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'Tis the season when every expert on any subject is offering lists of "The Year's Best This" and "The Year's Worst That." Mainstream critics are busy trying to out-shout each other with raves for their favorite films of 2002. Some choose films that were merely audacious or technically excellent, while others are more concerned with films that meant something.

Next week, I'll provide links to the favorites lists of religious press critics, and then I'll suggest ten titles that I found particularly edifying this year. I'm interested: What films from 2002 meant something to you? Let me know. I'll post some of the replies in an upcoming installment.

Antwone Fisher penned his autobiography, turned it into a screenplay, and finds himself now the subject of Denzel Washington's directorial debut, Antwone Fisher. Fisher's story is a painful testimony of childhood abuse, anger, forgiveness, and liberation. The film focuses on Fisher's relationships with two key individuals—his counselor and his girlfriend—who were instrumental in his healing.

For the first time, Washington is working on both sides of the camera. He draws strong performances from his talented cast, and turns in admirable work himself as Dr. Davenport, the naval psychiatrist who helps Fisher face his painful past. Newcomer Derek Luke makes a striking impression in the lead role. We come to care about this young naval officer who, prone to violent temper tantrums, needs redemption. Joy Bryant brings radiance and intelligence to the role of Cheryl, whose love for Fisher endures through breakdowns, challenges, and setbacks. They work together, sticking to the business of storytelling, avoiding clichés and cheap sentimentality. In a year full of stories about broken families and empty lives, Washington is to be commended for including scenes that place such importance on family relationships and prayer. In spite of the film's similarities to other recent stories of troubled boys—Good Will Hunting, for example—it becomes one of this year's most inspiring films.

Critics in the religious press are impressed. Michael Elliott (Movie Parables) says, "Many of the same qualities which we appreciate in [Washington's] acting we see in his directorial approach. There's an undercurrent of intelligence and humor which helps ground the film and a considerable amount of restraint in dealing with sensitive matters." Phil Boatwright (Movie Reporter) says "Washington … manages to explore the human psyche without resorting to exploitation or soapy contrivances. It's a good character study with an exceptional performance." Bruce Donaldson (Movieguide) says, "The acting … is excellent and the story is emotionally charged. The climax to the film is powerful and emotionally satisfying."

Darrel Manson (Hollywood Jesus) highlights one of the film's themes: "I'm glad that Antwone's story is not just about someone who pulled himself up by the bootstraps. It teaches us that we all have to rely on others. And we all have responsibilities to others who may well be relying on us."

Writer/director Alexander Payne's About Schmidt is among a handful of films predicted to compete in a close Oscar race this year. This is primarily due to the performance of Jack Nicholson, who plays a retiree coping with the realization that his life has been wasted and trying to salvage what is left of the time he has.

Some critics describe Schmidt as uplifting and inspirational. Indeed, moviegoers around me at the theatre dabbed at their eyes and sighed deeply at its various emotional peaks. But other critics argue are that the film undercuts the usual sentimental epiphanies with an undertow of negativism and cynicism. That is closer to my experience of the film. Schmidt seems to fail at every attempt to connect with others. His climactic speech at his daughter's wedding is well intended, but it is also dishonest. What seems at first to be a breakthrough in the final scenes could also be interpreted as a breakdown, a realization of isolation and failure to communicate. Thus, while Schmidt is clearly crafted by an artist, I found it to be bleak, frustrating, discouraging, and even confused.

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December (Web-only) 2002, Vol. 46