To talk about life briefly, University went on a mid-year break and I don't think I've ever needed a break more. Even my study-intense HSC period was easier to get through than the juggling I was forced into in May. It did teach me a lot of things though and I found myself with a new sense of purpose. I lacked this for a few years.
In June, my exercise routine fell into a fraction of disarray. My working shifts both late at night and early in the morning messed up my sleeping pattern. Not to mention I also got a mild case of the flu which really did my mood in. I've kept a general consistency in maintaining myself, but these day-to-day trials led me to a blunder or two, but it doesn't matter. I'm back on the horse of building a happier and healthier life.
Movies, though. I don't think I've watched this many in a space of time this short. Ever. Not even when I was in high school, not working and more carefree. It was physically tiring to spend so much time lying in bed, but exhilarating at the same time to see all these fantastic films. Not without a few poor ones to go along with them. I saw 40 it total!
I think for a few days I'll be a bit less religious about it. Sticking to TV shows and doing a bit of exercise to give my mood that extra boost. Here at the 40 movies I saw in June!
1. The AristoCats
(1970) – 8/10
A family of Parisian cats belonging to a wealthy retiree
are dumped out in the countryside after her butler learns of their inheritance
to her fortune. They are helped on the journey home by a smooth-talking tomcat
who becomes a father and lover to the abandoned family. “The AristoCats” in my
opinion is one of the higher quality Disney features released in between Walt’s
death and the Renaissance of the 1990s. The animation is beautiful simplicity.
Its characters are the most lovable factor. Phil Harris is great as the voice
of Thomas O’Malley, and you become drawn to him out of his charisma and
selfless nature. However, at times the film gets a little side tracked with
characters that exist merely to serve a small purpose in the larger story. Also
a big fan of the on-and-off adult humour, with my favourite example being based
around an alcoholic goose (no matter how irrelevant it may have been).
2. Crossing (2008)
– 9/10
To find medicine for his wife’s tuberculosis, a man from
rural North Korea flees to China and struggles to adapt to life as a refugee.
The matter is further complicated when his young son escapes to search for him.
Many comment on the film’s themes of Christianity, but to me the only truly
religious thing about this movie is that it indicates North Korea is an
absolute hell of mankind’s making. Tae-gyun Kim’s “Crossing” seems to have
fallen under the radar with many countries not printing it. I for one had to
import a copy from Thailand of all places. This, I think is a cinematic crime
on many levels. The humanity of the film is levelling with masterpieces like
“Schindler’s List” and “Hotel Rwanda”. The depicting of North Korea and the
struggles of the lucky few that manage to defect is brutally realistic as a
result of it being based on the accounts of those from there. While the
totalitarian state’s crimes against humanity continue to be a priority for
human rights organisations, I feel it’s important more of the mainstream public
see this film just to form a very personal connection with its characters (all
played brilliantly by mostly unknowns). A shattering film experience that
should be made more widely available.
3. Chicken Run
(2000) – 8/10
After being held in captivity and awaiting certain death
for a long time, a flock of chickens ally themselves with a circus rooster to
escape their evil farmers. The first feature-length animated work by Peter Lord
and Nick Park of “Wallace and Gromit” fame is creative, funny and has not aged
in the slightest in the 15 years since its release. The stop-motion animated is
gorgeous. The characters are generally likable albeit fairly two-dimensional
for the most part (and in the case of the villains, their clownish nature works
to hilarious effect). The level of detail in the sets in making the henhouse look
more like a prison camp and numerous events that take place in the story make
the film feel, not like a remake, but a more child-friendly tribute to the
classic “The Great Escape”.
4. C.S.A.: The
Confederate States of America (2004) – 7/10
A documentary on the alternate history that may have
occurred had the Confederacy won the American Civil War. Even though it’s
working with a topic with seemingly endless creative potential, this
mockumentary movie doesn’t always make the most of it, but it is clever in ways
nevertheless. Some of the history suggested is flat out hilarious, but at other
times the movie (intentionally or not) insults figures worthy of at least some
respect. The presentation as a documentary is appropriate for it covering more
than a century of US history, and this gave rise to the opportunity to create
fictional advertisements in between for products that would be sold in a modern
CSA. It’s like watching a show on the old History channel with breaks. Despite
a strive for realism, the film is unfortunately held back by budgetary
constraints and seems to put slavery down as the only factor that separated the
Confederacy from the Union.
5. Holes (2003) –
8/10
Adolescent Stanley Yelnats is wrongfully sent to a youth
detention centre in the Texan desert to dig holes for a mysterious reason.
Having memories of reading the book in school when I was 13, there’s always
been a curiosity in me towards the feature film. Though I’ve got a slight level
of contempt for Shia LaBeouf as a performer, I found that in this film, in his
youth, he fits into the role like a nut in a bolt. The desert landscape is
beautifully complimented by sound cinematography that conveys a feeling of
isolation and nature’s harshness. Another factor that separates it from many
other family films is the structure. Regularly breaking away from the main plot
to showcase past events oddly enough is neither unengaging or slows down the
forward movement of the entire picture. “Holes” never grabbed me that greatly
as a novel years ago, but it’s for sure a fun experience as a film watching it
as an adult for its character-driven story and understanding of the experiences
of troubled youth. A notable component of Disney’s live action library of
movies.
6. The Victory of
Faith (1933) – 7/10
A propaganda/documentary film depicting the Fifth Party
Rally of the Nazis held in Nuremberg in 1933. Leni Riefenstahl claimed that she
was not incredibly proud of the result of her first Nazi movie and that her
later efforts were better. I’ll make the point that “The Victory of Faith” is
disturbingly effective as a propaganda piece, and the experience watching it
means more given the historical significance. Hitler intended to have the film
destroyed a few years after its release, and for decades it was considered a
lost film. What’s interesting is that it depicts Hitler and Ernst Röhm on good
term, yet less than a year later he was killed in the purge now known as ‘the
Night of the Long Knives’. Like Rifenstahl’s more known effort “Triumph of the
Will”, the film promotes the idea of the Fuhrer cult, ethnic nationalism and
depicts the Nazi Party and their asset organisations such as the SS as the
protectors/servants of the German people. You get a good sense of how
totalitarianism emerged in Germany during this time, and how many may have
fallen under the Nazis’ spell.
7. Killer Legends
(2014) – 8/10
An investigation into the true stories that led to the
popularisation of some of society’s most infamous urban legends. What this
documentary really has to say is that the truth is always more terrifying than
fiction. Joshua Zeman’s film is insightful, compelling and unsettling, but if
you have prior knowledge on any of these phenomena you may find yourself being
relayed information needlessly. A sinister tone is established through the use
of a foreboding soundtrack and the often detailed accounts of those that
experienced these events. The most compelling aspect of this documentary I find
is that exploration between what is a definite truth, what we don’t know and
what’s come from society’s damaged imaginations. The biggest shortcoming I feel
is that it ends far too soon and so many other potential legends are never
explored.
8. The Imitation
Game (2014) – 8.5/10
The British government hires brilliant young
mathematician, Alan Turing who along with a small team of others battles to
crack the seemingly unbreakable Enigma Code used by Germany during WWII. A
worthy Best Picture nominee and a great tribute to a man who wasn’t always
recognised for his contributions to the Allied victory. Beyond boasting
outstanding performances from Benedict Cumberpatch, Keira Knightley and others,
I’m especially appreciative of how empathetic it is with Turing’s story. This
goes past his contributions to the war and computer science, but his own
struggles with homosexuality at a time it was considered a mental illness, and
his difficulty in fitting in with most crowds of people. The structure of the
film is also a great joy. Though 90 or so percent is rightfully dedicated to 1940-1945,
the tribulations of Turing’s life as an adolescent and in the early 1950s are
explored. A different kind of war film, with a hero that should be celebrated
for his differences.
9. Stalin (1992) –
8/10
Following the October Revolution of 1917, Joseph Stalin
rises from a power struggle through his bureaucratic influences to become the
absolute ruler of the Soviet Union. While Adolf Hitler has had plenty of film
adaptations I find the number of Stalin films to be far disproportionate. It is
only a TV movie from HBO, but “Stalin” accomplishes what it sets out to do.
Tell us the story of Stalin’s life. Robert Duvall is fantastic in the title
role, capturing the tyrant’s paranoia, sadism, pragmatic qualities and the very
occasional soft spot that was the focus for his propaganda campaigns. The
depiction of the other leading Bolsheviks is very up and down, ranging from
spot on to looking like something from a geek’s costume party. Significant
events in Soviet history are told in an almost bullet-point like fashion and
feels like you’re watching an adaptation of a history book. I feel “Stalin”
could excel further if drama was given more emphasis. It does pretty much tell
us what we need to know. Stalin was a cruel leader, but he also transformed
Russia into a modern state by being headstrong and uncompromising.
10. Hostel (2005) –
7.5/10
During a trip through Europe, three men are told of a
paradise hostel in Slovakia where the women go crazy for American men. Only
after arriving do they learn that their destination has a very grim side and
that something truly horrific is planned for them. Eli Roth has shown himself
to be a competent filmmaker in the modern horror scene and has moved into
territory much darker than his more comedic “Cabin Fever” from 2002. “Hostel”
is both a cautionary tale for tourists travelling to unfamiliar countries, and
a depiction of the depravity humans can be reduced to if the necessary market
reveals itself. However, it’s an incredibly unfair depiction of Slovakia and
the choice to use it is based purely on its obscurity to some Westerners. The
movie is evenly balanced between a mysterious first half and followed by an
exceptionally gruesome second half. I’m still feeling uneasy about the torture
scenes as I write this. The shock value and suspense of the different
components of the film make me almost forgive Eli Roth for writing bland and
bordering unlikable characters. I hate how “Hostel” has been remembered solely
for its violence, but as a test to see how much audiences can take I think it’s
pretty good.
11. Julius Caesar
(1953) – 7.5/10
At a time where Caesar is seen to be becoming
increasingly ambitious and dictatorial, Brutus and Cassius plan his
assassination, but must contend with the response of Caesar’s trusted friend
Mark Antony. “Julius Caesar”, in film or play form, expresses Shakespeare’s
ability to find powerful drama in real history. Due to the elaborate sets and
heavy use of dialogue, the screenplay’s origins as a stage play are apparent
and not always to the strongest effect. While I personally do have trouble with
Shakespearean dialogue to an extent, I did find myself adapting to it fairly
well watching the film and would recommend others do the same. On top of being
an interesting examination of differing perspectives on Caesar’s rule, it’s
also a tale of morality, personal accountability and the sway of public opinion
through figures of authority. Furthermore, it wouldn’t be half as strong if not
for amazing performances by James Mason and Marlon Brando as Brutus and Antony.
12. One, Two,
Three (1961) – 8.5/10
The head of the Coca Cola company in West Berlin is given
the responsibility of caring for his boss’s daughter, but may be fired after
she marries an East German communist. Another classic from Billy Wilder, a
master at adding touches of comedic genius to aspects of daily life and the
realities of the world of the time. Wilder’s movie provides a humorous approach
to looking at the situation of the Cold War in Berlin as of 1961, the divides
between the Western and Eastern bloc ways of thinking and the overall hostility
between the US and the USSR and East Germany. Though it does make fun
constantly, an underlying seriousness over the state of the world and the
perceived imminence of war is explored, educating and compelling the viewer
simultaneously. What’s more, Wilder directs the absolute best out of James
Cagney and turns the classic movie gangster into comical gold.
13. Noah (2014) –
7.5/10
Before the Creator unleashes an apocalyptic flood to
cleanse the world of sin, he chooses Noah and his family for the task of
preserving the leftover innocence of the world through the building of an ark.
Despite a very mixed response, I feel that “Noah” carries on in the tradition
of great Biblical epics of the past, and director Darren Aronofsky has
prevailed once again. It never forces faith down your throat, but rather
approaches the story of Noah’s Ark as one about survival and humanity’s
corrupting influence on an otherwise ideal world. A cast of A-list performers
from Russell Crowe, Emma Watson, Logan Lerman, Ray Winstone, Anthony Hopkins
and others excel, but their characters are for the most part fairly thin. I did
however love the exploration of Noah himself as both a saviour and a heartless
monster that grows as an unwanted outcome of his mission.
14. The Help (2011)
– 8/10
As the civil rights movement in 1960s America begins to
gain momentum, a recently graduated aspiring author begins writing a book on
the lives of black maids working for white families. I really did intend to see
it when it was first released in 2011 before it got pushed back by more recent
releases and other responsibilities. While it could be claimed that “The Help”
is somewhat preachy and occasionally goes out of its way in a depiction of
white characters as bigoted and nasty, it excels far more often. This is
through a combination of heartfelt performances from a committed cast,
including Emma Stone, Viola Davis and Octavia Spencer, an exploration of
society’s past backwardness and an encouragement to improve our world through
risk-taking.
15. Persepolis
(2007) – 8.5/10
As the Islamic Revolution unfolds in Iran, Marjane
Satrapi grows up and sees how the idealistic dream of a new society never comes
into being as promised while she deals with her own troubled youth. The
disposal of the autocratic Shah of Iran resulted in the rise of a tyrannical
theocratic regime that supresses personal freedoms and foreign influences. The
French language animated film however is not a documentary, but rather a very
personal tale of writer-director Satrapi’s experience. The animation is
beautifully simplistic and complemented by the use of black and white,
producing feelings of confusion and hopelessness reflected in both the main
character and the society depicted. “Persepolis” occasionally utilises clever written
humour to explore the troubles that come as part of growing up that transcend
the Iranian setting. Cultural ideals and social change have an impact on our
day-to-day life, but what we do as individuals to adapt to them make us who we
are. Satrapi’s story and its depiction through film remind us of that.
16. Steamboat
Willie (1928) – 7/10
After Captain Pete
throws him off the bridge, Mickey Mouse uses everything available to him on the
ship to entertain his passenger, Minnie. The official debut of Mickey Mouse,
one of the most famous fictional characters in history, is an interesting bit of
film history indeed. I’m genuinely amazed by the quality of animation that
Disney was able to muster back in the late 1920s, and would pay good money to
hear comments from those watching it in theaters. I’m also equally impressed by
the actions Mickey is depicted doing. Some of these things would never pass in
a short film today on grounds that it might promote animal cruelty. So I
suspect at least. Not immensely entertaining by any stretch, but a good 8
minutes of fun that’s a must for any cinephile for its historical value alone.
17. I Know What
You Did Last Summer (1997) – 7.5/10
Four teens hit a stranger with their car and dump the
body at sea to avoid charges. A year later, they’re being stalked and
threatened by a mysterious killer that claims to know what they did. The
adopting of teen film influences by the horror movie doesn’t always work the
way you’d wish, resulting in a film experience that feels dramatically
artificial and constrained in terms of its terror. While enjoyable, this is the
case with “I Know What You Did Last Summer”. There’s a strong enough mystery
and a great guessing game when it comes to the killer’s identity to keep you
engaged, but it never soars to the heights of amazing horror due to shallow
scares and its foolish Dawson’s Creek-esque characters. Despite weak and plain
unlikable male actors, the female leads Jennifer Love Hewitt and Sarah Michelle
Gellar give it their all in delivering content that doesn’t serve their true
abilities.
18. Teeth (2007) –
7/10
A high school girl dealing with puberty and encouraging
other students to remain pure learns that she has developed mythical vaginal dentata,
but what initially appears to be a curse becomes an asset to her. “Teeth” may
appear to have a silly premise, but I’m glad a depiction of such folklore
exists. All the while, the film blends comedy and horror while poking fun at
female sexual development and Christian values. I feel this is best embodied in
the scenes of violence, to my surprise. They’re horrifically uncomfortable, but
you also get this sense of justice that’s overdue for these morally-deficient
male characters. Jess Weixler delivers a fine performance as Dawn, balancing
both teenage confusion and gender-based empowerment.
19. Interstellar (2014)
– 9.5/10
In a future where the Earth is being ravaged by chronic
drought and humanity is anticipating its own extinction, a team of explorers
are sent through a wormhole in space to find a habitable planet. I had my
expectations lowered due to how many others felt, but I was completely
astonished by the film in front of me. Simply because Nolan’s most recent movie
isn’t on equal grounds with “Inception” or “The Dark Knight” does not take away
from how excellent it really is. Nolan has consistently achieved a monumental
standard that it’s only fair he go downward sometime. Everything is completely
up his alley from the epic and emotional score, the grand visuals and the
connection of larger than life concepts with the human experience. In this
case, Nolan tackles ideas of the bending of time relative to its place in
space, the mortality of the human race and the sacrifices individuals make for
their kind. Matthew McConaughey once again demonstrates why his career is on an
upward spiral through his riveting performance as Cooper, and is greatly
supported by a brilliant secondary team. The way I see it, Nolan does what he’s
best at. That’s merging clever ideas with the spectacle of a blockbuster and
appealing to a wide range of audiences. He’s one of the best directors of his
generation and has shown that off again. Bravo, Christopher!
20. Moscow Does
Not Believe In Tears (1980) – 7.5/10
Three country women from different parts of the Soviet
Union are brought together in 1958 Moscow. Over the course of 20 years, their
lives, loves, careers and disillusions are explored. The foreign film that
triumphed over works by Truffaut and Kurosawa at the Academy Awards is a very
cheerful film experience. You’re initially drawn in by the differing
personalities of the main characters, Katerina, Lyudmila and Antonina, but
sympathise with them equally. The film makes light of, but also offers a look
into some desires relevant to all human beings, predominantly our relationships
with others and the accomplishments we aspire to. While it does approach these
topics very seriously, there’s a light-heartedness that reminds us that while
we may not always get what we want, we can still live a happy life. I think
this is why it was so popular among audiences foreign to the USSR.
21. Jurassic World
(2015) – 8/10
More than 20 years after the tragedy of the original
film, the dream of John Hammond for a theme park based around live dinosaurs
has been realised. Disaster strikes when an intelligent hybrid species escapes
and sets off a chain of events, leading to a repeat of history on a larger
scale. “Jurassic World” is the best of the franchise since the original film,
but as anticipated it still doesn’t hold a candle. Right off the bat, it gives
itself the challenge of relying on no returning leads from the prior films and
diverts our interest to newer characters, who frankly just don’t cut it. Bryce
Dallas Howard and Chris Pratt are wonderful actors, but it couldn’t be clearer
that the studio is using their star power as an attraction. The biggest problem
I found is consistent logical failure. The developers of this park clearly
didn’t do their history homework, and the emergency response procedures
depicted are borderline laughable. The film also suffers from very ill-placed
humour that leaves you scratching your head. Problems aside, “Jurassic World”
succeeds as a popcorn film. The CGI, though less innovative than you’d wish, is
nothing short of incredible. The suspense of many scenes is outstanding and in
my opinion borders the original. Other nibbles of creativity can be spotted
throughout. My advice, don’t expect it to be worthy of the 14 year wait, but
expect to turn your brain off and enjoy yourself.
22. The Message
(1977) – 7/10
In the 7th century, Mohammed is named the
messenger of God, and following exile from the city of Mecca, he and his
followers take up arms to liberate the land in the name of Islam. Biblibal
tales of the Judeo-Christian tradition are common, but the Quran is very
underrepresented in comparison. Moustapha Akkad’s film depicts the birth of
Islam and the conditions set that allowed it to grow into one of the world’s
dominant religions. After that though, there really isn’t all that much to say.
It doesn’t force Islam down your throat, but doesn’t give you any other ideas
to chew on in its place. Performers like Anthony Quinn put passion into their
roles, but the characters are skin deep and are never explored deeply. Mohammed
himself is spared depiction given that it’s forbidden in Islam. In line with
beliefs, sure, but unusual as far as dramatic film is concerned. The problem I
feel is that it relies too much on scope, which isn’t impressive enough to
carry it the full 3 hours.
23. Fantasia 2000
(1999) – 7.5/10
A modern version of the classic 1940 film where classical
music is matched with brilliant Disney animation. “Fantasia 2000” is just as
imaginative and beautiful as the original, though won’t go down in the books in
the same way. The use of music is as suitable as before, but what it does
differently is prove itself more experimental. That is, playing is a few
different genres and forms of animation. The CGI gives it a more modern touch,
but up-to-date 2D drawing is still used heavily. I especially loved the final
two segments. “Pomp and Circumstance” gives Disney’s iconic Donald Duck his own
chance to shine in a Fantasia film, and “Firebird Suite” touches on deeper
feelings and appeals on a more subconscious level. I have two issues though. I
found the recycling of “The Sorcerer’s Apprentice” to be a superfluous waste
and time would have been better spent on an original segment, as great as it is.
I also found the humour to be detracting from the film’s more serious goals.
24. The Hunger
Games: Mockingjay – Part 1 (2014) – 8/10
The districts of Panem go into a state of rebellion
following the end of the games, and Katniss Everdeen finds herself being named
the ‘Mockingjay’, a symbol of hope for the civil war against the Capitol.
Despite being merely half of the bigger Mockingjay novel, Part 1 succeeds just
as well as the prior films in the franchise. Concepts of dictatorship,
rebellion and freedom are explored, but in the context of Hollywood’s dramatic
norms. What’s new, however is the notion of symbolism shown through its leading
characters. Jennifer Lawrence excels as Katniss Everdeen as she always has. I
felt that the contributions of secondary characters are a bit undermined in
comparison to the prior films, and I find this very upsetting considering the
untimely death of Phillip Seymour Hoffman. It feels very much like a prelude,
but redeems itself through a grand surprise ending that leaves you full of
anticipation.
25. [Rec] (2007) – 8/10
A television reporter and her cameraman are following an
emergency response team on a usual job, which turns terrifying when they’re
locked in an apartment building where a mind-altering virus has broken out.
This little horror gem from Spain is among many other foreign horror films that
will restore your faith in the genre should it have been affected by
Hollywood’s current output. The use of the found-footage technique combined
with fantastic makeup, effects and a seemingly improvised script lead to a
feeling of realism. This genuine feeling then greatly compliments the film’s
intentions to make audiences feel claustrophobic, disgusted and plainly
terrified. You’re never given any information beyond what the main characters
know minus a few moments of necessary exposition. You feel as though you’re
personally experiencing the events depicted, and that is the mark of a
brilliant and effective horror film. Highly recommended.
26. The Fourth
Kind (2009) – 5/10
A psychologist living in Alaska observes some
consistencies in the stories of her patients that suggest they were abducted by
extra-terrestrials, and draws connections with her own experiences. “The Fourth
Kind” claims to be based on true events that occurred in Nome, Alaska, but it takes
little investigation to see how large chunks of this story are fabricated and
how it shamefully exploits real disappearances for the sake of making a film.
The purported “genuine footage” that’s matched up with cinematics in numerous
scenes is both awkward from the point of view of style, comes off as a shallow
attempt at being artsy and forces the idea that everything depicted is true
down your throat. Those negatives aside, I feel that the film accomplishes the
job of sprouting curiosity about alien abduction in audiences and I do wish the
film explored this further. I also found Milla Jovovich’s performance to be
strong despite how weak most of the material is.
27. City on Fire
(1987) – 8/10
A cop with a troubled personal life goes undercover to
help catch a gang of jewel thieves only to find his relationships with those
around him become more confused. Following viewing, there isn’t a shred of
doubt that this is what inspired “Reservoir Dogs” when you consider character
relationships, violence and overall themes. Rather than divide me over either
of these films, I find myself appreciating both even more. “City on Fire” is
essentially the story of Tarantino film told in a linear structure, a Hong Kong
setting and with a more direct and personal focus on characters on the right
side of the law, notably Ko Chow played by Chow Yun-fat. What I love about it
is how it blends over-the-top and intense scenes of crime and violence with
those of general life experiences, particularly family problems and romantic
dilemmas. At times it flies a bit too closely to the later 1992 movie it
inspired, but what it lacks in Tarantino’s grandiose style, it makes up for
through thrilling action and sympathetic, personally flawed and believable characters.
28. Peter Pan
(1953) – 7/10
Wendy and her younger brothers meet Peter Pan, who takes
them from their London home to the fantasy world of Neverland, where a conflict
between Pan’s gang of runaway children and pirates led by Captain Hook is
taking place. Though I do find it to be a likable film, I feel compelled in
stating that “Peter Pan” has not aged as well as other Disney classics of the
time. Peter Pan and other protagonists embody the film’s themes of growing up
and hanging on to childhood. They key problem I have though is that these
characters are excessively typical and often flat. This however is balanced out
by the over-the-top, slapstick hilarity of Captain Hook (voiced by Hans
Conried). I really love this character and think he’d excel in his own comedy. Another
problem I’d like to point out is the racial insensitivity towards Native
Americans, which may have been passable in the 1950s, but really points out how
dated it is in 2015.
29. Alien³ (1992)
– 6.5/10
Ellen Ripley’s escape pod crashes on a planet being used
as a prison, only to find all its inhabitants are endangered by an alien
stowaway aboard her vessel. Master filmmaker David Fincher’s first feature film
is sadly anything but an example of his full potential as a director, and is
rather just an underachieving third film that follows the two earlier
masterpieces of the “Alien” franchise. Sigourney Weaver is brilliant as the
strong-willed and courageous Ripley, but secondary characters is where the film
really suffers. Those few that actually have some development (ie Charles
Dance’s Clemens) are killed off very early on, and you’re left interacting with
prison movie stereotypes who boast large amounts of expository dialogue. The
film does however have some truly tense moments brought about by Fincher’s
Scott-Cameron inspired techniques, and a tragic, but in my opinion effective
climax.
30. The Town That
Dreaded Sundown (1976) – 7.5/10
In 1946 Texarkana, Arkansas, a sadistic masked killer
known as ‘The Phantom’ stalks and murders young people during the night, as the
local police force frantically tries to catch him. Predating “Halloween” by two
years and now a semi-forgotten slasher classic if not for the recent remake,
“The Town That Dreaded Sundown” works from a great blend of cinematic thrills and
audience curiosity. There’s a constant blend between the facts behind the real
life story of the Phantom Killer, and the fiction written for the sake of an
entertaining flick. Admittedly, the movie does suffer from a very apparent
datedness. This is made up for by chilling and imaginative kills, narration
that reinforces the film’s claimed truthfulness and a remarkable Blu-Ray
transfer I had the privilege of experiencing it on.
31. The Beast of
War (1988) – 8/10
In Afghanistan in 1981, a Soviet tank crew led by an
obsessive and cruel officer find themselves lost in the mountains while being
hunted by Mujahadeen guerrillas. “The Beast of War” aka The Beast is an honest war film. It never takes sides because it
isn’t driven by ideologies such as communism or Islam, nor does it really care
about the specific reasons for either side involved. Why it excels is that it’s
a sympathetic depiction of the conflict, which was still ongoing as of 1988,
from the point of view of both the Soviets and the Mujahadeen. It’s not the
anti-Russian propaganda piece you’d probably expect. An isolating experience is
brought about by the contrasting sizes between the tank and the seemingly
endless Afghan landscape. It tells us that war is just as terrifying as you
wait for something to happen as it is in the heat of battle. Crimes are
committed on both sides, and this is further emphasised through the moral
questions considered by numerous characters (namely Jason Patric as
Koverchenko).
32. Innerspace
(1987) – 8/10
A miniaturisation experiment goes drastically wrong when
the pilot is injected into a random store clerk. The two must then work
together to avoid a gang of corporate criminals looking to access the
technology. A dose of Joe Dante is usually a very pleasurable film experience.
The film is effectively a remake of “Fantastic Voyage” with more aspects of the
comedy and thriller genres. Leads played by Martin Short, Dennis Quaid and Meg
Ryan exercise great comedic and dramatic chemistry, and are complimented by a
few lower-level Dante regulars. What I appreciate is that the film may use the
same concept of “Fantastic Voyage” but strives to do far more with it. My
favourite of these is utilizing it to showcase the Average Joe achieving the
extraordinary. It’s a common characteristic of Dante’s work and is demonstrated
wonderfully through Jack Putter’s changes in character. While at times it does
suffer from being quite over-the-top and you’ll be left with some questions
unanswered, “Innerspace” is a fun movie and I’m sure fans of “Gremlins” and
“The ‘burbs” will be pleased.
33. Whiplash
(2014) – 9/10
Young and upcoming drummer Andrew Nieman enrols in a
prestigious musical academy and finds his abilities and passion both pushed to
the limits by a hard-as-nails instructor who approaches his teaching with
aggression and a perfectionist mindset. I really didn’t want to believe the
hype on this one and tried to put it aside as much as possible. In retrospect I
don’t think it would have mattered. “Whiplash” is one of the best films of 2014
for the way it exhilarates on a visual, audio and emotional level. The
cinematography assists its various goals, from its very Kubrick-esque opening
hallway shot, to its extreme close-ups to capture the bloody details and the
lighting to promote mixed feelings of motivation and hopelessness. The drumming
scenes are beyond invigorating. When the booms and crashes hit your ears, there
is nothing else and you’ve been absorbed into the film like a sponge. A degree
of investment that few other films I feel ever achieve. What everyone’s
discussing though that I feel is most important is the more human side of the
story. You can take out the jazz drumming and replace it with anything. The
pursuit to accomplish one’s dreams and pursue passions gives us a reason to
live, and nobody should ever have to apologize for it. I feel almost everyone
has an Andrew Nieman inside of them, and let’s all hope our own Fletcher
(played magnificently by J.K. Simmons in a role he was born to play) is one we
could learn from rather than be the thing that sets us back.
34. Scooby-Doo
(2002) – 4/10
A heat of the moment argument leads to the breakup of
Mystery Inc, only to lead to them reuniting for a new case when they’re invited
to an island resort and uncover a brainwashing scheme. I really wish I could
say the live action Scooby-Doo movie is a way for those who were fans as kids
to reconnect with their childhood. Sadly, what we get is an under thought,
overlong episode that really doesn’t work as a feature film. It uses
reoccurring tropes of the old TV show, but when it runs out of them it resorts
to tossing in random bits of material for the sole purpose of hitting an 80
minute runtime. This extra content is, for the most part, unfunny, clichéd to
the extent that you’d think a 10 year old wrote the script, and is even
occasionally disgusting. It does make a deliberate attempt to get its
characters right. Fred is still your egoist, Daphne is still your
damsel-in-distress and Velma is still your brain. Where it fails is its
inability to build on these already established characters to make for a more
compelling production. Matthew Lillard’s Shaggy and Neil Fanning’s Scooby I
feel are completely in line with what you’d wish for. A few extra criticisms.
The effects are ridiculous and calling them outdated would suggest they were of
quality at one point in time, the soundtrack really does indicate how much this
belongs in a time capsule, and Scrappy Doo can just go to hell.
35. Tropic Thunder
(2008) – 8/10
A group of actors filming a big-budget Vietnam War movie
are isolated in the jungles far away from the set and have to become the kind
of men they’re playing to defend themselves against local drug traffickers. On
the surface one might assume that “Tropic Thunder” is unintelligent, but beyond
its crudeness and loud nature lies a clever parody of both Hollywood and the
war movie genre. When it’s not making fun of war movie clichés and character
stereotypes, there’s a laundry list of criticisms of the mainstream film
industry explored through written humour. Just to knock a few down, it deals
with celebrity worship, the casting of pop artists in roles they’re unsuitable
for, studio control over artist’s methods, scandals impacting professional
reputations and the loss of identity to the kind of people media paints actors
as. I’m hugely appreciative that “Tropic Thunder” points them out through a
subtle cynicism. An all-star cast led by Ben Stiller, Robert Downey Jr and Jack
Black drive this satirical movie that always has us aware of what to take
seriously and what not to.
36. Melancholia
(2011) – 8/10
An already strained relationship between two sisters is
challenged further by a botched wedding, unstable emotions and a recently
discovered planet on a collision course towards Earth. Lars von Trier’s art
film was one of the major releases I wanted to see during my final school year
which somehow got swept into the back of my memory over a few years. It’s
certainly one of the most nihilistic movies to be come out in recent years.
“Melancholia”, as its name would suggest, deals with darker sides of the human
experience, namely depression, tensions between people and the inherent
worthlessness of humankind in the bigger scheme of the cosmos. Kirsten Dunst
and Charlotte Gainsbourg deliver emotionally draining, but nevertheless very
sympathetic and realistic roles. I love Lars von Trier’s approach to the end of
the world. There’s no breakdown of civilisation, widespread panic or any other
kind of tragedy. You’re just left in the quiet, accompanied by Wagner music and
the knowledge of impending destruction. “Melancholia” divided many audiences,
for its gloominess and arthouse qualities. Personally I think it’s a great
achievement visually, emotionally and a nice take on the end-of-the-world
story.
37. 10 Things I
Hate About You (1999) – 8/10
A school’s new student makes a deal with a local bad boy
to take out a shrewish senior, whose younger sister will not be allowed to date
him otherwise because of their conservative father. While in premise, “10
Things I Hate About You” is the epitome of first-world problems, but I feel it
succeeds far more than other teen films released around the time for how it
goes about presenting them. It’ basically a modernised adaptation of
Shakespeare’s “The Taming of the Shrew”, though it masks this fact extremely
well by only dropping a few hints of his influence through visual cues.
Occasionally it feels as though it’ll explore ideals of feminism, consumerism
and staying true to oneself. It only ever scratches the surface in this regard
in favour of presenting more common high school dilemmas through drama cooked
in the mindset of its various stereotypes (portrayed finely by Ledger, Stiles,
Gordon-Levitt and Oleynik). It sits at a solid plateau of cleverness, and
fortunately doesn’t try to go much further at risk of isolating itself from
other genre examples.
38. Life Itself
(2014) – 8/10
The life and career of film critic Roger Ebert, from his
beginnings as a writer for the Chicago Sun-Times to the illness that led to his
death in 2013. “Life Itself”, named after one of Roger’s memoirs written in
2011, is a devout exploration of one of cinema’s most iconic personalities. It’s
safe to say it’s a tribute to Roger Ebert, but what I feel separates it from
other documentaries is how in line with his true attitudes towards life were.
Positive sides of Roger’s life are a major focus, namely his love for his wife,
his friendship with his Chicago Tribune counterpart Gene Siskel and his overall
career success in writing, television and the internet. The real warming aspect
of this documentary is how it depicts Roger’s attitude to the less attractive parts
of his wife. Approaching issues such as alcoholism early in his career and the
terminal illness that rendered him confined to a chair and unable to speak are
much less the causes of prolonged suffering, but rather indicative of new
beginnings. As heart-wrenching as it is to see Roger in poor health towards the
end of his life, his sunny optimism rubs off on this movie like magic. Roger
Ebert, I can never thank you enough for your contributions to film criticism
and it’s fair to say this documentary is your legacy in a nutshell.
39. Dracula’s
Daughter (1936) – 6/10
Beginning right after the end of the first film, bodies
with mysterious wounds star appearing across London while a Countess seeks the
help of a noted psychiatrist to escape an evil influence that is haunting her.
It really begs the question whether the classic “Dracula” by Tod Browning
really need a sequel. While it certainly aspires to be another one of the
horror classics of the time, “Dracula’s Daughter” has all the technology, but
little of the gifted talent that made the previous film work so well. The use
of familiar sets, concentrated lighting and fog machines gives it a film
noir-like appearance suitable to its mysterious tones and sexualised
undertones. Where it falls short is an expository script that lacks subtext in
dialogue and has few interesting characters. You really do feel the absence of
both Tod Browning and Bela Lugosi, but I will say that Gloria Holden as Marya
Zeleska is seductive and creepy, and a fair replacement for our beloved
Dracula.
40. An American
Tail (1986) – 8/10
While a Russian family of mice is emigrating to the US
for a better life, young Fievel gets separated and must try to find them while
adapting to the new world he’s found himself in. Don Bluth’s movie is more than
just a story of character maturation through experience, but also a depiction
of immigrant experiences during the late 19th and early 20th
centuries. Fievel, voiced by Phillip Glasser is the figure through which these
realities were explored through. From the point-of-view of a child, we get a
focused look at immigrant poverty, collective communities and the
disappointments in seeing the US as being different from what foreigners
perceived it as. At times it feels very adult with its dreary and occasionally
foggy animation.
Due to a demand by a good friend, I won't just conclude with my top 10, but rather a full ranking of ALL 40 MOVIES!
1. Interstellar
2. Crossing
3. Whiplash
4. One, Two, Three
5. The Imitation Game
6. [Rec]
7. Persepolis
8. The Help
9. City On Fire
10.
The Beast Of War
11.
10 Things I Hate About You
12.
Life Itself
13.
Killer Legends
14.
Innerspace
15.
Jurassic World
16.
Holes
17.
Chicken Run
18.
The Hunger Games: Mockingjay – Part 1
19.
Tropic Thunder
20.
Melancholia
21.
Stalin
22.
Hostel
23.
The AristoCats
24.
An American Tail
25.
Noah
26.
The Town That Dreaded Sundown
27.
Fantasia 2000
28.
I Know What You Did Last Summer
29.
Julius Caesar
30.
Moscow Does Not Believe In Tears
31.
Steamboat Willie
32.
Peter Pan
33.
Teeth
34.
The Victory Of Faith
35.
The Message
36.
C.S.A.: Confederate States of America
37.
38.
Dracula’s Daughter
39.
The Fourth Kind
40.
Scooby-Doo
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