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The Martian (2015)
Up there with Apollo 13 as one of the best space survival stories
Ridley Scott is a brand name in science fiction and his latest The Martian turns out to be a wildly engaging, edge of your seat space adventure that even manages to differentiate itself significantly (and pleasantly) from his previous works.
The film doesn't waste any time establishing its story. Within less than 15 minutes we go through a mission abort that leads to the team of astronauts hastily leaving the red planet, with the protagonist left for dead and finding himself alone, struggling against apparently impossible odds as he tries to figure out how to stay alive until the next mission arrives. The pace is in fact so fast over this opening act that compounded by Wantey's no-nonsense, unsentimental stance towards his ordeal seems a little underwhelming (in terms of dramatic impact). But as things start to go south and unforeseen disasters snowball both on the terrestrial and martian front, the Martian quickly escalates into a thrilling, epic in scale tale of survival.
Contrary to what you might have picked up from trailers, this isn't a tale about Watney and his struggle for survival. There is a good deal of that too, but the movie opts for an Apollo 13-like approach, with several intertwined story lines running concurrently on Earth, space and Mars, as several teams try to find a way to put a rescue mission together before Watney's supplies run out. There is a large and great ensemble cast surrounding Matt Damon's main character that adds a lot to the movie. That being said, the choice comes at the expense of segments dealing with Watney's isolation on Mars and its psychological impact. This is more Apollo 13 than Cast Away in space.
Scott has opted here for realism and much of his martian sets feel like they popped out of some real NASA photo of the red planet. Many of the shots even have a nearly earth-like feel. As such, do not expect the grandeur of Prometheus in terms of production design. This is essentially thinking science fiction, with minimal bells and whistles.
The only (possible) drawback is the uniformly optimistic outlook. Scot is well known for tackling morally ambiguous themes and not shying away from the darker side of even his protagonists. Bur there are no shades of gray in the Martian. Space agencies unite for the common good, NASA administrators are all well-meaning, the geek-force always delivers, the astronauts are universally heroic. If you like this style of feel-good, Star Trek science fiction, you are going to love this movie. I know I did.
Merlin (1998)
The best take so far on the Arthurian legend... with a twist
Now here's a conundrum: This miniseries/T.V. film is perhaps guilty of every flaw you can think of. And at the same time, it manages to be the best interpretation of the Arthurian legend and a thing to cherish and admire, despite its glaring defects. How can this be?
Merlin has the ambition, scope and in many respects, talent pool of a first rate film. You have a great cast with some fine stars and even some relatively unknowns at the time who would go on to gain fame (like Lena Headey), a good director (Steve Barron was an X-Files regular), a first rate composer (Trevor Jones) and a truly great script, that shifts the focus from King Arthur to the wizard Merlin. But... this happens to be a T.V. movie, not a big production and when striving to adapt a tale like this with severe demands on the production level, budget limitations are hard to overcome.
This shows in many instances. Make-up is especially problematic, since the story is supposed to encompass events spanning decades, with many characters being played by the same actors with little to no make-up to account for aging. As a result, Isabella Rossellini hardly ages at all throughout most of the film and Paul Curran who plays Arthur goes from puberty to adulthood through the addition of facial hair. Production design can't hold up to the demands of the script either, although there are a couple of battle sequences that are well done given the circumstances. There is also the occasional bad CGI present (those where the late 90's after all).
And then you have the performances, that are extremely uneven. Some of the actors are across the board excellent (like Sam Neil as Merlin, Rutger Hauer and Miranda Richardson) and consistent. Others are hit and miss, including some of the known ones like Martin Short and Helena Bonham Carter. There are several instances where the movie isn't certain of the tone it aims for and as a result you get weird lapses into bad comedy with at times cringe- worthy performances.
So, with all these problems, how can this thing be worthy of your attention? Surprisingly, what Merlin lacks on the technical/skill level, it makes for in storytelling and heart and for once, the whole is far far more than the sum of its parts, to the point where all the imperfections get eventually ironed out and forgotten. If you can give the movie a break for its occasional CGI dragons and the odd cheesy line, you are in for a spellbinding tale, one of the best you've ever seen. Merlin is also well served by its almost 3 hours of running time and manages to achieve its desired epic scale by using the time available to unfold its intricate plot instead of resolving to grand sets and special effects.
Barron may be responsible in part for the uneven tone of the film, but when he goes for tragedy and seriousness (which is thankfully the majority of the time), he delivers in a big big way. We even get to see a prototype of bullet- time photography, one year before the Matrix. What also helps Merlin transcend its humble origins is the majestic score of Trevor Jones, that lends an epic, tragic dimension to the events unfolding on screen.
The tale of Merlin and Arthur is very sad and tragic, starting decades before Arthur is even born, with at least two generations caught in the wheels of destiny and by the time all story lines are concluded, no one is left untouched. Especially the story of Merlin and Nimue (ostensibly the main characters) is heartbreaking. A great twist in this take of King Arthur, is that Merlin isn't an all powerful wizard and in fact, he is mostly restrained from using his powers, making all his choices harder and costlier for everyone around him, with his errors often having devastating effects. By the time you reach its unforgettable ending, you will have witnessed one of the best epics ever, if you only are willing to give it the chance to enchant you.
Revolutionary Road (2008)
Things that can go wrong in a marriage...
Based on a theatrical play, Revolutionary Road tells the story of the Wheelers, who start out as the loving, dreaming couple only to become a pair of disillusioned, lying and selfish people engaging in acts of unbelievable cruelty to each-other in this train-wreck of a wedding. There is no gore to be seen, but the emotional effect is the equivalent of watching mutilated bodies in some war drama. Truly disturbing stuff. Avoid if recently engaged/married.
DiCaprio and Winslet are the two best actors of their generation and their combination here is electrifying. Mendes' best since American Beauty. Perhaps the best screen couple of the decade.
Synecdoche, New York (2008)
Kaufman on steroids
Kaufman's first attempt as a director of his own material is unexpectedly confident and the result is truly amazing. The complexity of the story and the way it interweaves real and imitated life borders on post-modernism. Like his main character, Kaufman sets out to make a movie that is going to be brutal in its honesty, leaving no stone unturned. Fortunately, unlike his protagonist, he manages to keep the endeavor from spinning out of control and becoming incomprehensible (David Lynch should take notes). Whether what we see is real or an elaborate dream is intentionally left open to interpretation. There is enough material here to set your brain ablaze trying to dissect it and understand it all.
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Burton's return to form via Fleet Street
Combining Tim Burton with live action musical could have been a recipe for disaster (I'm still trying to forget the Oompa Loompas). But Stephen Sondheim's blood-drenched play proves unexpectedly ideal for Burton. Be warned, this is by far the most macabre and outright gory of his films. Even though it borrows the old Hammer aesthetic for its gory scenes (kind of like Sleepy Hollow), it would end up very disturbing, had it not been for the dry sense of black humor and the excellent choreography and orchestration. But the movie is not afraid to cross the line when it has to and the dramatic effect is then very powerful. Depp plays yet another in a long series of memorable Burtonic characters with ease and brio. The most delicious and rare meat-pie of the year.
V for Vendetta (2005)
Remember remember...
The Matrix trilogy may have backfired miserably. But at least the Wachowskis gave the opportunity to McTeigue to make a movie that is as uncompromising and provoking as the graphic novel it was based on. It actually makes one wonder how a movie like this ever got out of a major studio. Maybe there is still hope. In the mean time Natalie Portman finally shines as she hasn't in a long long time and Hugo Weaving is unrelenting as the enigmatic V. The biggest selling point is that this isn't a superhero. You never see him performing some impossible feat. Listening to V talking about what destroying buildings means will send a chill down your spine. Powerful ideas make for powerful films.
Batman Begins (2005)
Dark, brooding and unrelentingly realistic take on the Batman mythos
Dispelling the nightmarish memories of the last two Batman movies, Christopher Nolan reinvents everything and gives us a caped crusader that is as fascinating (and maybe even more so) as the one Burton introduced. Instead of the Gothic atmosphere and black humor of the original, Nolan opts here for unrelenting realism. The first half an hour of the film is so good it defies belief. In fact, it sets the bar for realism so high that the movie falters later on when more comic-like elements are introduced. But the overall result is certainly worth it and a great rendition of the caped crusader's exploits. The film is also blessed with one of the most impressive casts of the decade.
Tideland (2005)
There be dragons...
It is hard to imagine Jodelle Ferland avoiding some serious mental side-effects induced by her film work (if you 've also watched Silent Hill, you know what I mean). Recuperating from the sub-par Brothers Grimm, Gilliam produces his most personal movie yet and Ferland becomes his Alice with an unforgettable complexity and power, gallantly navigating through the marvels and perils of a pretty seriously f*****d up wonderland. Nightmarish imagery and grim situations abound in this weird masterpiece and you will find yourself constantly challenged by what you see and wondering what other kind of dread is coming your way. Easily one of the most disturbing films ever and yet, strange as it may sound, lyrical and reassuring. Jeff Bridges channels The Dude through every pore.
The Goonies (1985)
Pirates! Treasure! Rich stuff!
June 7th marked 30 years since the audiences first got to know the "Goonies". Whoa! Has it been so long? And is anybody still remembering this film apart from me? I honestly didn't expect there were so many people feeling so strongly about the movie, but it seems Goonies has indeed achieved cult status over the years (and decades). In retrospect, this is hardly surprising, considering the multitude of 80's films, both small and big, that have turned into classics. And Goonies exemplifies all the good qualities of the film fare of that time that made them unique.
As for me, my story with the Goonies goes back a long time. I first got to see it on VHS in 1988 (apparently I was a little young to catch it in cinemas when it was first screened), instantly loved it and then by a fortunate turn of events I got to own a videotape copy of it. Over the next five years or so, it would be the subject of countless sessions, alone or with friends that got equally infected by the Goonies bug. There where times where I would get to watch it 4 times within the same day. I haven't kept track, but I figure my number of viewings must be approaching triple digits, definitely the one movie I have watched the most times, even though it isn't my favorite. From some point on I got detoxed, but even now I never decline a chance to see it again when it plays on TV. The film has also aged very very well, you can hardly tell it was shot 30 years ago, again, a testament to the production values of that time.
Based on an idea by Steven Spielberg at the pinnacle of his creative period and scribed by a then up and coming Chris Columbus (before his mega-successes with Home Alone and the Harry Potter franchise), Goonies is an adventure cleverly employing good old recipes but at the same time infusing them with loads of originality. Lost pirate treasure hunt has never been done with more fun and brio than here. And the movie is also bursting with great humor and immensely quotable lines (a trade that seems to be almost extinct today), thanks to its superbly written script. Richard Donner's direction is top notch and takes full advantage of the terrific ensemble cast of all ages. Almost all of the about a dozen characters are fully fleshed-out and some of them easily turn iconic. Quite a feat for a little children's adventure! And let's not forget Dave Grusin's fabulous score. Or Cyndi Lauper!
Above all else, Goonies is a film filled with the children's magic and wonder of the early Spielberg fare, and even if he is not behind the camera this time, his fingerprints on the final product are indelible. It really is a shame that similar movies are hardly made anymore today. Columbus managed to recapture some of the early Spielberg magic with the first of the Harry Potter films, it didn't last long though and wasn't picked up by other directors. I know I would definitely sign up for a new movie of this sort any day, even if I'm not a kid anymore. Sadly, most are now preoccupied with remakes and franchises instead of coming up with original ideas. I hope the Goonies is left untouched by the remake avalanche.
The Lord of the Rings: The Fellowship of the Ring (2001)
Cinematic history in the making
The very idea that the same guy who directed Braindead would one day become Cecil B. DeMille's and David Lean's heir must have been the source of much of joy and laughter. But the first part of the Lord of the Rings trilogy proves that you need pure, fresh, unadulterated talent if you are to tackle a challenge such as bringing a dense, 1200+ pages, beloved, impossible to adapt literary masterpiece to life. Peter Jackson and his renegade team of mostly unknowns (up to that point) pulled off the biggest gamble in film history that could have easily sent New Line to its grave a few years earlier than it did. It sets the trilogy to a great start, staying true to the original and communicating all the grandeur and darkness of Tolkien's Middle Earth. The movie was robbed at the Oscars.
Låt den rätte komma in (2008)
One of the best vampire films
The vampire flick genre has been graced with a number of very high quality films and this is one of the absolutely best among them. The frozen Nordic winter becomes the arena for a bloody love story involving two kids. Wicked, right? But the subject is dealt with style and sensitivity from director Tomas Alfredson and you will soon find yourselves falling for the unlikely protagonists. The two children are spellbinding in their performances and the climactic scene will make you cheer.
If you like this, Dracula, Interview with a Vampire and Byzantium are also must-see. By the way, don't bother with the remake, this one is much much superior.
The Lord of the Rings: The Return of the King (2003)
Jackson's crowning achievement
Just like the book it was based on, the third Lord of the Rings movie towers above its siblings and brings the series to a cataclysmic conclusion, in every sense of the word. From its gigantic battle sequences, to its heartbreaking personal moments, Return of the King redefines what is possible in cinema and sets the impossible bar every other masterpiece must be measured against from now on. Clocking in at almost 3 and a half hours in its theatrical cut, it covers most of the material in the book and wins every point for its immensely satisfying coda. Howard Shore gets another two Oscars and Jackson and co are finally paid their dues. I have never been happier on an Oscar night.
Inception (2010)
Immaculate inception
The last pet project of Nolan between Batman Begins and The Dark Knight (The Prestige) was enough of a masterpiece to show that a) Nolan is a first rate director, b) the Batmans are just a fun ride for him. This is the stuff he really is meant to do. Films like Memento and The Prestige. This is his source. The assertion is vindicated with Inception, which again is his new pet project between Batman 2 and 3. Again, it shows just how much more than The Dark Knight Nolan is capable of.
Inception is essentially Memento on steroids. The same central themes and ideas are present in both films, only this time, the budget is bigger and the scale eventually reaches epic proportions, with ground-breaking visuals, globe and reality spanning action and an appropriately bold and adrenaline-rich score by Nolan favorite Hans Zimmer. But the heart and soul of both features are intimately connected, down to small details. Likewise, The Prestige shared the same core with these two, even though obscured by the different epoch it was set into. But the idea is always the same, the question of what is real and what imagined and the loss of self trying to navigate through the different layers of "reality". There is always some major construct which is utilized as the catalyst to spawn alternate realities. In Memento it was amnesia, in The Prestige, magic (or science), in Inception, dreams. In all cases the main character is on some kind of redemption mission for the demise of his beloved one. The similarities between Memento and Inception in particular don't stop there. Both have protagonists advancing past the point where they can tell fantasy from reality. Even the plot device used to distinguish the two (tattoos in Memento, "totems" in Inception) is identical.
But of course, Inception isn't just a rehash of the previous two Nolan powerhouses. If it did, it would be instantly dismissed, regardless of big cast and production values. The way it handles the concept of dream manipulation and the "dream within a dream" layers is singularly original, both in principle and in its visual execution. The most compelling part of the concept is the dilating time, as one proceeds from one dream layer into another and it is utilized to the limit to advance major plot points. The movie also stays remarkably true to the rules it sets. There is a spectacular action sequence taking place inside a rotating corridor (don't ask), where events taking split second in one dream layer are accurately portrayed to correspond to a few seconds in the next layer due to "dream time".
The film is also a mixture of many cinematic (and not) influences. There is a good dose of Dark City here, a dash of Existenze, a tinge of Johny Mnemonic, a little bit of Dreamscape and The Cell, traces of Matrix and even an overall fragrance of Blade Runner permeating everything (including Zimmer's score). But make no mistake, the primary blueprint for this movie is Dark City. Many of the core elements like the reconstructing cityscapes, the lack of memory of a beginning, the labyrinth structures, mental and physical, the illusion of reality, are taken straight from there. This is only yet another testament of how important and influential this movie has been over the past 12 years, despite being criminally underrated. Many of the above mentioned films borrowed or blatantly stole from it (I am looking at you Matrix!) and Inception is no exception.
Thankfully Nolan knows how to put together a decent script and infuse it with originality and depth, while incorporating in an organic way existing ideas and concepts. He also avoids overindulging in points where his influences have already performed admirably. You might have seen the spectacular folding city sequence in the trailers, but believe it or not, this kind of gimmick is hardly ever used throughout the film and is tangential to the actual plot. Nolan knows better that to copy straight out of Dark city, he has other fish to fry. And the result is much more than just the sum of its parts. It isn't an adventure movie, neither a pure sci-fi nor drama. The script is clever enough to actually blend the genres together by avoiding over-exposition of any of them. We never get to know enough information about the dramatic background of the characters, or the goal (or even the outcome) of the operation, or the mechanics involved in dream-navigation and this is a good thing. We learn some stuff, but it is always sketchy enough to not draw too much attention to any particular aspect of the story.
DiCaprio has been staring in 2 out of 2 best films so far this year. Not bad and not surprising either, I can't remember him playing in anything short of outstanding over the past 6 years. But Inception is primarily an ensemble piece and the extended, all-around superb cast (a Nolan trademark by now) really delivers in a major way, especially the smaller parts (Murphy and Watanabe in particular are brilliant).
Like most of Nolan's signature works, this one needs repeated viewings to take it all in, there is just too many things to digest in just one pass. But above all, there is material here that will really make you think deep, because the plot device used here, dreams, is something everyone is familiar with and you will be more than eager to juxtapose your perspective with Inception's interpretations. The questions asked (and the directions suggested) are, to say the least, compelling, and this is what great science fiction is all about.
Stardust (2007)
Magical and hilarious
This one was quite a pleasant surprise indeed! Having seen the trailer long ago, I went to see this movie with the lowest of expectations. I think that trailer was the one to blame... The flick had nothing to do with it whatsoever. This one has "cult" written all over it, it is destined to become a classic! Judging from its mediocre performance at the box office so far - entirely due to bad marketing - I am afraid it is going to take a while for Stardust to gain the appreciation it deserves, but it will surely be remembered ten years from now.
The movie itself is a rare mixture of fantasy, adventure, romance and comedy. And by rare I mean that the combination actually works and in a very major way! It is hilarious without ending up being childish or silly, majestic without being ridiculous and romantic without being sappy. The way it balances all these elements is an amazing accomplishment by itself. This is probably in large due to the origin of the story itself - Stardust is a novel by Neil Gaiman, renowned for the SandMan graphic novels - which proves that a great story is essential to make a great movie. But the material is also exploited in a very competent way by director Matthew Vaughn (of Layer Cake), with style, a fresh view and without resorting to cliché solutions. This isn't the norm when fantasy novels are turned into feature films, where we have a ton of examples with great stories backfiring due to bad directing. There where shots in the film that literally amazed me with their originality, power and immaculate execution. The whole shooting star sequence made my jaw hit the ground! It has been a long time since I 've seen such a beautifully directed sequence - regardless of genre. The combination of visuals and musical score in this one is just magnificent, perhaps one of the best I can think of. And to think that just moments before I was laughing... This is an example of the elegant way in which comedy is interwoven with awe and magic and despair and emotion in this film. I guess it takes a newcomer's fresh perspective on the subject to infuse a project with some vision and originality - this is Vaughn's second feature film.
Edward Scissorhands (1990)
Burton's melancholic masterpiece
Let's start out by declaring this my all time favorite film without reservations. And when I say favorite I do not mean that in the way I can say The Goonies is one of my favorite films. No no no. I mean that I consider this, artistically, the finest movie I've seen so far - and I'm not a young man anymore. It has held this place for me for decades and even though I still secretly wish some new film will come along and sweep me off my feet the way Scissorhands did, I deem this more unlikely by the year.
I have to admit, I didn't have much respect for Burton before watching Scissorhands. I was still young during his first films, and being a child through the 80's raised on Spielberg fare, I simply couldn't understand and appreciate Burton's dark vision in the first two Batmans (which I disliked back then). I still remember watching Scissorhands on T.V. for the first time and going through half the movie with a "this ain't that bad, but it's not anything special either" attitude until that Ice Dance sequence came along and then thinking "what the hell just happened?".
Theme is an important factor when determining a favorite film. No matter what the artistic quality of a movie, some themes are bound to resonate more with some specific audiences than others. As it happens, Scissorhands has essentially the best treatment of the theme that resonates most strongly with my tastes: loneliness and being different in a hostile environment. "Oh, this is so emo!", you will counter. But this is the same story behind Frankenstein. Or Oedipus Rex. Or Star Wars for that matter. Hell, there is hardly a story worth telling in literature or cinema that doesn't incorporate this element. The hero is the hero precisely because he is different from everybody else, otherwise he would be an extra in his own story. Some will hate him and some will love him for that and the entire point in storytelling is how the hero's differences eventually play out in the grander scheme of things.
Burton chose to hit the nail right on the head and didn't hesitate from turning individuality, loneliness and the outsider into the central theme of this film. Right after his Batman success and being given essentially free reign to do whatever he wanted, Burton decided he would craft his most personal work. It isn't hard to see there was a lot of input from his own life going into the character of Edward, a man that is doomed to be both highly creative and highly destructive. Scissorhands is a work of love for Burton and it shows.
Story-wise, this isn't but a retelling of Frankenstein. The inventor creates an artificial man but dies before finishing his work, leaving Edward incomplete and all alone. He eventually attempts a foray into the world outside, which reacts as expected in such situations, at first with curiosity, then with suspicion and eventually with persecution. By the end of the movie, the crowd is assembled, pitchforks and torches in hand to claim the monster's head. The moment Edward steps out of his castle on the hill, he becomes the author of his own tragedy. His creativity and talents draw people to him, while at the same time spread jealousy and hatred against him.
Burton and his screenwriter Caroline Thomson manage to turn this story into a live action magic realism piece that doesn't shy away from comedy and manages adeptly its heavy material without going all doom and gloom on us. Many have tried to do magic realism on screen and failed miserably and Scissorhands is one of the few exceptions that does the genre justice. The story starts as a bed-time story, with the simple question "why does it snow?" and by the end of the film, under Danny Elfman's masterful score, you finally get your answer in a perfect cinematic circle the equal of Forrest Gump's feather sequence, or Twelve Monkeys.
The main character is brought to life by a captivating Johny Depp, who gives at a very young age a performance that is one of the best of his illustrious career as the tormented protagonist, essentially a silent role, relying mostly on physicality and eye expression. A similarly young and radiant Winona Ryder accompanies him, along with a cast of well known stars like Dianne Wiest and Alan Arkin and even Vincent Price in his farewell performance as the inventor.
Burton was at his creative peak at the time and his vision is fresh and uncompromising, from his Gothic character and set designs to the pal suburbia that hides more dangers than a castle ever could. His directorial prowess here is a sight to behold, with every sequence very thought out and immaculately executed. There are so many scenes in Scissorhands that stand out. The lyrical opening titles, the cookie factory sequence, the Ice Dance, the devastating finale. Or the moment of the inventor's death, where Edward's first touch with his creator only leaves a bleeding wound... perfection.
There is so much talent involved in the making of this movie it is hard to find fault in any department. Collen Atwood would go on to win 3 Oscars and many nominations with her costume designs, Bo Welch is a Burton staple and Richard Halsey was the Oscar winning editor of Rocky. All of them give some of their career best in Scissorhands. The great Stan Winston created the scissor effects. And then there is Danny Elfman, who composed his best score ever to complement this dark masterpiece, arguably one of the best scores of the decade.
Empire of the Sun (1987)
Spielberg's magnum opus
I consider this the best Spielberg film and one of the best anti-war films ever, right up there with the likes of Paths of Glory or Thin Red Line. Far from things like Saving Private Ryan or Schindler's List or Munich, where Spielberg tries to shoehorn himself into the persona of the mature and serious filmmaker, Empire of the Sun is as close to his sensibilities as any material could ever hope to be. The telling of the horrors of World War 2 through the eyes of a child has never been done better. I guess if Miyazaki ever made a live action WW-II film, you'd get something similar to Empire of the Sun.
Yep, that's Christian Bale there. Spielberg is well known for ferreting great child performances out of his young stars, but in this case, Christian Bale burns through the screen in his devastating portrayal of young Jim in what is probably the best performance by a child actor ever. During the course of the film, you see Jim going from his pampered existence as the son of a British diplomat in Shanghai through a harrowing physical and emotional transformation, as he loses his family, his home, his childhood and eventually his self. Ending up in a Japanese concentration camp where deprivation and death are on the daily agenda, the young protagonist finds himself desperately clinging to his last remnants of childhood innocence, his love for flight and airplanes or the British culture of a country he hasn't even seen in order to retain some semblance of sanity. I don't believe Bale ever topped this one in his later career.
Right from the first scene, with the boats moving through a harbor crowded with coffins to the final one, with Jim's childhood in the form of a bag floating on the waters, this is classic Spielberg, along with the haunting and poignant Williams score. If there ever was a film to land him Oscar recognition, this should have been it. Despite its rather heavy themes, its is also highly re-watchable. If you love the early Spielberg fare of the 80's but missed this one, check it out, you are in for a treat.
Sen to Chihiro no kamikakushi (2001)
The best animated movie money can buy
If you know an animated film that is truly superior to Spirited Away, please please let me know asap for I cannot think of anything that can even remotely compete with this incredible gem from Studio Ghibli and the great Hayao Miyazaki (and I've watched all the usual suspects). Not only does it represent the very best in animated storytelling available, it also puts most live action features to shame! Miyazaki has delivered some amazing movies in the past (like Laputa, Naussica and Princess Mononoke), but this time around his story and execution are so brilliant that Spirited Away soars in stratospheric altitudes. By the time Chihiro and friends embark that train during the third act, under Hisaishi's haunting score, you are certain you are witnessing a monumental epic.
Fight Club (1999)
Generation X's cry for freedom
This may well be one of the most important films ever made. It marks the creative pinnacle of the great David Fincher and the film's critical and commercial failure at the time essentially marked the end of his highly productive period, it was all downhill after Fight Club. Driven by two stellar performances by Edward Norton and Fincher regular Brad Pitt, this is the closest to a live action revolutionary manifesto you are ever going to get from Hollywood. What would happen if gen-X woke up one morning and decided they have had enough with being white collar slaves, shopping from IKEA and living gloomy lonely lives in condos? Mischief, mayhem and of course... soap. Fincher and co. are on fire in terms of creativity and this shows in every aspect of the movie, direction, special effects, soundtrack, killer one-liners, hardly a scene passes without something hilarious, visually breathtaking or immensely quotable taking place (this must be the most quotable film this side of the 80's). It's also philosophically dense and with it's hardcore anti-consumerism stance would make a great companion piece for Into the Wild. Or V for Vendetta.
The real triumph of Fight Club though is that it takes a page from Tyler Durden's playbook and maintains a carefree, defiant and feel-good attitude, even when the s**t hits the fan and although Fincher is known for a tendency towards darkness, he is not willing here to succumb to the doom and gloom of Seven and it's this optimism that makes Fight Club a winner. Turn of the century film-making at its very best.
The Shawshank Redemption (1994)
Get busy living or get busy dying
The fact this movie stands at the IMDb top for years now should be enough to convince you to watch this asap. Based on a novella by Stephen King, Frank Darabont's film is perhaps the most accomplished prison drama ever. If you liked Papillon, you are going to love Shawshank's Redemption. But this is more than just a bleak prison drama. Not that there aren't grim situations depicted here. Several points in the story are not for the faint of heart for their cruelty and outright sense of injustice. The ordeals of one Andy Dufresne (in an unsurpassed performance by Tim Robbins) and his fellow cell mates are in fact so harrowing that will make you beg for justice to be done and pray for salvation. Is there hope and light at the end of the tunnel? Let's say that this movie belongs to that group of films (like Sixth Sense and Jacob's Ladder) that have a little secret and when the time for catharsis comes, after all the trials our hero has been through, it doesn't just rain, it pours. It is that precise moment that turns what would have otherwise been a finely crafted drama into a timeless classic. As the protagonist at one point says, hope is a good thing, perhaps the best of things. And it is hope that fuels this expertly told tale of fight against adversity and why this film resonates so strongly with so many people.
The Abyss (1989)
Cameron's best?
This is my personal favorite of Cameron's. It showcases all his strengths and is 100% his child (unlike Aliens). His love for scuba diving gave birth to this unique deep sea adventure that manages to blend several genres, is loaded with seminal scenes and even has a Spielberg-like sense of wonder infused to it.
If you bother to read up on the production of this film, you'll realize this was perhaps the single most difficult movie ever made. Huge underwater sets, remote controlled model submersibles, custom built scuba gear, life-size bio-luminescent puppets, ground-breaking CGI, the list goes on and on. The amount of work and attention to detail that went into this film is just crazy and it shows on every frame. 25+ years later, the quality of the production in the Abyss is a sight to behold. I cannot think of another movie that was considered an effects marvel back in the day and still holds up that well after all these years. Just looking at the bio-luminescent aliens in the Abyss puts Cameron's own work on Avatar to shame.
What's more, the Abyss is filled with great action and is ideal for repeated viewings, despite its rather long run time. The final part of the film, where the mysteries of the abyss are revealed, will make your jaw drop and incorporates some stupendous sci-fi imagery, complemented by Alan Silvestri's majestic score (his finest work).
The very best in deep sea adventures. Oh, and stick to the original version of the movie, strange as it sounds, it is a lot better than the director's cut.
Contact (1997)
The definitive film on what a true encounter with an alien civilization could be like
Contact was one of the books I kept dreaming about being turned into a movie. The tone, the scope, the ambition of the material really begged for a big screen treatment. I was more than happy back in the day when I learned Robert Zemeckis, after his critical and commercial triumph with Forrest Gump, was preparing to bring Contact to life. And boy, did he deliver...
The first thing that needs to be clarified is that this isn't a faithful adaptation of the book. Zemeckis and his screenwriters departed significantly in several occasions, but Carl Sagan was part of the production and this was very significant in keeping the spirit and tone of the book intact, even if the events aren't identical. The presence of James V. Hart also did help a lot. He did phenomenal script work on Hook and Dracula and I am sure he was very valuable here too. Would it be even better if they had sticked to the book 100%? Perhaps, although the film as it stands is so damn good, there is really not much room for improvement. This is one of the rare occasions (singular?) where I don't mind the changes. The truth is, the movie would probably have to be like 4+ hours long if they tried to incorporate everything, like the 5 passengers of the Machine, the cold-war setup, Hadden's extended presence and influence and the entire back story with Ellie's family (or prime numbers).
It is hard even to start enumerating the number of subjects this film addresses over its densely packed 150 minutes. Science and religion and the role of each in our lives (including their conflicts), alienation, loneliness, scientific curiosity, ambition, integrity, perseverance, animosity, mistrust, the fear of the unknown and the urge to go where no man has gone before are only some of the issues dealt with and as you can understand, there is some pretty heavy material to digest. What should be stressed though is that Contact manages to communicate the optimism and awe that was such a central part of Sagan's book. As such, it is both an intellectual as well as an emotional ride. The film opens with a seminal scene, the camera zooming out of earth orbit with nothing but radio signals as audio track, gradually moving from deafening noise into deafening silence as earth becomes a pale blue dot in interstellar space, earth's radio signals being left far behind, with the camera eventually leaving the galaxy and moving towards the edge of the known universe. You realize right from the beginning, this journey will take you into uncharted territory.
Just like in Forrest Gump, Zemeckis manages to take what is essentially a personal story and present it in an epic scale, crafting a film that spans years, continents and star systems. The scope and ambition of the book is all there and in several instances, immensely amplified. A typical example is the case of the Machine, which unlike the book, involves a truly gigantic superstructure. The sabotage of the first Machine turns out to be a jaw dropping sequence, one of the best destruction scenes ever put on film and the emotional impact of it and it's aftermath is simply amazing. Similarly, the climactic scene in Hokaido, where the Machine is revealed in its full grandeur is up there in its frenetic energy and immaculate editing with the launching sequence of Apollo 13. When the wormhole within the core opens, it sucks in clouds and sea and sky... just perfect. We were all ecstatic the first time the Stargate opened and Daniel went through it, but that was nothing compared to how the wormhole travel is portrayed in Contact, giving us imagery that has never been topped ever since (just take a look at Interstellar, which did a much poorer job in the same field almost 2 full decades later). I know most people were drooling over Titanic at the time for the special effects, but this is my vote for 1997's best.
There are so many things that deserve praise in this film. In terms of acting, Jodie Foster is giving her career's best and her personal investment in this movie is palpable, I cannot think of another actress of the period more suited to bring Ellie to life. There are several quiet, introspective moments throughout that depend on her presence alone and Foster absolutely nails it. The great John Hurt is also marvelous as the recluse and enigmatic Hadden, turning scenes that could have been boring exposition into something pulled out of a thriller (like the revelation of the second Machine. If this doesn't bring you goosebumps, check your pulse asap). McConaughey is also doing work that would eventually take him about 2 decades to top. On a production level, the same team that worked on Forrest Gump essentially returns for Contact too, with great cinematography from Don Burgess and amazing production designs by Ed Verreaux. And Alan Silvestri composed yet another classic.
Contact is perhaps the best (and most realistic) treatment to date of a possible encounter with an alien civilization and one of Zemeckis's best. t is required viewing for anyone with even a cursory interest in sci-fi. And don't forget to check out Starman for a different (but equally satisfying) take on the subject.
Starman (1984)
The cerebral take on alien encounters (and Carpenter's best film)
Reportedly John Carpenter shot this movie as a way to show people that he could still understand what the audience wanted after the critical and financial disaster of his previous high-profile assignment, The Thing. Whether he proved his point or not is open to interpretation, although the fact that Starman was essentially his last big budget movie during the 80's and the director eventually kept spiraling farther away from the mainstream is probably evidence that this film didn't go as planned either. What Carpenter did accomplish though in the process, is craft the best serious take on an encounter with an alien civilization, at least until Contact came along.
Compared to any other of Carpenter's films, Starman is perhaps the most singular and also the most genre-bending of any of his projects. You might have thought he pushed the envelope with Big Trouble in Little China, but Starman goes even further. The story is part alien encounter, part road movie, part romance and manages to mix its elements competently and switch gears expertly, propelled by two great performance by a young Jeff Bridges (this was his first Oscar nomination) and Karen Allen.
Production values are also very high. Special effects, although not ubiquitous, are very imaginative and brilliantly executed whenever they occur. There are several shots in this one that have become iconic, such as the Starman transformation sequence early in the film, accomplished through a rare collaboration of two effects masters of the period, Stan Winston and Rick Baker. The movie is also graced with a spectacular score by Jack Nitzsche, elevating scenes like the finale into levels of otherworldly beauty.
When it comes to Carpenter films, I consider this to be his finest, even compared to such gems as The Thing and Halloween. The fact that this isn't even remotely a horror film, so far from the director's comfort zone, makes it all the more remarkable. A classic and some of the most intelligent sci-fi you are ever going to find.
The Fountain (2006)
Ambitious storytelling of the highest caliber
When I first watched Aronofsky's first feature, "Pi", the one thing I thought was "I really have to make room in my top ten for this". It was flat out one of the greatest movies I had ever seen, with the most ridiculous budget ever. I was certain there was no way in the world Aronofsky could ever surpass such an achievement, even with a huge budget at his disposal, no matter how hard he tried. And then "Fountain" came along.
The central theme of the movie is death. The death of humans, of trees, of love, even the death of entire stars. It is a millennia, light-year-spanning epic, a symbolic representation of man's eternal quest to conquer/evade death and his futile hunt for immortality. Three different parallel stories, taking place 500 years apart from each other, give three different perspectives on the same adventure, each one a reflection of the others, until they finally merge into a single storytelling thread. Three different incarnations of essentially the same character, Thomas Creo (Hugh Jackman), embark on a desperate mission to save the woman he loves, Isabel (Rachel Weisz). The story is profoundly original and as ambitious as it takes, dealing with some of the most important issues of human existence. Death, fear of death, the hunger for eternal life and eternal time and the way people waste most of their lives trying to evade their demise and conquer death, while forgetting to live every precious moment. At the same time it is one of the most engaging love stories. In essence, this "undying love" is the only thing that survives and defies death, connecting all the different parts of the story and becoming its driving force.
All of the known and beloved camera and direction tricks Aronofsky introduced in his previous two movies are also in the Fountain, but very enhanced due to the higher budget available. The script is very elliptic, with many key phrases being repeated throughout, just like in "Pi", in different context and different eras. The same goes with the repeated use of imagery and camera shots to connect the three segments of the story. This repetition feels like a pulsating beat, becoming louder and louder and resonating, until by the end of the film you think you have been watching a 3+ hr odyssey. You know everything by heart and have established a special connection with the characters and their ordeal. Visually, the movie is utterly breathtaking. Whether it is 16th century Spain, a present day hospital or the deep space in the deep future, the depiction is uniquely original, possessing an otherworldly beauty. The special effects of the movie are also very imaginative and well balanced. No over-the-top, alienating CGI. Aronofsky has by now established a reputation of shocking endings and "The Fountain" is no exception. The final 10 minutes of the movie are shocking, heartbreaking, awe-inspiring and emotionally charged like no other sequence Aronofsky has put to screen so far.
The will and determination of the director also pushes everybody else involved in the production to give their very best and Aronofsky has over the years assembled a group of incredibly talented people around him. Matthew Libatique reaches new heights in his art with his accomplishments in this movie. James Chinlund also excels in the art direction of the picture. And Clint Mansell gives his career's best with the score for "The Fountain". I always liked his previous entries for "Pi" and "Requiem for a Dream", but his style is certainly minimalistic and I was skeptical whether he could come up with something able to rival grand orchestral work. And Mansell truly delivers! His score is at times very intimate and personal, at times rousing and bombastic and always at perfect sync with the film's imagery. It complements it and lifts it to a whole new level. After watching it, you simply cannot think of this movie disconnected from its wonderful music.
And then there are the performances. Basically, this is an almost theatrical kind of movie. Most of it could actually be reduced into a monologue. It is all about the two protagonists: Hugh Jackman and Rachel Weisz, who literally shine in their respective roles. About Jackman: Forget Wolverine! Hugh Jackman IS Thomas Creo. Period. He depicts his character with a mixture of determination, agony and grace which makes him almost iconic. He is a conquistador, in every sense of the word, the eternal image of a man willing to overcome every challenge, being either an explorer, a scientist or an astronaut, to move forward. Rachel Weisz plays his companion Isabel, the woman Thomas is always trying to save from imminent death. She imparts in her role a quiet, restrained dignity and wisdom. Weisz's stunning performance leaves no doubt that this is the woman one would be willing to cross oceans of time and space in solitude in order to save. The chemistry between the two is amazing and they give one of the most memorable screen couples ever. "Fountain" is essentially a love story, just not a conventional one. The love between the two is never explained, never disputed, never challenged, even barely described. It is a quintessential romance, the shining heart of this emotion that remains once you remove all the layers of human imperfections, mistrust, jealousy, ambition, dissatisfaction that always plague real relationships. This is an outmost romantic love tale, one which defies clichés. It is important to note that, the word love is not uttered even once in the entire movie! Bravo, Aronofsky!
Is it better than Pi? For me it is almost a tie, although I have to admit "The Fountain" has the edge at some categories, like superior cinematography and a much better score. Just like classics as "Blade Runner", this movie will become better and better with the passing of time. I really hope that in the end, it will receive the universal praise it rightfully deserves.
Donnie Darko (2001)
Are you ready for something COMPLETELY DIFFERENT? Donnie Darko.
This is one of these movies that not just bend but brake virtually every rule of cinematic storytelling in a way so unique, mind-boggling and satisfying at the same time, no else can follow. Do not expect to see another movie "inspired by" or "of the same sort" as Donnie Darko. It is one of a kind and that makes it even more special. Richard Kelly set an impossible standard for himself with his very first feature, it will be extremely difficult to top this one, if ever.
The story is, well, simply inexplicable! This is the selling point of the movie. It blends a number of diverse elements, 80's nostalgia, teen angst, depression, insanity, death, romance, sacrifice, comedy, tragedy... and a little bit of time traveling by the way. And did I forget to mention the giant rabbit? How could all these combine into a meaningful and coherent whole? As it turns out, under the commanding hand of the writer/director, the result is far from coherent, but flooding - literally - with meaning in all kinds of levels. The finished product is like looking at a painting. It isn't the original intend of the artist or the distinct parts of it that are the most important, but the emotional impact it causes on the viewer. There is a point about two thirds into the movie, were emotion just takes hold and doesn't let go until its incredible, chilling finale that has and will continue to fuel endless discussions. Is it easy to understand? Certainly not, at least with the usual sense of the word. Is it easy to feel? Definitely! And this is one of the reasons why DD has become such a cult phenomenon. Think of it as David Lynch but on one of his very good, lucid days.
In terms of execution, the movie shines in many ways and is not hampered or handicapped by its small budget. Performances are great from both lead and supporting actors. Patrick Swayze gives his best in years and Mary McDonnell is simply devastating. But the real star here is Jake Gyllenhaal, who totally owns the film, conveying emotion and maturity with exceptional confidence. The screen couple of him and Jena Malone also has great chemistry and makes you deeply root for the characters and their dark fates. There is also a wonderful soundtrack, complete with vintage 80's tracks and a haunting score by Michael Andrews. The closing sequence with Gary Jules' "Mad World" playing easily qualifies as one of the most memorable pairings of music and film.
One certainly needs to see this movie at least three times to start making up his mind about what actually happened. But this is beside the point. Some things are better left unexplained. Donnie Darko is above all else an experience, one that provokes the mind and the heart, an existential fairy tale and an unforgettable journey in the dark alleys of the human soul.
The Thing (1982)
One of the best horror movies ever, finally getting recognition.
If you 're not reading this comment just to feel assured that there are other people in this world who share your good taste in films, do yourself a favor and watch this movie immediately. This would have probably been the best horror movie ever, if it wasn't for Ridley Scott's masterpiece (Alien). But I would say, "The Thing" really gives "Alien" a run for its money, we are talking about the cream of the crop of the horror/sci-fi category. It also easily qualifies as one of the best movies ever, regardless of genre. John Carpenter is a master of horror movie-making and here we find him at the pinnacle of his creative powers (although I consider "Starman" to be even better, but this isn't a horror film and it's another story). Top-notch performances from the all-male cast across the board, a-grade screen writing, stunning visuals and cinematography, and of course Carpenter's impeccable direction combine into a spellbinding, nightmarish tale of a would-be apocalypse unlike any"thing" you have seen before.
When I first checked to see how "The Thing" was doing on the IMDb scoreboard, back in 2001, I was disappointed to see it was hovering somewhere about 5.9 - 6.0. Most of the comments where not very good either, with a few exceptions. I was more than pleased to see this movie gaining more and more appreciation over the years. As I see now, it is among the top 250, with a score above 8.0 and with a good reason: It is certainly one of the greatest horror movies in history, which went under the radar for many years, until it finally achieved the cult status it deserved in the first place.
I was about 9 year old when I first watched this movie, late at night on TV - perfect conditions and age group to watch a film like that. Needless to say, I was scared to death! It took a long time until I watched it again, but the way I could remember all key scenes was a sign of the profound impact it had on me as a kid. Right from the haunting title sequence (which I think was later also copied in "Predator") to the spectacular gore scenes, to the chilling sense of isolation and impending doom created by the gloomy score.
Since then I have re-watched it many many times and I have to admit, it is perfect material for repeated viewing. More than a quarter of a century after its first (failed) release, witnessing the quality of what was supposed to be a b-movie of the 80's really puts most films shot today to shame. The detail and attention that went into the production design is truly amazing. The whole antarctic environment is replicated with tremendous accuracy. You can feel the cold and isolation of this barren white wasteland where the story is taking place and this is pivotal in creating the menacing, paranoia-inducing, claustrophobic atmosphere that permeates the film from start to finish.
The story itself is quite unconventional, based on an acclaimed novella from 1938. A team of scientists stationed in Antarctica face an alien life form, found buried in the ice, which upon thawed has the ability to consume other living organisms (including people) and imitate them perfectly. The film concentrates around the fear, mistrust and communication breakdown that ensues between the members of the team, once they realize they are isolated from the outside world, unable to get help and with one or more of them possibly not being human. The way the dynamics of the team is presented and the realistic depiction of their reactions makes the movie transcend its original premise as just a horror/sci-fi film and become something much deeper and profound. I am always amazed by the realistic behavior of each member, despite the unrealistic setup. You see people be afraid and some even break down, but you don't get you regular unstable guy who freaks out and tries to kill everybody. Kurt Russel gives a career-making performance, while the rest of the cast also does an excellent job. All around, a terrific ensemble piece.
There is also a large amount of carefully timed quality gore, that is utterly mind-blowing. Rob Bottin, the man mainly responsible for the animatronic (although also Stan Winston was also involved in the animatronic work) and make-up redefined the state of the art of what was possible, producing some of the best gore sequences ever that remain unmatched even today. What's more, these effects are really terrifying because they look and feel real and life-like. CGI is nemesis for a horror movie and "The Thing" is living proof that if you plan to shoot even a remotely scary scene, make sure you stick to good old latex and makeup.
Special mention should also go to Ennio Moriccone's haunting score. I can't believe it was actually nominated for a Razzie! Morricone produced some extremely effective underscore for the suspense-building scenes of the film, communicating all the paranoia of the isolated team and the otherworldly, alien presence that lurks in dark places, waiting to take hold.
Overall, I cannot recommend this movie more strongly. It is a rare combination of unparalleled atmosphere, unconventional story and inspired visuals which has stood the test of time admirably.