The Best & Worst Films Of 1998 From ‘Saving Private Ryan’ To ‘Primary Colors,’ The Year Had Its Share Of Memorable Movies

Welcome to a look at the films of 1998. But first, a quick quiz: What was the highest-grossing film of the year?

Was it Steven Spielberg’s World War II epic “Saving Private Ryan?” Was it Michael Bay’s asteroid thriller “Armageddon”? Or was it any of the three comedies “There’s Something About Mary,” “The Waterboy” or “Dr. Dolittle”?

The answers: No, no, no, no and no.

Surprise! The film that grossed the most money in 1998 was actually the most honored film of 1997. In other words, James Cameron’s “Titanic.”

Released on Dec. 19, 1997, the bulk of that film’s $601 million (and mounting) gross was earned throughout 1998, pushing it far past the biggest money-maker actually released in ‘98, Bay’s “Armageddon,” which was the only other film that grossed over $200 million (specifically $201,573,391 through Dec. 27).

Several other films topped $100 million, though, including Spielberg’s “Saving Private Ryan,” the movie expected to lead all others at this year’s Oscar broadcast in March. “Ryan” earned $190 million, and that combined with the earnings from “Titanic,” “Armageddon” and the others helped make 1998 one of the most financially successful in Hollywood history.

But money is only one way to judge success. And it is hardly the fairest way to judge quality.

Would anyone really try to argue that “Godzilla” ($136 million) is a better film than “A Bug’s Life” ($114 million)? And would we pay attention to anyone who would?

If not money, then, how do we judge?

Here’s a simple formula: Use whatever basis that you most hold dear. In short, if a film moves you - either by its originality, its intelligence, it audaciousness or its genuine appeal to the heart - then judge it highly, no matter how little money it makes.

On the other hand, if a movie feels derivative or phony or stupid or calculated only to make money, feel free to dismiss it, whatever its final gross profit margin.

And since criticism is a personal exercise, closer in concept to chaos theory than quantum chromodynamics, one person’s individual favorite is often another person’s ongoing source of irritation.

Can it be any other way?

With all that in mind, let’s look at one critic’s view of what was best and worst about 1998’s movie scene.

BEST

Struggle was the theme for 1998, whether it be soldiers landing on Normandy, ex-slaves trying to reconcile their horrific pasts, mockumentaries of contemporary politicians, computer-animated insects, studies in family dysfunction or any number of other troubling situations.

The following films are offered in order of their release:

“Primary Colors”: It opened too early in the year, didn’t make a lot of money, was overshadowed by the more cleverly political films “Wag the Dog” and “Bulworth,” and it continues to suffer from the fact that people are utterly sick of President Clinton and the impeachment process. But none of that changes the fact that this is one of Mike Nichols’ better creations. Boasting an all-star cast - from John Travolta and Billy Bob Thornton to Emma Thompson and Kathy Bates - “Primary Colors” is testament to the notion that often the best way to explore notions of truth is through fiction.

“The Truman Show”: Although Jim Carrey’s supposedly “straight” performance in this offbeat little fantasy was a bit overhyped, Peter Weir’s effort, both in terms of intelligence and entertainment value, still ranks ahead of much else that emanated from Hollywood this year. Carrey is working in goof mode, his Truman Burbank playing like an Ace Ventura on Prozac. But, for once, he fits smoothly into the overall production - a caricature of “real life” television programs - instead of being the central focus. The result is an intriguing commentary on the kind of media-wise navel-gazing that the late 20th century has turned into a near religion.

“Out of Sight”: A couple of years ago, Steven Soderbergh renounced mainstream filmmaking. He said that he’d lost touch with his own vision. He said he wanted once again to make the kinds of films that had turned him onto cinema in the first place. Then he made a bit of self-indulgent pap called “Schizopolis” (which is now out on video). Soon afterward, he adapted this Elmore Leonard novel about a career criminal’s crush on a career cop into a smoothly paced, funny but feel-real movie that arguably is the best Leonard adaptation ever. Along the way, he coaxed the best performances to date from George Clooney and Jennifer Lopez.

“Buffalo ‘66”: Straight off the indie circuit, this Vincent Gallo film - he wrote, directed, starred and wrote the music - is an offbeat study of family dysfunction and the lengths some of us will go in trying to repair the pains of childhood. Ultimately, “Buffalo ‘66” is fantasy, but it is an enjoyable one. Christine Ricci is getting all the attention for her role as Gallo’s kidnap victim/girlfriend, but Anjelica Huston is the one to watch: Her sad excuse of a mother reminds us of the Oscar-winning actress that she used to be.

“Saving Private Ryan”: It’s difficult, if not impossible, to separate the overall quality of this World War II saga from the shock effect aroused by its first half-hour. The opening sequence, revealed mostly in real time, captures a sense of the terror experienced by soldiers and sailors who endured the D-Day landing on Normandy. After seeing that, it would be hard for anyone to easily recapture a sense of critical equilibrium. Yet what’s clear is that the film goes on to probe even deeper into the haunting spectre of war. “Private Ryan” once again demonstrates the awesome abilities of a Steven Spielberg working at his adult best, bringing home notions of courage, loyalty and, yes, love lived out in the face of unspeakable horror.

“A Soldier’s Daughter Never Cries”: Unlike most family stories, especially those told by the children of writers, this fictional memoir (based on a novel of remembrance by Kaylie Jones, the daughter of novelist James Jones) is a loving look back at childhood lived under difficult circumstances (living in France and then repatriating, just before high school, to the United States). Told by filmmaker James Ivory in straight chronological style, and buoyed by the performances of Kris Kristofferson and Barbara Hershey as the fiercely loving parents, Leelee Sobieski and Jesse Bradford as the children, the movie captures the full landscape of existence and not just the individual moments that we tend, in real life, to remember with such devastating effect.

“Antz”/“A Bug’s Life”: Some critics/viewers have their favorites among 1998’s two computer-animated bug films. In any event, that would be a hard call. A variation on the old “Magnificent Seven” storyline, “A Big’s Life” may have a slight edge in its richer colors. But “Antz” does a better job of working out its themes involving the insanity of war and the pressures associated with forced conformity. To me, the two are the flip sides of the same film frame.

“Beloved”: Another Oscar-winning director, Jonathan Demme (“The Silence of the Lambs”), helmed this adaptation of Toni Morrison’s difficult novel. And, like “Primary Colors,” it neither made a lot of money nor did it attract many positive reviews. But just as box-office performance is seldom a valid indication of a film’s quality, sometimes the critics are wrong, too. And they are about this film, which tells a stirring, moving ghost story about the American holocaust of slavery. Oprah Winfrey plays a woman whose reaction to slavery’s horrors fosters horrors anew, but the real performances to watch are those put in by Thandie Newton and Kimberly Elise.

“Meet Joe Black”: If there’s any one film from Hollywood that’s likely to miss the average critic’s Top 10 list, it’s this two-hour-58-minute romantic fantasy. One review that ran in this very newspaper, in fact, retitled it “Meet Joe Dud.” Yet … there was something about this Martin Brest-directed film that moved me enough to feel it long after the house lights went up. Maybe it was the acting of Anthony Hopkins as a man facing the end of his life, Brat Pitt as death incarnate in need of a holiday, or Claire Forlani as the wounded woman who finds, loses, then again finds true love.

Maybe it was Brest’s sedate sense of visual storytelling. Maybe it was the screenplay’s notion that death, as just another natural step in life, is nothing to fear. Or maybe it was just the mood I was in.

Whatever, it lives within me still.

“Shakespeare in Love”: The task for director John Madden was simple: to be both faithful to the works of William Shakespeare and still attract a contemporary audience. He may have done less well than hoped at the latter, and he may not please Shakespearean scholars at the former, but no one can deny that his film is both faithful to the meaning of Elizabethan theater and a clever commentary on late-20th-century manners. Joseph Fiennes portrays the young playwright, hungry both for love and money, who meets a young noblewoman (Gwyneth Paltrow) and commences to live out his play “Romeo and Juliet” (well, sort of) even as he writes it. Madden’s movie offers comedy, romance, a bit of tragedy and even a performing dog or two. What else could you want?

Possible candidates that haven’t yet played Spokane (some of which likely won’t open here except on video):

“The Celebration”

“Life is Beautiful”

“Slam”

“The Thin Red Line”

“Central Station”

“Down in the Delta”

“Rushmore”

BIGGEST DISAPPOINTMENTS

“The Horse Whisperer”

“The X-Files: Fight the Future”

“Godzilla”

“Fear and Loathing in Las Vegas”

“Armageddon”

“Simon Birch”

“The Gingerbread Man”

WORST

“Six String Samurai”

“Halloween H20”

“I Still Know What You Did Last Summer”

“Rush Hour”

“A Night at the Roxbury”

“Small Soldiers”

“Sphere”

“Palmetto”

BEST BY CATEGORY

Children’s movie: “Paulie,” “Ever After,” “The Parent Trap.”

Adventure: “The Mask of Zorro.”

Comedy: “There’s Something About Mary,” “Waterboy,” “Pecker.”

Noir: “Ronin,” “Touch of Evil” (re-issue).

Dysfunction: “Your Friends and Neighbors,” “Happiness,” “The Butcher Boy,” “Lolita.”

Summer blockbuster: “Deep Impact.”

Foreign: “Chambermaid on the Titanic,” “A Friend of the Deceased,” “Amnesia,” “I Went Down,” “Junk Mail.”

GREATISH PERFORMANCES

Sean Penn in “Hurlyburly.”

Kathy Bates in “Primary Colors.”

Eamonn Owens in “The Butcher Boy.”

Robert Downey Jr. in “Two Girls and a Guy.”

Stephen Frye in “Wilde.”

Holly Hunter in “Living Out Loud.”

Ian McKellan in “Gods and Monsters.”

Cate Blanchett in “Elizabeth.”

Meryl Streep in “One True Thing.”

A FEW THINGS THAT MADE THE YEAR WORTHWHILE

The radio traffic reporter, perched atop a trailer along a North Idaho back road, in “Smoke Signals.”

Claire Forlani’s eyes, in “Meet Joe Black.”

Woody Allen’s trademark voice, in “Antz.”

Adam Sandler’s comic sweetness, in “The Wedding Singer” and “The Waterboy.”

Christina Ricci’s rebel nature, in “The Opposite of Sex” and “Buffalo ‘66.”

Dialogue such as “It’s a great day to be indigenous,” in “Smoke Signals.”

Meryl Streep’s maternal toughness, in “One True Thing.”

Edward Norton’s repulsive charisma, in “American History X” and “Rounders.”

Cameron Diaz’s hair gel, in “There’s Something About Mary.”

Black-and-white cinematography, in “Pleasantville” and “Touch of Evil.”

Mike Myers’ ability to do drama, in “54.”

Ralph Fiennes’ car, in “The Avengers.”

Nicolas Cage’s intensity, in “Snake Eyes.”

Tom Hanks’ integrity, in “Saving Private Ryan.”

Antonio Banderas’ irrepressible athleticism, in “The Mask of Zorro.”

Billy Bob Thornton’s tear-filled tantrum about his mama, in “Primary Colors.”

Jet Li’s unwavering gaze, in “Lethal Weapon 4.”

Jennifer Lopez’s adept gunplay, in “Out of Sight.”

Harrison Ford’s studly 50-something physique, in “Six Days, Seven Nights.”

Drew Barrymore dressed like an angel, in “Ever After.”

Gwyneth Paltrow dressed like a boy, in “Shakespeare in Love.”

Final word: Bring on ‘99.