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shows him how he would stage a hit. By the time Kinnear goes home to his wife (Hope Davis) in Denver, he is bursting with stories about his colorful new acquaintance. Then one night, months later, the doorbell rings. It’s the hit man, who tells Kinnear, “You are my only friend in the world.”

The Matador is a character study played in the key of black comedy. It’s dark, quirky, and surprising. Kinnear, Davis, and Brosnan bring their earnest but off-kilter characters to life with great zest and complete conviction. Brosnan is particularly unsparing of his heroic screen image, as if thumbing his nose at James Bond and his trademark sangfroid. Whatever else he does, I’m sure The Matador will remain a benchmark in his career.

82. MATCHSTICK MEN

(2003)

Directed by Ridley Scott

Screenplay by Nicholas Griffin and Ted Griffin

Based on the novel by Eric Garcia

Actors:

NICOLAS CAGE

SAM ROCKWELL

ALISON LOHMAN

BRUCE ALTMAN

BRUCE MCGILL

SHEILA KELLEY

BETH GRANT

FRAN KRANZ

STEVE EASTIN

TIM KELLEHER

JENNY O’HARA

NIGEL GIBBS

Ridley Scott is known for making big, often epic-scale movies such as Alien, Blade Runner, Black Hawk Down, and Gladiator. When he tackled the subject of the Crusades in Kingdom of Heaven, his director’s cut ran more than three hours. But every now and then he feels the need to shift gears and make something lighter. Sometimes this doesn’t pan out, as anyone who saw A Good Year can verify (although I suspect he and Russell Crowe had a great time soaking up the weather, wine, and food of Provence).

However, Matchstick Men, which fell between Black Hawk Down and Kingdom of Heaven, brought out the best in the director: it’s different, more intimate material for Scott, with a perfect part for Nicolas Cage (who purchased the screen rights to Eric Garcia’s novel in the first place).

If this had just been the story of two con men—an old hand and his younger, somewhat impatient protégé—there would have been sufficient material for an entertaining film. But Matchstick Men builds layer after layer on top of that foundation. Cage isn’t simply a flawed hero: he’s a mess. Highly phobic and obsessive-compulsive, he can’t get along without the counsel of his psychiatrist and the pills he prescribes. One day his shrink encourages him to look up the child he had with his ex-wife. The girl is now fifteen years old, and it takes a lot for Cage to work up the nerve to introduce himself…but he does.

Bringing a daughter (Alison Lohman) into his world isn’t easy. Not only does he have to try to overcome his many personality problems, but he can’t be honest with her about what he does for a living—especially since he and his partner (Sam Rockwell) are baiting the trap for a major con. Yet having someone in his life to care about causes real change in his outlook on life, especially when she begins to care about him, too.

I can’t go into further detail about Nick and Ted Griffin’s screenplay without spoiling its many surprises. Suffice it to say that Scott’s eye for detail serves this movie well. The locations around Los Angeles are well chosen and the casting is impeccable (including such reliable and underrated actors as Bruce Altman, as the psychiatrist, and Bruce McGill, as the “mark”). Sam Rockwell is terrific, as always, and Alison Lohman makes an indelible impression as the teenager who slowly warms up to the father she’s never known.

As for Nicolas Cage, he is always at his best playing damaged men. His character could be completely off-putting but instead we root for him, especially as he grows into his new role as a father.

Hans Zimmer provides an inventive score, which is supplemented by an eclectic selection of source music. I will admit that Matchstick Men goes on a bit longer than it should, but its pleasures are many and its plot twists are clever without being forced.

83. MATEWAN

(1987)

Directed by John Sayles

Screenplay by John Sayles

Actors:

CHRIS COOPER

WILL OLDHAM

MARY MCDONNELL

BOB GUNTON

JAMES EARL JONES

KEVIN TIGHE

GORDON CLAPP

JOSH MOSTEL

JOE GRIFASI

MAGGIE RENZI

DAVID