Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will... read more

Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Hunting triumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the '30s and '40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet math genius who ignores his gift in favor of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past, and as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. --Dave McCoy (hide)

Mapping the spaces between fortune and degeneracy, Shakespeare and street cant, Europe and the Pacific Northwest, and gay and straight, My Own Private Idaho is the 1991 masterpiece... read more

Mapping the spaces between fortune and degeneracy, Shakespeare and street cant, Europe and the Pacific Northwest, and gay and straight, My Own Private Idaho is the 1991 masterpiece by director Gus Van Sant. River Phoenix gave the most generous and memory-searing performance of his tragically shortened career as Mike Waters, a narcoleptic street hustler in search of his mother. His best friend, Scott, played by Keanu Reeves, is a son of privilege who fosters plans of rejoining the moneyed world of his father after gallivanting with assorted urchins and ne'er-do-wells. The beautifully symmetrical story that emerges between the two is one of friendship, yearning for lost time, and sexual identity conveyed with a poet's eye for landscape. The camera lingers on abandoned houses in golden fields and time-lapse clouds, providing what T.S. Eliot called "the objective correlative"--external representations of interior emotional states. We're treated to striking iconic sequences like a barn falling from the sky and still-life scenes of carnal entanglement. The supporting cast is a rogues' gallery that includes Flea of the Red Hot Chili Peppers, Udo Kier, director William Richert, and a variety of "nonactors" pulled literally off the street to provide documentary veracity to a film that gleefully careens into riffs on Henry IV. It's beautiful.

What's also beautiful is the Criterion Collection's treatment of the film's DVD debut. The director-approved transfer successfully conveys the warmth of the film's palette of oranges and browns, and preserves the whimsical atmospherics of the yodeling country music soundtrack. Many members of the original crew contribute their fond memories to the documentary features, which include a conversation between Phoenix's sister Rain and producer Laurie Parker. There are also two lengthy audio-only conversations--one between Van Sant and Velvet Goldmine director Todd Haynes, and another between author J.T. Leroy and filmmaker Jonathan Caouette about their experiences on the street. The deleted scenes mostly suggest alternate endings that Van Sant wisely left on the cutting room floor. A superb example of a beloved film on DVD. --Ryan Boudinot

Stills from My Own Private Idaho (click for larger image)

The Cast	River Phoenix	Keanu Reeves
Keanu and River	Udo Kier	Gus Van Sant

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Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing,... read more

Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing, Columbine-style shooting. The movie follows one young boy who takes over the wheel from his drunken dad while returning from lunch, then loops back in time and follows another student who crosses paths with the first, then loops back and follows another--all captured in long, unedited tracking shots that are serene and unhurried, even when two boys in camouflage gear, carrying heavy bags, arrive at the school and begin shooting. Elephant doesn't attempt to explain their behavior; it simply places the audience back in the brief yet interminable window of adolescence, when life is trivial and painfully important at the same time. Your reaction to Elephant will depend as much on your life experiences as anything in the movie itself. --Bret Fetzer (hide)

Gus Van Sant made his name with this offbeat story of a small group of drug addicts who heist pharmacies to feed their habit. Matt Dillon completely broke... read more

Gus Van Sant made his name with this offbeat story of a small group of drug addicts who heist pharmacies to feed their habit. Matt Dillon completely broke with his juvenile persona as Bob, the grungy ringleader and jittery mastermind of a junkie crew. With his frustrated wife Dianne (Kelly Lynch), his loyal partner, the easygoing Rick (James Le Gros), and Rick's juvenile girlfriend Nadine (Heather Graham in an early role), Bob plots ingenious heists and spends the rest of his days sitting around the house getting high. When the heat becomes too intense in Portland, the quartet hits the road for small-town drug stores and hospitals, but when their luck runs out it does so in grand fashion. Set in the Pacific Northwest of 1971, Van Sant so effortlessly re-creates the period that you'd think the film was a time capsule--except for the attitude. Van Sant refuses to moralize and lines his sympathies behind his characters. They're no heroes, but Van Sant can't cast them as villains either. His low-key direction concentrates on the flavor of day-to-day life for a crew of junkies living from fix to fix. Even his drug imagery is inventively placid, a dreamy set of floating visions that suggests their own disembodied states. James Remar costars as the dogged police detective Gentry and cult author William S. Burroughs makes a memorable appearance as the aging junkie Tom the Priest. --Sean Axmaker (hide)

If anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly... read more

If anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly won a Golden Globe for Best Actress in a Leading Role. While director Gus Van Sant handles the fact-based satire with razor-sharp precision, Kidman delivers a deliciously devious performance as Suzanne Stone, a small-town New Hampshire housewife who fancies herself the next Barbara Walters, Jane Pauley, Diane Sawyer, and Maria Shriver all rolled up into one meticulously coiffed package. So determined is she to have a successful career on TV that she'll stop at nothing--even the calculated murder of her husband (Matt Dillon)--to get the attention she feels entitled to. To carry out her scheme she recruits some unwitting local teenagers including one boy (Joaquin Phoenix, matching Kidman's excellence) whose infatuation with Suzanne leads to sexual escapades and predictably troublesome consequences. It's a satirical comedy in Van Sant's capable hands, but it's so close to tabloid reality that the film never seems implausible--which only gives it a funnier, more blood-chilling quality of humor. Featuring Illeanna Douglas, George Segal, and Seinfeld alumnus Wayne Knight in memorable supporting roles, this is one of the best comedies of the '90s--especially if you prefer comedies with a decidedly darker edge. --Jeff Shannon (hide)

Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting... read more

Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting director for defiling hallowed ground. This intriguing cinematic curiosity, though, is hardly as sacrilegious as critics would lead you to believe. If anything, Van Sant doesn't take enough liberties with his almost slavish devotion to the material, now updated with modern references. At times, you wish Van Sant would cut loose with a little spontaneity, a little energy, a little something. Unfortunately, when he does venture outside Hitchcock's parameters, with inserted shots of storm clouds during the murder sequences, it's to little effect. Granted, he liberally splashes color throughout the film (especially in the case of the infamous shower scene), and this is a great-looking movie, but in his obsession with adding a new physical dimension to the film, there's little insight into these characters that Hitchcock hadn't already provided. Vince Vaughn, a robotic and giggly Norman, doesn't crawl under your skin the way boy-next-door Anthony Perkins did, and Anne Heche is admirable if not very sympathetic in the Janet Leigh role. Van Sant does score a minor coup, though, in his casting of the supporting roles: Julianne Moore provides a welcome shot of energy as Heche's irritable and curious sister, William H. Macy is a perfect small-time detective, Viggo Mortensen is studly enough to make you understand why Heche would want to run away with him, and James LeGros walks away with his one brief scene as a used car salesman. And Danny Elfman's gorgeous rerecording of Bernard Herrmann's score is a potent supporting character unto itself. Students and fans of the original film will get a kick out of the modern revisions, but don't expect anything of Hitchcockian caliber; watch it for the sum of its intriguing parts, but not the whole. --Mark Englehart (hide)

Gus Van Sant's Last Days is a film about the death of Kurt Cobain. While the name of the main character has been changed from Kurt to Blake... read more

Gus Van Sant's Last Days is a film about the death of Kurt Cobain. While the name of the main character has been changed from Kurt to Blake and the setting of the suicide changed from a greenhouse in Seattle to a greenhouse in upstate New York, there's no mistaking this film is the product of Van Sant's imagination pursuing the final, lonely moments of the great '90s icon. Rock biopic fans seeking a traditionally gratifying plot should run as fast as they can from this movie and see Rock Star or Sid and Nancy instead; Gus Van Sant's methodology is all about the slow, oppressive creep of time. One shot lingers excruciatingly long on some random foliage outside Blake's (Michael Pitt, The Dreamers) mansion. In another, he makes cereal. Then he sits on a bench for awhile. Or mumbles dialogue to a Yellow Pages ad salesman played by a real-life Yellow Pages ad salesman. Or gradually collapses while watching a Boyz 2 Men video. Meanwhile, Blake's parasitical hangers-on are slightly more animated, occupying his chilly house and clearly on their way to becoming as existentially destitute as he. Sonic Youth's Kim Gordon appears, pretty much reprising an interventionist role she must have played with the real-life Cobain, but this rock star is far beyond rescuing from the brink. Later, when Blake ventures into town to see a punk show, he is cornered by an acquaintance played by Harmony Korine, who tells him a hilarious story about playing Dungeons and Dragons with Jerry Garcia. Where the accumulation of small moments like these don't add up to much drama, they create a pervading sense of dread and sad inevitability. In his life, Cobain railed against all that was phony and hyped; by crafting a visual poem resolutely defiant of rock star spectacle, Van Sant honors the late singer as sincerely as he can, by keeping it real. --Ryan Boudinot (hide)