Best movie of the 1990s. No ifs, ands or buts.

Rating: 10/10 (17 January 2000)

I saw the preview for `Sleepy Hollow,' where the main character is a forensics expert/detective, a week before its release when I went to see the tepid `Bone Collector,' which, ironically, also dealt with a forensics expert as the main character. The preview was well done, but when I discovered who was starring and directing, it became an afterthought. Then, something inexplicable must've happened because I relented and decided to see SH after all when it was released.
Well, what followed were 22 viewings in 39 days until it was pulled from my local theater. Now, a film has to be pretty damn good to warrant such a hot streak. I simply haven't seen anything this awesome in years. SH has everything: great plot (I'm sorry, but anyone who calls this a `Scooby Doo' mystery didn't pay much attention to the story), colorful characters, incredible visuals  was I the only one who liked Ichabod's dream sequences?  and phenomenal production design. This is the first film that's commanded my attention through every frame; no scene ever lags or gets boring. Heck, this movie has more Vans than U-Haul (as in 3 Tassels, 2 Garretts, a Brunt played by a Dien, and a Ripper), and more faints than a Backstreet Boys concert. What's not to like here?
I won't delve into the plot since everybody knows it by now, but I will say that transforming Ichabod Crane from the lanky schoolteacher into a constable (a word I will always associate with `Mary Poppins') was a terrific idea, and since I am a huge fan of police/detective stories, this was right up my alley. The special effects fit like an old shoe; that's how natural they looked. Granted, SH is hardly scary but it puts any modern bunk like the insipid `Scream' series, which go for blatant blood and guts rather than an actual plot to scare viewers, to shame.

Every performance in SH is beyond my reproach, especially Johnny Depp's, and I don't count myself among his fans. This blows away his previous top effort, `Donnie Brasco,' because it takes more talent to pull off an Ichabod Crane than a Joe Pistone. His Crane, deeply committed to his occupation, is perhaps the most believable action hero, as opposed to the usual muscleheads usually seen in the action/detective genre (ahem, Arnie). He is a perfect combination of Sherlock Holmes and Inspector Clouseau as he has no problem performing autopsies yet freaks out at the sights of blood, spiders and horseback riders without heads, like any of us would. He may also be the most nonviolent hero in recent memory: he never raised a hand to or threatened anyone, he played peacemaker (or tried to, anyway) on several occasions, didn't swear or spout any misogynistic lines, and for all the times he pulled his gun, he fired only once while trying to protect his two charges from the Horseman. His grand speech in the notary's office was simply amazing.
Christina Ricci is equally impressive as Katrina Van Tassel, though I was disappointed at how she downplayed her character. `I play the stereotypical damsel in distress,' she says. To me, she was the opposite. Rather than a sexpot stagnating on the sidelines, she was part of the action: assisting Ichabod in his investigation (an early version of the script had her helping Ichabod dig out a grave), leaping onto a horse from a speeding carriage and jumping from a flaming windmill. Some have complained about their `romance,' yet I instead considered it a very genuine friendship. Her delivery was excellent as she goes to market with this role. There is a particularly touching moment with her and Young Masbath (awesome Marc Pickering, who is everything Macaulay Culkin should have been) in the Western Woods. Her singing `Pickety Witch' made my blood run cold. Never mind Depp being nearly twice her age, it doesn't hinder their relationship. She just might be the first case of a miscast character that instead has a positive effect on a movie.
The supporting cast stood out well with the lead players; they fit into the film nicely and no role was overshadowed. All  the Van Tassels and the town elders (1799's version of Grumpy Old Men), among others (including much-maligned Casper Van Dien as Brom  give the guy a break already, folks), were fun to watch, particularly Michael Gough as the notary, but with his body language, notably his plodding like a rusty Tin Man from a funeral.
Who better than Chris Walken to play the fanged, pre-headless Hessian? Let's face it, it would've killed the spooky, maniacal aura of his character if he had any spoken lines. Seeing Christopher Lee (who was an absolute steal for 1997's terrific `The Odyssey,' also produced by Francis Coppola) was a nice treat as well.
Some of my favorite performances were also by the Killian family (Steven Waddington, Claire Skinner and Sean Stephens). The line `Don't pick your teeth, you teach Thomas bad habits!' always made me smile.
However, I'd be lying if I said SH was a perfect movie. I thought the characters of Lady Van Tassel and Brom were somewhat underdeveloped. I was disappointed with the ending only that I had expected it to have the oomph `Seven' did (considering who wrote the screenplay), but this is merely small potatoes as the climax formidably holds its own anyway. The runaway carriage scene left me slack-jawed; this is what today's lackluster car chases should take notes from. The Headless Horseman leaves Darth Maul from last May's disappointing `Phantom Menace' and any other horror villains in the dust. Incredible swordplay, especially in the fight under the famous covered bridge.
Go see this right away, you won't be disappointed. This was the final film I saw for the millennium...perfect. If SH does not garner any Oscar nominations in the technical categories, then I'll make someone tie me up with telephone wire and watch `The Postman' for 24 hours straight. 10/10