Saturday, June 30
Top 100 of all time - # 81-85
Moving along down the list, we have a pair of Sidney Lumet films and one of the most timeless, inspiring, and raunchy comedies of all time.
#85 - 12 Angry Men, 1957.
The story isn't exceptionally compelling, but the acting is brilliant. Henry Fonda and George C. Scott doppelganger, Lee J. Cobb spar it out in this courtroom drama pitting human nature against the desire to do the right thing.
#84 - Glory, 1989.
This Civil War epic from Ed Zwick introduces us to Denzel Washington in a stirring performance of a former slave given a chance to show his true worth. Broderick is a bit miscast, but all in all, a great film.
#83 - Fast Times at Ridgemont High, 1982.
There isn't a straight man (or a gay woman) between the ages of 30 and 50 who hasn't had a serious crush on Phoebe Cates at one point or another. Her slow motion red bikini scene is iconic, and Amy Heckerling's raunchy, yet endearing teen comedy opened the door for a new genre. Packed with future stars, it shows its age now, but Phoebe Cates will always be that 19 year old in the red bikini.
#82 - Dog Day Afternoon, 1975.
One of Pacino's best, this film is painfully tense, and is a bold performance as it brings transgendered issues out of the closet and into the mainstream spotlight. Based on a true story, it is almost unbelievable.
#81 - Blade Runner, 1982.
Ridley Scott's visionary take on Philip Dick's classic was a kick in the pants for the sci-fi genre, raising the bar to previously untouched levels. Dark and gritty, Blade Runner is a scary glimpse at a dystopic future and the impact that technology can have on our lives.
Thursday, June 28
Top 100 of all time - # 86-90
Moving on down the list, we have one of my personal favorites from high school and what has become one of the more fun cult classics from the 90's.
#90 - Dazed and Confused, 1993.
Dazed and Confused is the high school party movie that made us all want to grow up in the early 70's. Tight clothes, terrible hair, and a carefree drug attitude, this film showcases Matthew McConaughey and Ben Affleck before they were stars. This is Richard Linklater's finest piece of work, even though it is a departure from his usual style.
#89 - Jaws, 1975.
Steven Spielberg's first success as a director is a frighteningly iconic cinema stalwart. The audience reaction is legendary, and I only wish I could have been surprised by the Great White as it emerged from the water in 1975. Jaws stands the test of time, and still causes a bit of trepidation when you are swimming in the ocean whether you are 20, or 80.
#88 - Grease, 1978.
I've probably seen this a hundred times, most of which were (sorry mom) after coming home from Kindergarten in 1983. Popping in Grease, I would fall asleep to the tunes of John Travolta and Olivia Newton-John. One of the few musicals on this list, Grease is something of a phenomenon in which most of mainstream America has a soft spot, and knows the words.
#87 - Deer Hunter, 1978.
Harrowing in its sheer melancholy, Deer Hunter showed us a Robert De Niro and Christopher Walken that we would never see again. Depressing as all hell, Deer Hunter has one of the most riveting and memorable sequences in film history. You can't help but feel sorrow and pain for these characters as they struggle with their lives and the emotional aftermath of war.
#86 - Platoon, 1986.
The quintessential Vietnam War film, Platoon is more of a character study as Charlie Sheen, pre-Warlock era, gives a great poor-man's-Tom-Cruise performance, and Willem Dafoe and Tom Berenger are astonishing showing the polarized personas of good and evil. The line becomes more blurred as the film progresses. Filled with blood and violence, Platoon is more about the loss of innocence, and survival of conscience than it is about the war itself. Oliver Stone does a nice job with this award-winning film.
#90 - Dazed and Confused, 1993.
Dazed and Confused is the high school party movie that made us all want to grow up in the early 70's. Tight clothes, terrible hair, and a carefree drug attitude, this film showcases Matthew McConaughey and Ben Affleck before they were stars. This is Richard Linklater's finest piece of work, even though it is a departure from his usual style.
#89 - Jaws, 1975.
Steven Spielberg's first success as a director is a frighteningly iconic cinema stalwart. The audience reaction is legendary, and I only wish I could have been surprised by the Great White as it emerged from the water in 1975. Jaws stands the test of time, and still causes a bit of trepidation when you are swimming in the ocean whether you are 20, or 80.
#88 - Grease, 1978.
I've probably seen this a hundred times, most of which were (sorry mom) after coming home from Kindergarten in 1983. Popping in Grease, I would fall asleep to the tunes of John Travolta and Olivia Newton-John. One of the few musicals on this list, Grease is something of a phenomenon in which most of mainstream America has a soft spot, and knows the words.
#87 - Deer Hunter, 1978.
Harrowing in its sheer melancholy, Deer Hunter showed us a Robert De Niro and Christopher Walken that we would never see again. Depressing as all hell, Deer Hunter has one of the most riveting and memorable sequences in film history. You can't help but feel sorrow and pain for these characters as they struggle with their lives and the emotional aftermath of war.
#86 - Platoon, 1986.
The quintessential Vietnam War film, Platoon is more of a character study as Charlie Sheen, pre-Warlock era, gives a great poor-man's-Tom-Cruise performance, and Willem Dafoe and Tom Berenger are astonishing showing the polarized personas of good and evil. The line becomes more blurred as the film progresses. Filled with blood and violence, Platoon is more about the loss of innocence, and survival of conscience than it is about the war itself. Oliver Stone does a nice job with this award-winning film.
Monday, June 25
Top 100 of all time - # 91-95
Moving on with the list, our next film is a classic thriller by John Frankenheimer, starring Frank Sinatra in his acting prime.
#95 - The Manchurian Candidate, 1962.
Sinatra sizzles and Angela Landsbury is absolutely frightening in this psychological thriller about a former Korean war POW caught up in brainwashing and politics. Timely in its political aggressiveness, we are trapped in a nightmare and as the tension builds, we wonder if Sinatra's Bennet Marco will figure things out in time. The 2004 remake with Denzel Washington updated to the Persian Gulf, and was much grittier and violent, but Jeffrey Wright was fantastic. See the original first.
#94 - The Hurt Locker, 2008.
The Best Picture winner of 2008 also introduced us to Jeremy Renner as an A-list star. A ticking time-bomb of tension, we follow a bomb disposal squad through the streets of Iraq led by a cavalier man who may or may not have a death wish. It's powerful and austere, and Kathryn Bigelow becomes the first female Best Director, beating her ex-husband, James Cameron.
#93 - Road to Perdition, 2002.
Sam Mendes puts together an exceptional cast in this stylish film noir adaptation of a graphic novel about a mob enforcer who is put in danger after his son witnesses a hit. Tom Hanks steps out of his typical affable character to play Michael Sullivan, a loyal and devoted company man, and Paul Newman plays the boss in his final feature film role.
#92 - The Avengers, 2012.
The culmination of the Marvel Superhero universe is a fun and action filled ride. Joss Whedon handles the behemoth with style and savvy professionalism. Already climbing the all-time box office list, it is superhero fun to the extreme. They finally got the Hulk right, and Robert Downey Jr. is just plain fun to watch.
#91 - Dead Poet's Society, 1989.
Coming on the heels of Good Morning Vietnam, Dead Poet's Society introduced us to the kinder and gentler Robin Williams. The story takes us back to the 50's to a stuffy East Coast prep school where he inspires his boys to question conformity and follow their dreams. It's a great coming of age story and Williams is the glue that holds it together.
Saturday, June 16
Top 100 of all time - # 96-100
This is the first film by film analysis that I'll post accompanying my top 100 list of all time. I've devoted quite a bit of time and thought to this project, and after posting an alphabetical list over the past few years, I've decided a ranking is much more appropriate. These films are on the list for a number of criteria: standing the test of time, defining the genre, breaking new ground, and the lasting impact upon first viewing (my favorite).
Over a decade ago, I tackled the project of viewing every film on the AFI top 100 of all time. Being a cinephile, I've been watching films since before I can remember. This list is a tribute to the hours of enjoyment. The diamonds in the rough.
We all have movies that we walked away from just bursting with excitement, eager to talk to friends about. Minds blown by twist endings, or moved by stirring acting performances. Some have been so poignant to that point in time in our lives that it stayed with us long after the viewing. Some are ones that warrant watching again and again, committing to memory line after line.
It is nearly impossible to compare a drama to a musical to a comedy to a thriller, so some of these rankings need to be taken with some degree of flexibility. What isn't so ambiguous is the true value and innovation of each of the films making the list. You may agree or disagree, and I'd love to hear your comments, but these are my top 100 films of all time.
#100 - Stepbrothers, 2008.
This comedy will stand the test of time as a true cult classic. Will Ferrell and John C. Reilly are forty year olds living with their single parents, who marry and form a dysfunctional family. What makes this film so enjoyable is the sheer immersion into the roles by Ferrell and Reilly. they act like children, with filthy vocabulary, and the writing is stellar. Great supporting cast as well with Adam Scott, Katherine Hahn, Richard Jenkins, and others. Adam McKay's best work. This is one of me and my wife's favorites.
#99 - Caddyshack, 1980.
The quintessential golfing comedy from the mind of Harold Ramis, showcasing what is arguably Bill Murray and Chevy Chase's best work. Lighthearted and raunchy at times, it was ahead of the curve in the genre and is still a favorite today. Ty Webb is one of the cockiest comic characters who delivers snappy lines that are so well-timed, it would be hard to replicate.
#98 - True Grit, 2010.
One of a handful of recent films to make the list, True Grit is an extremely well-done remake; better than the original. The characters of Rooster Cogburn and LaBoeuf are played spot-on by Bridges and Damon, and the scenery is beautiful and the dialogue sharp. The Coen brothers are two of the best filmmakers in the business, bar none.
#97 - Tombstone,1993.
This was Val Kilmer's tour de force. A journeyman actor who never quite made the A list, but delivered an underrated portrayal of Doc Holliday. The film itself wasn't especially successful, but it is one of the better Westerns made. The genre is seeing a bit of a resurgence, so this film will inevitably fall of of my list, but the rivalry between Kilmer's Holliday, and Michael Biehn's Johnny Ringo is the stuff that movie legend is made of.
#96 - A History of Violence, 2005.
David Cronenberg's low budget and not-very-exposed film is a simple, yet riveting account that doesn't offer a full explanation until the very end. The story unfolds slowly and with graphic, visceral tension. Viggo Mortensen and William Hurt are compelling, and the climax is exciting and satisfying.
# 91 - 95 coming soon...
Friday, June 8
Prometheus
After months of curious speculation and sci-fi fervor, Prometheus has finally landed. The question of "is it, or isn't it?" is finally answered, after elusive interviews and red herrings. Even Ridley Scott himself has answered furtively about the topic. If the extended previews aren't enough of a giveaway, I'll tell you now. It is.
The origins story for the magnificent creation of Dan O'Bannon's Alien universe has come full circle with the explanation of how those feisty and delectably scary creatures came to be. Ridley Scott helms the project in a return to the genre that he helped define over three decades ago, and crafts a picture that puts science fiction horror back on the map. In a related turn, Scott is working on a Blade Runner sequel set for production after his Cormac McCarthy, Brad Pitt, and Michael Fassbender project. No big deal there.
I was ready to view this in 3D and IMAX this morning, when we were told that there were some technical difficulties. We had to settle for 2D, but in my opinion, it is well worth the price of admission. A confusing beginning will become clear at the end, and the serene scenery that provides a visual journey into a futuristic world is prodded along nicely by the musical highs and lows accompanying this beautiful vision of Ridley Scott. The story is straight forward enough; a crew of scientists travel through deep space after identifying an invitation from a superior being that has been hidden throughout generations in a variety of civilizations on Earth. As their exploration begins to uncover more questions than answers, not everyone is satisfied.
It's hard to talk about sci-fi horror films without addressing the elephant in the room; the aliens. Ridley Scott does a terrific job of making the story and the ethereal questions the real star. Although the audiences gather en masse to see scary beasties rip apart people in frightening and spine-tingling manners, the creature(s) in this case take a backseat to this fascinating quandary of existentialism. Scott deftly keeps the creatures an important part of this journey, but not the stars of the show as they have in previous renditions of the Alien universe.
The cast is a great assemblage of veteran actors and up-and-comers. The biggest star is arguably Charlize Theron, who plays the leader of the Prometheus' expedition with a secret that may or may not put her fellow crew members in jeopardy. However, nobody would have guessed at the onset of filming this particular movie that Michael Fassbender would explode with the magnitude that he has, hurtling himself into the stratosphere of fame and making him one of the hottest names in Hollywood. He plays David, the obligatory android accompanying the humans; cool, calm, and emotionless. Following his own protocol, his gaze is convincingly robotic, and he is even given a bit of personality to relieve some of the tension.
Idris Elba plays the captain of the ship, and is notable in his affable demeanor and practical confidence. He is the glue that keeps this whole thing grounded. Noomi Rapace is our Ripley redux, which is a tough pill to swallow. She's a fearless woman thrust into an impossible situation who must sacrifice everything to save the universe. It is a bit cliche for the God-fearing scientist to make such growth over the course of a two hour film, but it is in Scott's head that this all plays out, and I'm sure he had his reasons. I wasn't completely convinced that she was up for the task.
The musical tones from the previews didn't find their way into the film, which I found disappointing. Instead, a more upbeat and out of place score filled the scenes that could have been enhanced by a more ominous tune, or even dead silence. It instead was reminiscent of something you might find in a Star Trek film, where horror and fear are overshadowed by futuristic technology and the allure of interstellar space travel.
The film had good pacing, albeit predictable once contact was made on the planet. Many of the crew members seemed ill-prepared for a discovery or confrontation of this magnitude, but that serves the typical Alien films well. Vastly undermanned when they need it the most. That sense of solitude and isolation is a killer. The scenes that audiences will be looking for are few and far between, and unfortunately the climax is even a bit underwhelming. There is one particular scene however, that evokes the chest-bursting shock of the original Alien, and caused me to literally squirm in my seat. You will know exactly what I'm talking about when you see the film. It is expertly done, and is gruesome and agonizing.
This film leaves some questions unanswered, but that may be purposeful. Perhaps after Blade Runner II, Ridley Scott will take another stab at this universe, which he ultimately did connect nicely to the rest of the franchise. I would have preferred something a bit more unnerving, and perhaps more gory, but that's just me. The job was monumental, and although my expectations couldn't have been higher, I enjoyed this film significantly despite the aforementioned flaws. The one incredible scene will remain memorable for me however. See this film if you're a fan of Aliens. If not, you might not appreciate it in the same light. 8/10.
Sunday, June 3
Snow White and the Huntsman
The re-imagination of the classic Disney fairy tale comes to life in a well-paced and respectable directorial debut of Rupert Sanders. Everyone and their mother knows the story of Snow White and the Seven Dwarves, and although the forgettable Julia Roberts vehicle, Mirror, Mirror was absolutely abysmal at the box office more than a month ago, there have been high hopes for this ambitious incarnation. The success of this film doesn't hinge on the weak portrayal of Snow White (Kristen Stewart), but rather on the sheer villainous portrayal of the evil queen by Charlize Theron. Each time she was in the spotlight in a ridiculous gown and ornamentation, I was waiting for her to crack up, but she nailed the PG-13 version of a murderous, soul-stealing, power-hungry immortal. The makeup artists deserve a bit of recognition as they transform her from old and decrepit to drop dead gorgeous and back seamlessly throughout the film.
With a budget of $170 million, there was significant room for special effects and some money to spend on supporting characters, which I'll get to in a minute. Chris Hemsworth is brutish with long hair and a beard, doing his best Thor impression (wait, he was Thor). This role doesn't demand much range beyond muscle and charm, which he provides amply. Kristen Stewart is the protagonist, and although I am flummoxed by the appeal, she did a passable job without ruining the film by her presence. Let's be honest; The fairest of them all? Not even close. Theron is the face of this film though, and she relishes the role.
The biggest thrill for me, besides the fact that the traditional love story was more frivolity than serious, was the way in which the dwarves were presented. No less than five incredible actors were shrunk down and concealed in heavy makeup and ridiculous hair and beards. Nick Frost, Ian McShane, Ray Winstone, Bob Hoskins, and Toby Jones all shroud their natural appearances for a more Hobbit-like turn, and they aren't given cliche monikers like Happy, Sneezy, or Grumpy. Their presence is an homage to the fairy tale, but it isn't at all obligatory. The Huntsman steals the show in my opinion. His character was given just the right amount of humanity, and he is rough around the edges, but endearing. Sort of like... Thor? OK, there are too many parallels to list, but it's a fun guy to root for.
This film was a box office surprise in its opening weekend, but that's only because Men In Black III was simply disappointing, and there wasn't anything else new this weekend. We can only see Avengers so many times, as it's already become the 3rd highest grossing international film. Ever. No, Snow White is a good film to watch while anxiously anticipating next weekend's Prometheus, which will blow minds all over the world. You heard it here first (maybe not first, but if you're reading this, you heard it here). Go see Snow White if you're itching for a fun getaway, but it isn't really anything fantastical. 6.5/10.
With a budget of $170 million, there was significant room for special effects and some money to spend on supporting characters, which I'll get to in a minute. Chris Hemsworth is brutish with long hair and a beard, doing his best Thor impression (wait, he was Thor). This role doesn't demand much range beyond muscle and charm, which he provides amply. Kristen Stewart is the protagonist, and although I am flummoxed by the appeal, she did a passable job without ruining the film by her presence. Let's be honest; The fairest of them all? Not even close. Theron is the face of this film though, and she relishes the role.
The biggest thrill for me, besides the fact that the traditional love story was more frivolity than serious, was the way in which the dwarves were presented. No less than five incredible actors were shrunk down and concealed in heavy makeup and ridiculous hair and beards. Nick Frost, Ian McShane, Ray Winstone, Bob Hoskins, and Toby Jones all shroud their natural appearances for a more Hobbit-like turn, and they aren't given cliche monikers like Happy, Sneezy, or Grumpy. Their presence is an homage to the fairy tale, but it isn't at all obligatory. The Huntsman steals the show in my opinion. His character was given just the right amount of humanity, and he is rough around the edges, but endearing. Sort of like... Thor? OK, there are too many parallels to list, but it's a fun guy to root for.
This film was a box office surprise in its opening weekend, but that's only because Men In Black III was simply disappointing, and there wasn't anything else new this weekend. We can only see Avengers so many times, as it's already become the 3rd highest grossing international film. Ever. No, Snow White is a good film to watch while anxiously anticipating next weekend's Prometheus, which will blow minds all over the world. You heard it here first (maybe not first, but if you're reading this, you heard it here). Go see Snow White if you're itching for a fun getaway, but it isn't really anything fantastical. 6.5/10.
Subscribe to:
Posts (Atom)