“The Bourne Identity” (2002) Director: Doug Liman Starring: Matt Damon, Franka Potente, Chris Cooper, Brian Cox, Julia Stiles Rating: (3/5)

The first (1988) adaptation of Robert Ludlum’s novel starred Richard Chamberlain and Jaclyn Smith, and the 2002 version is stellar by comparison. Given this “remake of an adaptation” scenario, I am trying very hard to avoid my usual diatribe on lack of originality, so on with it: Jason Bourne (Matt Damon), sporting a couple of bullet holes in his back, is fished out of the Mediterranean by some friendly Italian fishermen and nursed back to health. The problem is — guess — that he can’t remember who he is. As the story unfolds, it becomes apparent that he is someone rather important and, perhaps, highly dangerous: He speaks several languages, has unbelievable fighting skills and access to bank accounts and safe deposit boxes containing everything from large amounts of international currency to passports in too many names to mention.

Of course, someone wants Bourne dead (mysterious “sleeper” agents keep coming out of the woodwork). Of course, there is the obligatory woman who helps out (the “damsel in distress” who gets involved for money first, then gets involved period). Of course, intricate car chases and fight scenes abound (including a very Spider-Man-like wall climbing sequence). Yet I still think of this film as underrated and even remarkable in several aspects.

First, the unlikely casting of Matt Everyman Damon as the action hero adds unexpected appeal; it is such a departure from this gifted actor’s norm. Second, this entirely American production — glossy, well-edited, and generally heroic in tone — feels like just the opposite; the film is set in various European locations of breathtaking beauty, aptly captured by the cinematographers. Linguistic and cultural authenticity is also worthy of praise, as is the casting of Franka Potente (made famous by the 1999 German masterpiece “Run Lola Run”) as Bourne’s sidekick. Oscar winner Chris Cooper (“Adaptation,” 2002), Scottish import and Hollywood mainstay Brian Cox, and Julia Stiles (see this issue’s feature film review of “The Business of Strangers,” 2001) round out the cast in a film that’s well worth the price of a ticket. –J.D-P

“Chicago” (2002) Director: Rob Marshall Starring: Renée Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah, John C. Reilly, Christine Baranski, Taye Diggs, Lucy Liu, Mya Rating: (5/5)

The merits of “Chicago” don’t need to be discussed in light of its 13 Oscar nominations and six wins, including Best Picture; the film simply swept this year’s Academy Awards ceremonies, and deservedly so. Those of you familiar with my usual gripes have already read plenty of my attention-deficit-disorder-inspired comments such as, “20 minutes of this one should have been left on the editing room floor” – well, not so in this case. There is not an extra minute in “Chicago;” it moves at a phenomenally gripping pace, entertaining despite the storyline made famous by the Broadway play. Practically all scenes are shot from two perspectives – reality and fantasy – and smartly edited to intertwine both. Never has an Academy Award for Film Editing gone to a more deserving recipient.

The ensemble cast is nothing short of brilliant, with supporting roles and cameos by established screen and stage stars (Christine Baranski, Taye Diggs, Lucy Liu, Mya). As to the leads, the Academy snubbed Richard Gere; he was the only starring actor not nominated for his work on “Chicago,” but this shouldn’t come as a surprise. By contrast to stellar performances of his colleagues, Gere’s turn as cynical attorney Billy Flynn is unremarkable, as is his inability to “razzle dazzle,” as Mr. Flynn himself would put it, audiences with song or dance. Catherine Zeta-Jones, the deserving winner of the Actress in a Supporting Role Oscar for her portrayal of the passionately homicidal chorus girl Velma Kelly, is also not surprising, but in a good way: By now, everyone knows she is a more-than-capable actress, and anyone who saw “The Mask of Zorro” (1998) could spot dancing and singing lessons in the background. Oscar nods for Queen Latifah (the famed rap star whose unexpected acting talent became evident in “Set It Off,” 1996) and John C. Reilly (who had a phenomenal year, with three Oscar-caliber films) were equally warranted, but the real shocker of “Chicago” was its star, Renée Zellweger.

Ever since Zellweger’s role as Dorothy Boyd in “Jerry Maguire” (1996), critical accolades and awards have been pouring in, but the actress has had no formal dance or voice training prior to “Chicago.” Even considering almost a year of grueling sessions alongside the more experienced Zeta-Jones, Zellweger is absolutely amazing as Roxy Hart, the ambitious murderess who wants stage success at any cost. Fans of slightly obscure music subculture films may remember that this isn’t the first time the actress ventured into singing. In “Empire Records” (1995), Zellweger’s character, a promiscuous teenager who desperately wants to be in a band, gets to sing a number atop a building. Despite Zellweger’s downplaying the impact of that performance (“I played a girl… who’s too scared to sing and can’t really sing, so there’s that”),* it was pretty damn good.

Even if you don’t have an affinity for musicals, this one is an absolute must-see, if only for the visual and performance extravaganza that it is (notably, Oscars were also awarded for Art Direction, Costume Design, and Sound). –J.D-P

*Gans, A., “A Chat with Renée Zellweger, the ‘Hart’ of ‘Chicago,’” Playbill, January 2003

“fear dot com” (2002) Director: William Malone Starring: Stephen Dorff, Natascha McElhone, Stephen Rea Rating: (2.5/5)

Despite the rather average rating above, I have not been this scared since “The Silence of the Lambs” (1991). This isn’t to say that the two films warrant comparison on any level, simply that if you are like me in spending many of your waking hours on the Net, the concept of a haunted website should be just as plausible as that of a haunted house.

The originality and timeliness of the concept must be lauded: Finally, a horror flick with an entirely new twist on the old serial killer routine. In a nutshell, this is a story of a detective (Stephen Dorff) and a US Department of Health worker (Natascha McElhone) investigating a string of deaths the cause of which stumps even the most discerning forensic doctors. The best anyone can come up with is that the victims were scared to death, literally. Soon, a connection is made: All the victims had visited a very nasty website four days prior to their deaths. From this point, the plot continues to twist and turn; it is unclear who is killing these people and why, whether there are supernatural forces at work, and how this connects to other unsolved murder cases.

Cinematography, art direction, and eerie special effects support the premise of the film, and the payoff is not a let-down. Unfortunately, director Malone’s propensity for horror (“House on Haunted Hill,” 1999) has yet to yield a truly remarkable film. In “fear dot com,” the director works with proven talent, but despite how much I love both Dorff and Rea, their performances here are varying degrees of inferior to their previous work. –J.D-P

“Get Over It” (2001) Director: Tommy O’Haver Starring: Kirsten Dunst, Ben Foster, Martin Short, Colin Hanks, Shane West, Melissa Sagemiller, Mila Kunis Rating: (3.5/5)

Yes, this is another teenage romantic comedy, but it’s a good one. First, I am of the mind that anything with Kirsten Dunst is worth watching. Second, “Get Over It” balances sap with normalcy quite nicely, avoiding the expected nausea usually brought on by thinking of the 90s flurry of teensploitations.

The plot is quite basic: Boy (Ben Foster) is dumped by popular girl (Melissa Sagemiller) and goes to great lengths to get her back, including joining the high-school’s production of a Shakespeare play (spearheaded by the absolutely marvelous Martin Short as the neurotic would-be director/songwriter). Of course, the real love interest presents itself in the form of a friend’s sister (Kirsten Dunst), and the rest is easy enough to figure out.

“Get Over It” is very well written, and, combined with performances ranging from competent to terrific, very funny. Its choreography and interesting soundtrack create an odd yet appealing quality not often seen in the teen genre. Most of the music is decidedly retro (relative to the film’s timing, of course), such as the 80s classic “Alison” by Elvis Costello and The Attractions. In the beginning of the movie, the main character’s walk along a street is accompanied by a strangely appealing performance of The Captain & Tennille’s 70s hit “Love Will Keep Us Together” by an assortment of odd characters – those representing the band along with mailmen, nurses, and various others. On the flip side, the central backdrop of the plot, the Shakespeare play, is accompanied by totally contemporary tunes, including the only known instance of Kirsten Dunst singing [speculatively her own] “Dream Of Me.” In homage to all things music, Vitamin C and Coolio make cameo appearances, and Sisqo surprises with a competent supporting performance, all resulting in a flick that’s sweet, quirky, and fun. –J.D-P

“The Good Girl” (2002) Director: Miguel Arteta Starring: Jennifer Aniston, Jake Gyllenhaal, John C. Reilly Rating: (4/5)

Damn disturbing. Totally realistic. Really, really sad. And who knew Jennifer Aniston had this in her? She has proven to be more than capable before, on both the small and big screens, but this Oscar-nominated performance is beyond anything anyone could have foreseen.

Justine Last (Aniston) is as disillusioned as her surname might imply, if that’s even the right term for “I might as well kill myself.” She is a 30-year-old supermarket cashier in a tiny Texas town, with a pothead for a husband (John C. Reilly), his daft best friend as a near-permanent resident of her home, and absolutely no hope for anything ever changing for the better. Boredom and desperation lead her into an affair with a disturbed younger man (Jake Gyllenhaal) who calls himself Holden in an homage to J.D. Salinger’s The Catcher in the Rye, which, as many know, has been labeled the preferred reading material of homicidal psychopaths (e.g., John Lennon’s assassin, Mark Chapman). Having found a seemingly kindred spirit, Justine embarks on an affair with Holden – an affair which forever changes everything.

Amazingly, hilarious moments often overtake the dreary, miserable tone of the film, hence the reason why this drama has also been referred to as a dark comedy. Indeed, sarcasm is ever-present; what isn’t so clear is the butt of every joke – the filmmakers take a stab at everything from small-town life to marriage and religion. Perhaps most notable is that the film avoids the typical distinctions between good and bad; it is left up to the viewer to decide whether Justine is indeed “the good girl,” or if her life is the very punishment her flawed character deserves. Overall, the film may fall a tad short of a masterpiece, but for what it’s worth, it’s on my “best of 2002” list. –J.D-P

“Impostor” (2002) Director: Gary Fleder Starring: Gary Sinise, Madeleine Stowe, Vincent D’Onofrio, Mekhi Phifer, Tony Shalhoub Rating: (2/5)

In a not-so-distant future, Earth is under attack by superior alien forces, and the social structure is indicative of a pre-apocalyptic culture: There is one global government; its representatives are ruthless and paranoid, and citizens are tagged with security implants which monitor their every move. In this high-tech nightmare, scientist Spencer Olham (Gary Sinise) wakes up one day to find that he is on the government’s hit list, as he is believed to have been replaced by an exact robotic replica of alien design. With the help of a loving wife (Madeleine Stowe) and the predictions of a nutcase (Tony Shalhoub) to guide him, Olham must escape the Major in charge (Vincent D’Onofrio) and prove his identity. Does this sound familiar to anyone?

Clearly, the first major problem of this film is that it borrows and steals from way too many preceding productions, with the main plot being near-identical to “The Fugitive” and “Minority Report” (1993, 2002), to name but a couple. Actually, one could easily attribute the “Impostor” being a box-office bomb to “Minority Report” alone: Both films are based on short stories by the same writer, Philip K. Dick; both were released during the same year; and Tom Cruise is just plain bigger than Gary Sinise. The larger problem with “Impostor” is the failed attempt at social commentary, something that “Minority Report” carefully avoids despite Dick’s obvious original intent. Given the script’s basis (Dick’s 1953 McCarthy-era short story), it is logical that the focus is on what the world would be like without civil liberties we have all grown used to in our current semi-democratic state. Unfortunately, the satire is too grotesque, becoming nearly comical and having the social relevance equal to that of “Judge Dredd” (1995). It also doesn’t help that the payoff is somewhat contradictory to the premise, but I won’t tell you any more on that subject for fear of spoilers.

When a film starts off with such a presumptuous raison d’être, the result is nearly always failure — which, in this case, makes you overlook the good things, including the excellent cast, cinematography, and art direction. Watch this one if you absolutely love science fiction or one of the featured actors. –J.D-P

“Rock My World” (a.k.a. “Global Heresy,” 2002) Director: Sidney J. Furie Starring: Peter O’Toole, Joan Plowright, Alicia Silverstone, Jaimz Woolvett, Keram Malicki-Sánchez, Christopher Bolton, Lochlyn Munro, Martin Clunes, Amy Phillips, Alex Karzis Rating: (2/5)

Admittedly, I make odd film choices. Generally, you should be very scared of a film that has two going titles and different release dates in the same country, as it is almost always a B-level production that went directly to video (with some independent film exceptions, of course). You should also consider the lack of an official site (as well as trailers and movie stills) for a recent release, as it implies both lack of distributor and budget. All that is true in the case of “Rock My World;” however, it stars Peter O’Toole, winner of this year’s Honorary Oscar and best known for “Lawrence of Arabia” (1962), and Joan Plowright, a Hollywood veteran and Oscar nominee (“Enchanted April,” 1992). In addition, director Sidney J. Furie has had too many hit films to mention during his distinguished career; you may remember the now-classic, patriotic “Iron Eagle” (1986) and the comedic “Ladybugs” (1992) starring Rodney Dangerfield.

In “Rock My World,” the frontman of a top-of-the-charts American rock band Global Heresy mysteriously disappears, leaving his clothes on some beach. The band, needing to regroup, rents an English country manor, which belongs to Lord and Lady Foxley (O’Toole, Plowright). The distinguished couple is destitute despite high-society status, renting out their magnificent estate to make ends meet while posing as butler and cook to save face. The band is joined by Nat (Alicia Silverstone), a bass guitarist slated to replace the missing frontman. You can pretty much guess the rest: This comedy revolves around the band coming to terms with a new member against the backdrop of “crazy American kids” vs. “stiff Brits.”

It’s rather appalling that promotional materials and film credits give top billing to Alicia Silverstone; she is by far the weakest link in this “coulda been a contender” production. A far cry from “Clueless” (1995), Silverstone’s performance here begs the pun; she is entirely unconvincing as a rock chick (or even a real person, for that matter). Unsurprisingly, she is completely useless, overshadowed by not only O’Toole and Plowright, but also her younger colleagues, most notably Lochlyn Munro (whose pacifist pothead provides as much comic relief as O’Toole’s anal antics) and Keram Malicki-Sánchez (who plays the resident “tortured artist”).

The music, which the movie is obviously full of, is unremarkable in the beginning, but it does get better as Nat makes an impact on the band’s style (but please don’t read this as “killer soundtrack”). The only truly successful element here is the culture clash premise, exploited to its maximum comedic potential. Overall, “Rock My World” is surprisingly funny despite being disjointed and emotionally unconvincing. O’Toole and Plowright really take the mundane script for a ride; watching this duo in action is a guilty pleasure, especially since we get to see them so rarely. –J.D-P

“Sweet Home Alabama” (2002) Director: Andy Tennant Starring: Reese Witherspoon, Josh Lucas, Patrick Dempsey, Candice Bergen Rating: (2.5/5)

You can take the girl out of Hicksville, but you can’t take Hicksville out of the girl. Still need to see this one?

Southern trailer belle Melanie Carmichael (Reese Witherspoon) is a successful New York-based fashion designer dating the mayor’s (Candice Bergen) son Andrew (Patrick Dempsey). When Andrew proposes, Melanie must go back home to get a divorce from her high-school sweetheart (Josh Lucas) who has always refused to give it. The rest of the plot is as predictable as the movie’s title suggests. Add to that an incredibly high cheese factor, and you get a cute but mediocre weeknight rental.

There are, of course, many funny moments, but redneck humor isn’t exactly an original concept, nor is it treated here in a new way. The movie may well be beautifully art directed and shot; however, given the budget on this baby, it’s to be expected, not lauded. Unfortunately, this is not the caliber of work we are used to from director Andy Tennant, whose more successful recent films in the genre include “Anna and the King,” “Ever After,” and “Fools Rush In” (1999, 1998, and 1996). Still, fans of Reese Witherspoon should enjoy “Sweet Home Alabama” despite its flaws; she is as charming as ever, and is as competent in a redneck routine as she was in her critically acclaimed not-so-dumb “Legally Blonde” (2000). –J.D-P

“Trapped” (2002) Director: Luis Mandoki Starring: Charlize Theron, Kevin Bacon, Stuart Townsend, Courtney Love, Pruitt Taylor Vince Rating: (1.5/5)

“Trapped” serves to prove, once again, that big stars and big budgets don’t make a big film. It has too many faults to list here, so, let’s concentrate on the biggest: I absolutely loved this thriller when it was first released as “Ransom” (1996).

Joking aside, while executed just a tad differently, “Trapped” is identical to the aforementioned, much more successful predecessor. Three thugs (Kevin Bacon, Courtney Love, Pruitt Taylor Vince) kidnap the daughter of the well-to-do Jennings (Charlize Theron, Stuart Townsend) for ransom. The Jennings spend the whole film trying to outwit the kidnappers, and, just as in “Ransom,” an ulterior motive is revealed close to the end of the film; turns out the kidnapping isn’t just about money.

Director Luis Mandoki (“Angel Eyes,” 2001) disappoints for the second time in a row, but fans of Bacon’s antagonists might find something enjoyable here. –J.D-P