistakes are apparent, but I feel that most people let that slip to the waist side when watching The Wizard of Oz. Sure, you may take notice to the paintings in the background or the blunders of costuming, but it is that awareness of childhood that captures one's imagination and prevents us from being harsh. The Wizard of Oz is a voyage of fantasies and nightmares, and our brain knows how to catapult us into Dorothy's universe, blanketing the set errors. On a side note, that sight of Emerald City in the distance beyond the poppy fields is astounding.
Besides the songs, which everyone on the planet Earth can identify and sing flawlessly without haste, the score by Harold Arlen is also unsurpassed eminence with the tornado sounds, fear-provoking cues, and cheerful melodies heard when the group is skipping along. The Wizard of Oz builds itself by connecting to children, grabbing ahold of the youthfulness in everyone, and by exposing themes and plot threads that kids and adults can relate to. The message is supplied in a way that is adventurous and rousing to the spirit, and implants positive virtues in any viewer. This is also a rare occasion in which this type of ending is appropriate. The color is gone, and Dorothy awakens rejuvenated and prepared to face any obstacle life throws at her. This really is a special film.
2nd Place
3rd Place
X is for…
X2: X-Men United
X2: X-Men United
Directed By: Bryan Singer Written By: Michael Dougherty, Dan Harris, and David Hayter Starring: Patrick Stewart, Hugh Jackman, Ian McKellen, Halle Berry, Rebecca Romijn-Stamos, Famke Janssen, Alan Cumming, Brian Cox, James Marsden, and Anna Paquin Release Date: May 2, 2003 The Plot: The X-Men band together to find a mutant assassin who has made an attempt on the President's life, while the Mutant Academy is attacked by military forces. Oscar Victories: None Alphabet Trivia: How many drafts did the script go through?
There is no one more startled than I that Director Bryan Singer has two films on this list, both appearing in the same part no less. The picks for "X" were small, really small. Regardless of how many selections are available though, X2: X-Men United deserves to be in the spotlight for this letter. The first X-Men definitely helped jump start the current trend of comic book adaptations in hopes of aspiring franchises. That was an average offering that suffered because of the fact that it was an origin story that had quandaries in balancing the introductions and spreading out equal screen time among the characters. X2 was shocking in that it almost entirely outshined the original. It cut away a lot of the meaningless excess, and expanded into healthier areas for a vast improvement.
X2 is the closest this series has ever come to perfection. I have always maintained that the task of crafting a decent comic book flick based on numerous characters each with distinct powers is not only daunting, but straining, and at times impossible. Fantastic Four proved how this can be a terrible mess, and X-Men III: The Last Stand would reveal that in the hands of an incapable filmmaker, a series can take a dangerous dive into shallow waters due to such faults. X2 deftly mixes and separates the mutants and their abilities in ways I thought could have never thought possible. It picks up shortly after the events of the first one left off with Mystique still disguising herself as the Senator (Bruce Davison). Wolverine is searching for secrets from his life, and a new enemy surfaces by the name of William Stryker. He controls mutants with a substance, and desires to copy Professor Xavier's Cerebro to wipe every mutant out.
X2 opens with an exhilarating action sequence involving Nightcrawler (a fantastic Alan Cumming), a teleporter with a forked tail, who disappears, zigzags, and lurches around the White House at high rates of speed, attacks all the Secret Service Agents as they fire at him foolishly, and nearly kills the President with a knife. We discover later that this incident was orchestrated to wound the rights of mutants. This was a textbook example of how to heighten the disposition of the core audience, and simultaneously showcase adept uses of CGI. The whole film displays special effects with intelligence and patience. They are not the priority, the story is what's important. However, the CGI plays an intricate part by infusing the proceedings with entertainment of the highest degree.
The main hindrance with each installment of the X-Men franchise is that its strength is at its peak during the initial theatrical release. These are blockbusters, concocted primarily as a platform for extravagant action sequences, and are consistently more gratifying when one is sitting in front of the big screen with the speakers surrounding you. By the time they arrive on DVD, the mutants have arguably lost some muscle. On the other hand, upon viewing the widescreen transfer of X-Men United, I was amazed at how much I was sucked back into this world of strange creatures, political dilemmas, and psychological manipulation. For films of this caliber, full screen just won't cut it. The viewer must strive for that analogous theatrical ambiance to attain the most contentment.
The comedy seemed a little less desperate for this war, and the humor that was present was significantly less forced, thus mounting the amount of laughter. One excellent scene had Wolverine and Iceman interacting. Apart from the chat about Rogue, Logan grabs a soda, which prompts Iceman to chill it for him. This was not anything to induce hysterics, but what made it funny was the subtlety. Like most sequels of a trilogy, this lacks an obvious beginning, and the end lays the ground work for X-Men III, but I still maintain that this is accessible, and any person could pick most of what transpires without much frustration. While the first adventure just "existed", the follow-up glistened with chutzpah and buoyancy.
All the actors fall more comfortably into their respective roles. Here are some brief comments on the chief mutants from both sides. Hugh Jackman is Logan/Wolverine, and he eliminates a great deal of one-liners in order to explore the depth of his character. Patrick Stewart again steps into the victim shoes, but Stewart is fabulous as Professor Xavier, especially with Ian McKellen as Magneto. McKellen is one of the brightest stars of this pack. He brings an air of confidence and smug attitude to Eric Lehnsherr. The film is best when he takes center stage. Halle Berry is Storm, one of the weaker aspects. Although Berry is tolerable, she struggles with the overly emotional scenes. Famke Janssen is Dr. Jean Grey, a woman whose powers of telekinesis are still very ambiguous, and Janssen nails that mysteriousness marvelously. James Marsden is Cyclops with his super cool laser beams. He takes a bit of a backseat due to sacrificing his abilities for his lovelost sulking, but Marsden is ok I guess.
Anna Paquin is reliably brilliant as Rogue. She proves to be the only young female competent enough to portray her. Mystique, the eye candy of the series is played with aching sexiness by Rebecca Romijn-Stamos (oops I forgot she's been de-Stamosed). Her shape shifting is unfailingly thrilling. Kelly Hu is Yuriko, an enemy mutant controlled by Stryker. She has adamantium finger nails which are discovered during an awesome confrontation with Wolverine. Brian Cox's depictions are usually trustworthy, and as William Stryker he does not disappoint. My favorite two are Shawn Ashmore as Iceman and Aaron Stanford as Pyro. Their powers are obvious, but the sub-plot with the students is the lifeblood of X2. The quick glimpses of the children's exclusive skills are always neat. I remember that a separate spin-off is/was in the works for the kids, but it is being mixed with the rest of the cast that exudes their potency. The reaction might be different by themselves. Everyone is given the opportunity to flaunt their stuff, and the proper niche was found in balancing the silly and serious.
Bryan Singer's blueprints for X2 were assembled with a fastidious, subversive, and efficient style. The script of Michael Dougherty and Daniel P. Harris is adequate in that obligatory escapist sort of way. The story is relatively easy to grasp, but pooled with the incredible effects, the concluding picture is a viscerally charged bundle of kinetic energy fused with shrewd, yet momentary touches on humanity and the acute impact a race of mutants can have. Let's face it, this is the only X-Men escapade worth repeated visits. Unlike its predecessor and successor, it holds up over time.
