1. Harold and
Maude (1971) – 8/10
A death-obsessed young man living with his rich, but
socially conservative mother finds something to live for when he begins a
romance with an elderly woman. Their love however becomes rocky when those
around them won’t accept it. “Harold and Maude” very much feels like an
independent movie of today made back in the 1970s. It features a progressive
view of love and celebrates unorthodox relationships and alternative
personalities and lifestyle choices. A very odd, but sometimes touching
response to the 1960s sexual revolution and attack on social norms. Ruth Gordon
is fantastic as Maude, and Bud Cort’s performance as Harold is also likable.
2. Annabelle
(2014) – 5/10
After their home is invaded by a pair of satanic
cultists, a young couple with a newborn baby starts to experience paranormal
phenomena seemingly based around a vintage doll they purchased. The
spin-off/prequel to the outstanding horror film “The Conjuring” lacks the
terror and innovation of the earlier film. Instead, it feels more like a poor imitation
of “Rosemary’s Baby”. The plot itself
doesn’t even draw from the supposed true story of this doll, and its actual
significance is undermined by a focus on Biblical horrors. However, it does
have an excellent use of sound, a few genuinely surprisingly moments and I
think (though I’m unsure) that it represents a Christian take on the
counterculture movements of the 1960s (though done poorly, it’s a noble attempt
at sophistication).
3. The Hangover
(2009) – 8/10
When 4 men go to Las Vegas for a Bachelor Party, they
wake up to find the groom missing and that they have no memory of the night
before. They see that their only option is to work with the clues they have
available to them. Honestly, I never saw the film at the time of its release
and always suspected the hype to be unjustified. Having finally seen it, I can
declare that it’s more than I expected. Though often juvenile, the humour is
generally pretty funny. What makes the experience however is the bond formed
between Phil, Stu and Alan, and their journey of discovery, which involves us
every step of the way.
4. The Machinist
(2004) – 8/10
Trevor Reznik, an industrial worker and insomniac hasn’t
slept in a year. When it appears that there’s a plot out to harm him following
a factory accident, he begins to doubt his sanity and isolates himself from the
few people he’s close to. The English-language psychological thriller from
Spain might be one of the best films I’ve seen in regards to creating a
schizophrenic experience. The story is told in a near first-person manner which
involves us directly with Reznik, and makes the series of events just as hard
to comprehend for us as it is him. Christiane Bale delivers one of the most
traumatic performances of his career, but even without him the screenplay
itself has enough surprises to keep you on edge constantly.
5. Kandahar (2001)
– 7.5/10
During the rule of the Taliban, an Afghan-Canadian woman
returns home and travels the countryside to find her sister, who plans to
commit suicide before the arrival of the 21st century. Made in Iran
and released before the 9/11 attacks, “Kandahar” offers a look at life in the
Islamic third world without the bias over the fear of terrorism. While the
story often becomes side-tracked by external scenarios, it does surprisingly
work in its favour. The result is a near documentary feel of authenticity, and
allows the real life issues of war, poverty and gender inequality to be
explored closely. However, the experience doesn’t feel quite full without a
closer examination of the Taliban’s cruelty and the ending’s bleakness might
alienate many viewers.
6. Gone Girl
(2014) – 8.5/10
After his wife disappears, Nick Dunne becomes the focus
of an intense media frenzy and his innocence comes into question, all the while
he tries to piece together what really happened and why. The new David Fincher
movie is nothing short of great, as you’d expect from the master filmmaker.
From the screenplay’s duality of various plots, numerous twists and turns, to
its realistic and sympathetic leads in Ben Affleck and Rosamund Pike, and its
visual style, Fincher’s brilliance is exemplified again. Watching “Gone Girl”
you find yourself making many assumptions, but as the film slowly explains
itself, you find yourself surprised and occasionally even shocked like you
should in any great mystery.
7. The Eternal Jew
(1940) – 3/10
After the Germans occupy Poland and move the Jews into
ghettos, the film depicts the group as evil and bent on world domination and
the subjugation of the Aryan people. The history of the ‘Jewish problem’ is
told by a narrator. I can’t tell if “The Eternal Jew” or otherwise known as “Der
Ewige Jude” is a great example of Nazi evil or stupidity. All I know is it
isn’t a great example of filmmaking. Getting past the blind hatred, it’s not
even effective propaganda. It couldn’t be more obvious than numerous examples
of the nefarious Jew are totally made up, and the few things that are true are
twisted to the point of ridiculousness. Finding a copy in German with English
subtitles is extremely rare due to the limited commercial release, but I doubt
the dubbed version I saw was much worse. While “Triumph of the Will” has gone
down as among the most influential films in history, this one is hardly worth a
gander even for a high school history lesson.
8. Dr Jekyll. And
Mr. Hyde (1941) – 7.5/10
After consuming a potion aimed at separating the good and
bad sides of man, Dr Jekyll finds himself unwillingly transforming into the
dastardly Mr Hyde, and tormenting a young woman who despises him. Though
blessed with legendary Victor Fleming in the director’s chair, the remake of
the 1931 movie only 10 years after feels incredibly unnecessary despite
succeeding well in its own individual way. Spencer Tracy is great as
Jekyll/Hyde, though lacks the more animalistic traits of Fredric March’s Hyde
and strikes you as more of a hoodlum than a monster born of bad science. Though
still done well, a lack of new scenes, different set designs and a very similar
script, it kind of makes you question what the point of it all was. A film in
1931 would hardly have been outdated within 10 years, and it was simply done better.
That said though, I loved Ingrid Bergman.
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10. Fantasia
(1940) – 8.5/10
Disney animators take numerous pieces of Western classical music and infuse it with their own interpretations of what it’s trying to say, with some coming out a visual-based stories and others just simply being a dreamy collection of pictures. “Fantasia” rightfully goes down as one of the best animated movies of all time, and above all else has aged insanely well. The animation is brilliant, and almost always is perfectly suited to the great music that accompanies it. With little dialogue and no consistent story given it’s built around smaller segments, it’s intensely dramatic and even psychologically endearing on the occasion. The earlier segments and the final one are especially commendable due to their own stories either not being very specific, or just being so rich and grand. A must-see film for any lover of film that wants something different.
Disney animators take numerous pieces of Western classical music and infuse it with their own interpretations of what it’s trying to say, with some coming out a visual-based stories and others just simply being a dreamy collection of pictures. “Fantasia” rightfully goes down as one of the best animated movies of all time, and above all else has aged insanely well. The animation is brilliant, and almost always is perfectly suited to the great music that accompanies it. With little dialogue and no consistent story given it’s built around smaller segments, it’s intensely dramatic and even psychologically endearing on the occasion. The earlier segments and the final one are especially commendable due to their own stories either not being very specific, or just being so rich and grand. A must-see film for any lover of film that wants something different.
11. God’s Not Dead
(2014) – 3/10
A first year college student enrols in a philosophy
classes headed by a militant atheist, and finds himself forced to defend his
faith through reasoning. Whether you’re a Christian or not is actually
irrelevant to the enjoyment of this movie. Any person with sense will see past
this movie’s terribly ineffective propaganda. Every single character is an
absolute moron, and the differences between Christians and atheists in the film
is so horribly misrepresented it’s almost funny. What’s even worse though is
the film’s ‘evidence’ in favour of creationism. It twists a very small amount
of scientific research to its favour, it makes no sense at all and the hundreds
of arguments refuting religious claims are simply overlooked. Additionally, it
has numerous subplots that are not only even less interesting, but they also
serve little to no purpose. Before the credits roll, it has the audacity to
tell those watching to text “God’s Not Dead” to everyone they know. All I’ll be
doing is telling people to avoid this idiotic garbage.
12. Boss Nigger
(1975) – 7/10
Two black bounty hunters wander into a small Western town
to find the outlaw they’re looking for, only to learn that there’s no sheriff.
They take on the job and police the town in their own way in order to meet
their goals. Both a blaxploitation movie and a western, something no doubt more
familiar since the release of “Django Unchained”. Though political correctness
has impacted the release of the DVD by title, the film remains unaltered. Too
much so actually. Many of the film prints clearly went through deterioration
over the years, resulting in a very choppy look. The humour is incredibly funny
and showcases star/writer Fred Williamson’s ability to write tongue-in-cheek
comedy. Not really a great Western as many limitations in budget and such are
very apparent, but it works well in some ways.
13. Prince of
Darkness (1987) – 7/10
A research team discover a cylinder containing a
mysterious green liquid in an abandoned church, only to learn that it contains
the essence of the devil himself, and that through it he will spread his
influence among them. It does contain typical traits of director John
Carpenter, though I found it to be generally more underwhelming than I
anticipated. His use of music in establishing mood and creativity in practical
effects is as brilliant as it always has been. The depiction of Satan as more
of a corrupting influence on humanity rather than an actual tangible figure is
also unique. However, the film suffers from greatly uninteresting characters
that hold back investing drama, and while Donald Pleasance performs to a high
standard he feels like he’s putting on his Sam Loomis mask on a bad day. A nice
watch, but not the best representation of Carpenter’s talents.
14. Zombie (1979) –
7.5/10
After her father goes missing, his daughter and a
reporter travel to an exotic island where he was doing scientific research and
learn of his colleague, who is struggling to find a cure to a growing zombie
epidemic. My first Lucio Fulci movie. While I did find it to have structural
problems in that it’s still setting itself up well into the second act, and the
real excitement of the genre is only realized until the third, it is a great
work. The mystery is consistent with Italian horror and the makeup and
practical effects pay off brilliantly in the climax. The cheap look and bizarre
titling setup across the world are forgivable for what the film itself is.
15. Martin (1977) –
8/10
A young man that believes himself to be a vampire goes to
live with a hostile side of his family while trying to adapt to life and his
urges for blood. A unique take on the vampire genre. Zombie king George Romero
strips it of its norms and grounds it in a very real setting. What I find most
compelling is that Martin’s supposed vampirism and loneliness are treated as a
handicap to his ability to live a happy life, rather than as a depiction of
monstrosity. I love the occasional flashbacks, which juxtapose Martin’s 1970s
experiences with his supposed memories of the 19th century. They
have chilling quality like that of a classic Universal movie. Getting beyond
its addressing of the real life issue of loneliness and lack of understanding,
unfortunately I found John Amplas’ leading performance to be quite flat.
16. The Secret of
NIMH (1982) – 8/10
A widowed mouse seeks out the help of an underground
group of intelligent rats to save her ill son, only to learn of her late
husband’s history with them. The animated classic by director Don Bluth is
still just as strong more than 30 years on. Though it is very clearly a family
movie, what I really like about it is how willing it is to step outside of
potential restrictions. It’s occasionally dark in all the right places,
balances out drama with kid-friendly humour, and has some very endearing
characters. Don Bluth’s artwork holds up very well.
17. Cocoon (1985)
– 8/10
A group of aliens return to Earth to retrieve cocoons
they left on a previous trip. When they submerge them in a pool, a group of
senior citizens from next door swim in it and obtain a youthful feeling and a
new grasp on life. One of the older Ron Howard-directed movies, “Cocoon” merges
sci-fi creativity with the very real experience of old age. The fountain of
youth is something we all dream of at some point in our lives, and this film
allows us to live such an experience through its many characters. While the
aliens are not deeply explored, the concepts surrounding them are unique. We’re
brought into the story of the elderly and the aliens through strong writing and
heartfelt performances by the likes of Brian Dennehy, Don Ameche and so on.
18. The Sword in
the Stone (1963) – 7.5/10
A young orphan named Arthur aspires to be a knight’s
squire until he meets the wizard, Merlin, who seeks to educate him and help him
realize his full and undiscovered potential. Yet another classic Disney movie
to cross off my to-see list. “The Sword in the Stone” is an enjoyable, but
pretty standard rites of passage tale. The humour is usually strong, but
occasionally resorts to out of place slapstick, but the experience is really
made by the friendship between Arthur and Merlin, who go beyond that little bit
beyond your basic mentor-student bond when considering the stakes at hand. It’s
short and tightly paced, though I found its ending to be extremely rushed.
19. Pork Chop Hill
(1959) – 7.5/10
While negotiations to end the Korean War are at play, Lt
Joe Clemons is ordered to lead an attack on Pork Chop Hill, which has since
fallen under Chinese control. However, this isn’t made easy by the fact that no
soldier wishes to die in what will be one of the final battles of the conflict.
Through cinema, the Korean War often feels forgotten considering the more
significant WWII and Vietnam War it took place in between. The set and
conditions of the battle are exceptionally realistic, and the drawn out nature
engage you quite directly. Gregory Peck is strong in the lead role through his
empathy and headstrong leadership, though his character isn’t deeply explored
which inhibits this from joining the ranks of some of his more well known
roles. It is understandable as an American film, but I did find that the lack of
Korean characters underrepresents their contribution to the real conflict.
20. TRON (1982) –
7.5/10
A computer hacker interacts with a villainous computer
system and finds himself brought into the world of software. He’s forced to
take part in gladiatorial games and can only escape with the assistance of a
rogue program. Though I wouldn’t go as far as calling it great, “TRON” is worth
celebrating for its unique concept and lasting impact on the world of
animation. The mixture between simplistic 3D visuals with real life people is
delightfully artificial looking and adds a human touch that helps us understand
this fictional digital world more clearly. Even if it’s very outdated now, the
concept of mechanical dominance over man remains as relevant as ever, and is
showcased wonderfully through Jeff Bridges’ performance as Flynn.
21. Corpse Bride
(2005) – 8.5/10
A groom with a reclusive temperament practices his
wedding vows one night in the woods, only to have them overheard by the corpse
of a dead bride who then thinks he has just married her. In a time where Tim
Burton’s filmmaking has been very on and off, “Corpse Bride” is by far one of
the best examples since “Ed Wood”. I love the stop motion animation that’s been
focused on so sharply that you can hardly see the usual static effect in most
movies. The juxtaposition between the living and dead world is interestingly
ironic, with the depiction of Victorian England as dull and lifeless, whilst
the underworld is colourful, energetic and full of positive spirit. Voice
performances by Johnny Depp and Helena Bonham Carter are strong though not
irreplaceable by any means. While some overused Tim Burton-isms as I like to
call them are also in here, if you like his visual style and storytelling
methods I see no reason why one wouldn’t enjoy this movie as much as I did.
22. Cat People
(1942) – 8/10
Irena is a Serbian immigrant that marries an American man
named Oliver Reed, but she finds herself unable to be intimate with him as she
fears transforming into a vicious panther from her homeland’s folklore.
Probably one of the less remembered horror classics of the 1940s, especially
considering the well-known remake directed by Paul Schrader. “Cat People” constantly keeps you on
the verge of question. You’re never sure if Irena is just insane and love
struck, or there’s actual truth to the claims of her stories. Budgetary
constraints oddly enough resulted in something that plays more on the unknown
rather than overt monster scenes. While its conclusion does provide you with
some answers, this ongoing lack of knowing makes for a horror film with a few
key scenes with top-of-the-line scares and a noir-style sense of mystery ground
in sexual temptation and the past of its main character.
23. Deep Red
(1975) – 7/10
Following the murder of a psychic, a musician who ends up
a witness to the crime begins a private investigation while the murderer seems
hell bent on stopping the secret from becoming uncovered by killing off anyone
that could expose them. I will admit that for me giallo horror can be a bit of
a mixed bag, and this film is consistent with that. Dario Argento does some
things I think are brilliant, but I think he falters in others. Beginning with
the good, the kill scenes (though numbered far too low for an exciting slasher)
exercise the highest calibre of gruesome creativity. I also really enjoyed its
visual style, which is effective in regards to the use of haunting Italian
architecture and sinister lighting. On the bad side, I found the main character
to be dull and unlikable and many scenes to be far too drawn out relative to
the importance of plot information they reveal, which leads to uneven pacing.
Additionally, due to lost sound recordings during production, the occasional
switch between Italian and English language is very distracting.
My Top 10 Movies For March
1. Fantasia
2. Gone Girl
3. Corpse Bride
4. The Secret of NIMH
5. Cocoon
6. Cat People
7. The Hangover
8. Harold and Maude
9. The Machinist
10. Martin
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