The Film Fan Perspective’s 20 Favorite Films
In “celebration” of the fact that my blog still exists after two years, I’d like to share with the readers the movies that are closest to my heart and mind. You may already be aware of them, but the idea was to guess as many as possible.
So, without further ado, here are my twenty favorite films, in countdown order:
20. High Fidelity- “What came first, the music or the misery?” Exactly. With all of his odd takes on society and politics lately, it might be hard to remember when John Cusack was the stand in for all of us neurotic, fast-talking, hopeless romantic white guys. The film adaptation of Nick Hornby’s novel High Fidelity is the high point of Cusack’s career. The actor’s inherent neuroses fit the character of Rob Gordon, as we both loathe and love him for being so talented yet so indecisive. His desperate need to not grow up and his need to cling to the ‘fantasy’ speaks to all the males that just haven’t figured it out yet. Oh, and Jack Black is an absolute force of nature here as a record store employee that just keeps showing up. Let’s not forget the graceful and gorgeous Iben Hjejle, and the outstanding soundtrack. It gave me a new angle on music, which led to what my current tastes are. It’s amazing how I loved the movie at first for being so crisp and funny, but now I love it for understanding it. Every guy should meet a Charlie, but end up with a Laura.
19. Star Trek II: The Wrath of Khan- Those unfamiliar with ‘Star Trek’ lore may not understand the carnal hatred that exists between Captain James T. Kirk and the nefarious Khan, but it matters not for this sci-fi classic. It works on so many levels, from the hell-bent rage of Khan to the overarching themes of birth, re-birth, and death that you don’t have to be a fan to enjoy this, the best of the ‘Trek’ films.
18. The Lion King- As I navigated my pre-teen and early teen years, I wrote off Disney. In my eyes, everything was princesses accompanied by radio-friendly adult contemporary tunes. Then I took a chance and saw The Lion King while I was chasing after a girl (surprise!). It was transformative, for not only would I never see Disney with a jaded eye again, I kept looking for that next Lion King, that next masterpiece. It’s both a darker and more beautiful film than Disney had ever attempted, and every single scene is near brilliance. That soundtrack- not just the well-crafted Elton John pieces, but the Hans Zimmer score as well, just brilliant. It’s just the best thing that Disney has done before, and may ever do, save for Finding Nemo.
17. Alien- It may not be the original “original” sci-fi horror movie, but nonetheless it’s the modern standard for the genre, and the benchmark of female heroine characters. Ridley Scott and crew created a claustrophobic, organic/metallic spaceship, and brilliantly made the choice to hire gothic artist H.R. Giger to design the xenomorph and its’ interiors. Many have imitated, nothing has duplicated, even in its’ own saga.
16. Once- It would be impossible to limit my love of this film to a cell on a spreadsheet. Once is full of wonderful singer/songwriter music, unspoken passions, unspoken loves, missed opportunities, and incredible “moments in time” that seem to last forever, but are limited to 2 hours. The final scene is both touching and heartbreaking in a way that no other film has given me, and the soundtrack is pure, original magic.
15. Monty Python and the Holy Grail- Monty Python’s magnum opus of farce is still the funniest film I’ve ever seen. From catapulted livestock to enchanters named “Tim”, how can one not find this supremely hilarious? Admittedly, humor can be a tricky subject, and some may not find this brand of English witticism to their liking. Me? I think it’s the best comedy ever made.
14. Finding Nemo- Pixar’s best film, in this guy’s opinion, is director Andrew Stanton’s masterpiece. Funny, for sure, but sublimely touching, Nemo is also the most beautiful animated film I’ve seen. Maybe it’s the color of the fish, the interesting way water works with animation, maybe the brilliant Thomas Newman score, I’m not sure. Maybe it’s that I feel exactly like Marlin in the way I see my own son. Wow, I’m getting teary-eyed just thinking of this movie.
13. E.T.: The Extra-Terrestrial- This film has meant different things to me at different points in my life. At age 3, it was complete wonderment at the sight of aliens, rousing music, and funny moments. As a teen, I was ambivalent and couldn’t find a copy to watch. As an adult, I was bummed about the special edition changes, but rejoiced when the original edition became available, and enjoyed it with my child. It’s a nostalgic, touching film about how children’s innocence occasionally triumphs over adult paranoia.
12. The Dark Knight- There is no doubt that this is the penultimate superhero film. It’s hard to even consider this a superhero film- it’s more of a crime thriller with a moral center. With perhaps the most bravura performance in recent memory, Heath Ledger cemented the Joker as one of entertainment’s best villains, and the chaotic nature of the film’s events make this just as much of an experience as a movie.
11. Shakespeare In Love- Despite the clamor to strip this film of its’ Best Picture Oscar, it really is an amazing film, stooped in romance, whimsy, and as Gwyneth Paltrow’s character calls it, a ‘stolen summer’. It may not be an accurate account of Shakespeare’s life, but who cares. It’s the most enjoyable romantic drama I’ve ever seen, topping even the material that it apparently inspired, “Romeo & Juliet”.
10. Contact- No film to this date has better encapsulated the hope, spirit, and arrogance of the human race as it relates to space travel and the universe than this film. Based on Carl Sagan’s novel about first contact, Foster plays my favorite role of hers as Ellie Arroway, a stubborn yet determined astrophysicist. I watch it every July 11th to celebrate the film’s release.
9. Star Wars, Episode IV: A New Hope- Although not my favorite, it’s the best film of the saga, and one could argue that modern cinema exists in the fashion that it does because of this film. It’s constructed so well, and so delightful in every way that we forget George Lucas created it. It may just be the most popular film of all-time as well. There’s nothing I could say that would be revelatory. Everyone already knows Star Wars.
8. Poltergeist- To me, this is the penultimate ‘scary’ movie. Steven Spielberg’s brilliant mind is all over this project, even if he isn’t credited as director. The touches of nostalgia, the subtle commentary on suburbia, post-Vietnam paranoia, and Reaganomics, and the graceful way Beatrice Straight explains the possibilities of an afterlife are the hallmarks of this classic. I watch it every year in October now, and it seems to get better every time.
7. Field of Dreams- Don’t mistake this as being simply a ‘sports’ or ‘baseball’ movie. While it certainly is both of those, it’s more of a father and son movie, and learning to accept and love who your parents are after you learn they’re real people, and not superheroes. The fact that the film’s main set piece is still available to visit and play on certainly helps to play up the aura of the film.
6. Star Wars, Episode VI: Return of the Jedi- Not the best of the saga, but always my favorite. The nostalgia oozing out of this film always brings out the best in cinema for me, despite its’ obvious flaws. This film may be the most important to me on this list, simply for the awe factor involved with this being the first real blockbuster saga I experienced.
5. 2001: A Space Odyssey- THE quintessential science-fiction film for me. It holds more sway when taking in the entire story, including the subsequent sequel film and novels. Groundbreaking for its’ time, but perhaps no longer as relevant due to the lack of wide interest in the space program, it is interestingly the most spiritual story I know.
4. Aliens- Not only does this deliver on thrills and science fiction goodness, but Weaver’s Ellen Ripley is perhaps most enjoyable female role I’ve ever watched. This is a classic as a sci-fi film, a special effects showcase, a well-honed script, and a blockbuster.
3. Raiders of the Lost Ark- A throwback film to a time when movie serials existed, Spielberg’s adventure masterpiece deftly weaves heroism with archaeology, and manages to make history exciting. Harrison Ford has never really been better, and Karen Allen’s spitfire of a sidekick/love interest is still one of my favorites.
2. The Lord of the Rings: The Return of the King- No other film that I’ve watched has combined so many varying emotions into one and pulled it off with flying colors. It’s an astonishing accomplishment that pushes all of my emotional and technical “film buttons”. Hard to defend as one of my ultimate favorites, and I just recently unseated it- but I still love it, and the whole series.
1. Cloud Atlas- It took me over eleven years to find a new favorite film, and dare I say that I didn’t even realize it until recently. From the film’s extra-long final trailer to the end of my first viewing, I was moved to tears by this sci-fi fable. The tag line of ‘everything is connected’ is far too simple a phrase to explain the emotional impact this had on me. Sometimes, we ‘put’ things onto a film based on what we want to get from it. Sometimes, the film not only fulfills what we want, but seems to explain that the filmmakers believe it too. The Wachowskis and Tom Tykwer took a beautiful premise and gave it the respect it deserved, resulting in an honest experience that doesn’t pull punches. It is a brave film, occasionally gory and violent, moving to abstract and odd, then tender and graceful. This story blends everything I love about film, and the potential it has to take the fantastic to a higher level of entertainment. It may be pretentious, but maybe I’m pretentious. Or maybe I just fill in the gaps well. Whatever the case is, this is my favorite film.
*honorable mention: Groundhog Day, Casablanca, Seven, L.A. Confidential, Garden State, Ghostbusters, Batman (1989), Pulp Fiction, Fargo.
Aloha *** (out of 5)
Starring: Bradley Cooper, Emma Stone, Rachel McAdams, John Krasinski, Danny McBride, Alec Baldwin, Dennis “Bumpy” Kanahele, Danielle Rose Russel, Jaeden Lieberher, and Bill Murray
Written and directed by: Cameron Crowe
**POSSIBLE SPOILERS AHEAD**
A common thread running through the films of Cameron Crowe is the flawed hero. Whether it’s Lloyd Dobler awkwardly pursuing his future plans, Jerry Maguire fumbling through his professional and love life, or Drew Baylor contemplating life and death, we know what to expect from a Crowe lead. We can only speculate as to whether this reflects his own personality and challenges, or is simply derivative of where his mind goes to find a story. Unsurprisingly, Aloha has much of the same DNA as his other films, flawed hero and all. It’s because of that DNA that we recognize where Crowe wants to go with this latest entry. I accept and applaud Aloha in spite of continued problems with character development and focus from the director, and love the handful of scenes in which the film works. It is a film whose characters resemble the ‘realness’ we love about other Crowe movies, but places them in odd, unclear situations at times, without allowing them to breathe. Amidst problems involving the studio and leaked emails, the supposed trouble surrounding Aloha leads me to believe that Crowe had something, but may have lost most of it in the shuffle.
Bradley Cooper and his baby blues star as Brian Gilcrest, a “contractor” for the military. I have no idea what that means, and the film only shows him as a “contractor” for a brief time. What we do know is that people make fun of him for flubbing a past assignment in Afghanistan, and that he sustained a lasting injury as a result. He’s managed to get a second chance “contracting” under the watchful gaze of Carson Welch (Murray), one of the world’s wealthiest men. Welch has a penchant for aerospace engineering, too. Think Richard Branson without the music, or Elon Musk with less philanthropy, then insert everything we expect from a Bill Murray performance.
This new “contracting” gig is in Hawaii, of all places. For 99% of us that means absolute joy, but for Brian, this is a painful homecoming of sorts. His escort en route to the local Air Force Base is John “Woody” Woodside (Krasinski), a hot-shot pilot that just happens to be married to his former love Tracy (the always radiant Rachel McAdams). Awkward! She doesn’t know he’s coming, so when he arrives, the jolt of emotion is enough to throw her out of whack. We’re sure this is bound to cause issues because 1) Rachel McAdams was cast for a reason, and 2) she’s so flustered upon first seeing him that she ends up extending a dinner invite.
We also see that the Air Force has assigned an escort to Brian in the form of pilot Allison Ng (Stone). Allison is an energetic, no-nonsense woman whose presence seems to encourage the positive side of Brian’s otherwise cynical personality to emerge. Being a ‘quarter Hawaiian’, she’s also in tune with the history of the islands, and what natives consider to be spiritual. That’s a big help for Brian’s first “mission” in his new job. He is to get “Bumpy” Kanahele (playing himself), a native considered the heir to the throne of the lost Hawaiian crown, to ‘bless’ the site of a new base for a joint Air Force/civilian project. This project will launch satellites above Hawaiian airspace, a delicate subject considering how sacred these skies are to native islanders. These scenes with Bumpy’s clan are much of the film’s heart, and reveal both Brian and Allison’s true natures and ideals, not just as officers filling a post.
What follows for the remainder of the film’s story cannot be easily summed, for it is a wee bit rushed and at times hard to follow. Brian must deal with his conflicting feelings for Tracy and Allison, try to mend his reputation, stay true to the promises he made to “Bumpy”, perform in his new job (whatever it is that he actually does), and come to terms with the conflict inherent in each. Aloha loses points here in this second act by rushing to the conclusion, in spite of strong singular moments. It does seem odd, though, coming from a director known for letting moments ‘breathe’, that his latest film seems hurried. So odd, in fact, that I wonder if it was really a choice he was had to make.
It does appear as if the theatrical version of Aloha is an abridged version of the film, made to satisfy the corporate souls that financed the film instead Crowe’s devoted, established audience. Much has been made about former Sony president Amy Pascal’s disdain for the film, as witnessed in the leaked emails back in 2014, but after seeing the film, I’m unsure which party is at fault. After all, the romance between Allison and Brian simply feels rushed, not forced. The plot appears incomprehensible at times, but how much of that is a studio trimming? If it sounds like I’m making excuses for Crowe, well, I am. Other than the manically unfocused Elizabethtown, I’ve known nothing but positive experiences with his films. His characters are almost always interesting, and they are in Aloha too- it just doesn’t appear they were allowed to ‘breathe’. I can’t help but come to the conclusion that the studio meddled with the final product.
The film has also come under some heavy fire for casting Stone, a Caucasian, in a role for someone described as part Chinese and Hawaiian ancestry. In most cases, I fully understand complaints of whitewashing, and sympathize with how damaging that can be to a population. Aloha seems different, however. The film doesn’t ignore the traditions of the native people, and in fact, seems to wholly embrace them as the most honorable of all involved. I already mentioned Bumpy Kanahele’s role, one I feel is important in pointing out what I feel is not exploitative on Crowe’s part. He has since apologized for the casting decision, but does he need to? The problem with crying ‘whitewashing’ in this case is that the accusers assume they know what an individual of Chinese, Hawaiian, and white heritage should look like, and then they place that assumption on the role. I’m happy to hear the other side of the argument, but knowing a bit about Cameron Crowe, and knowing that he based the character on a real-life person he knew seems to speak against the uproar in this case.
The final word on Aloha is, well, incomplete. If any film in the past five years deserves a director’s cut, I’d vote for this one. The performances are quite strong, the emotion is real and deserved, and as usual, the music of a Crowe film stands out. It simply doesn’t play like a full idea realized on-screen. Cameron Crowe still delivers a modicum of sensible adult interaction, romance, and humor that is accessible for everyone from teenagers to seniors. I don’t mean that to say Aloha is ‘gentle and pleasant’, but like most of his films, it connects with the audience. His characters have emotions that run deep, and they often wear them on their sleeves. We root for his flawed heroes, and for the well-rounded characters that usually litter the screen around them. I liked this film for its’ warmth, its’ honesty, and for some unexpected character moments that are just out-of-bounds enough to keep the film from being predictable. That being said, let’s hope for an “Untitled” version of this, to fully grasp what Crowe wanted to say. It’ll complete you.
Good morning, everyone! This week brought forth a great many new trailers, which I haven’t reviewed in some time. Let’s amend that now:
The Disappearance of Eleanor Rigby: It’s difficult to find a love story in theaters without bumping into young adult adaptations or Nicholas Sparks’ B-Sides. Alas, we may be up for a treat with this, if the trailer is any indication. Jessica Chastian and James McAvoy star as lovers. This isn’t your standard love story, however, and appears to borrow from the broader theme of perception from films like “Sliding Doors”. This literally seems to be two separate stories- from Chastain’s and McAvoy’s point of view. It’s an interesting experiment in the examination of relationships, with two leads that are immensely capable. With an excellent backing song in the trailer (that I cannot identify as of yet), it looks rather incredible, and built quite a buzz at film festivals. Co-starring Viola Davis, Bill Hader, and William Hurt, this arrives in theaters (hopefully everywhere) September 26, 2014.
Fifty Shades of Grey: I’m sure that somehow, this film, based on the infamous novel, will hold deep resonance with female crowds. I, however, could care less. I have sincere doubts that the film, despite the buzz surrounding it, will truly break any new ground, nor do I believe it will inspire rational discussion amongst couples about exploring sexuality. Instead, I wonder what the purpose for this entire project is, but I had better hold my tongue, lest I invite criticism from those in love with the books/the idea of the books. If nothing else, the film seems to look nice, and promises to make everyone uncomfortable/hot and bothered. It is, after all, the most watched trailer of the year thus far, even shy of a week old. Starring the wooden-looking Jamie Dornan and Dakota Johnson, “Fifty Shades” opens on February 14, 2015. How exciting. Oh wait- the trailer advertised a new version of Beyonce’s “Crazy In Love”?!?! Well NOW I’m interested. (Vomit)
Nightcrawler: If you ask me, Jake Gyllenhaal can do anything. “Enemy” is one of the better films of the past ten years, dumbfounded audiences notwithstanding. In “Nightcrawler”, he’s playing a slimy-looking investigative reporter that just might also be a completely insane serial killer. Gyllenhaal absolutely exudes charisma/creepiness in this trailer, and one must give him credit for being daring- after all, not many actors in their prime would consistently look for smaller, riskier projects like he does. At some point, I would have to think that he’ll get recognized on a broader level through the Academy, but that’s not necessarily important. “Nightcrawler” arrives in theaters (I imagine in a smaller capacity) on October 17th, 2014.
Young Ones: It says something about the state of post-apocalyptic films that when I watched this trailer, I saw right past that aspect and focused on a number of good-looking, talented actors talking about irrigation. That’s almost as exciting as “Star Wars” trade disputes. Sure, there’s more going on here than just water problems, for Michael Shannon again appears to be emotionally torn, Elle Fanning really wants her man but can’t have him, Nicholas Hoult looks a bit seedy as an inventor/suitor, and it takes place in something of a dust bowl. Oh, and Shannon guzzles gas at one point. I’m sure there will be plenty of style, but I’m not entirely sold on the substance for “Young Ones”, opening October 17th, 2014.
Sharknado 2: The Second One: There’s something almost noble about SyFy’s attempt to beat our collective intelligences into submission. After all, the first “Sharknado” film last year was so immensely popular that they tried a theatrical release. It comes as no surprise that they would drink from our vast well of stupidity for another go around. No matter how you approach this ‘film’, as ‘fun’ as this concept may be, or how much delight we could take in the cheesy, “C” movie material, I cannot get past the thought of water creatures existing, much less attacking, without being able to breathe. Science, entertainment, and culture will take a break for two hours starting July 30th, 2014 (tomorrow).
Tusk: Kevin Smith. A man that I respect, enjoy listening to, and should appreciate more, has made a horror film about a man (Michael Parks) so obsessed with the walrus that he wants to turn people into them. If that seems odd, watch this trailer and believe. Parks is that guy, a chameleon of an actor simply chewing the scenery. Is it a genre film? Possibly, but it might also simply be a fantastically weird character study. What a magnificent trailer. Add the fact that hit-maker studio A24 is making this, and I’m completely on board, despite my problems with other Kevin Smith films. “Tusk”, co-starring Justin Long, Genesis Rodriguez, and Haley Joel Osment (yes, him) opens September 19th, 2014.
The Death of Superman Lives- What Happened: Does anyone remember the failed Superman film of the late 1990’s? Tim Burton was far into the process of directing a Superman movie with Nicolas Cage as Kal-El. I kid you not. That part doesn’t interest me- what does is the story behind its’ failure, and this documentary promises to reveal the larger story surrounding one of the bigger films that never was. The trailer also shows Cage in costume, with longer hair, and some spectacular test footage, along with excellent concept art. From the early drafts by the aforementioned Kevin Smith, and the seeming lack of interest from Burton, I’m pumped. As of now, this doc has no release date, as it was entirely crowd-funded, and now needs more money.
Hot Tub Time Machine 2: 2010’s original was a surprisingly funny comedy, playing coy with our sense of 1980’s nostalgia with a wry sense of itself. John Cusack was a big part of that, which makes his absence from this trailer appear even more glaring. Director Steve Pink has worked with Cusack multiple times, including the original, further adding to the discussion of why Cusack isn’t here. Regardless, this trailer is extremely funny; but one must worry that Craig Robinson can hold up the film all by himself. Co-stars Rob Corddry, Clark Duke, and Adam Scott often wear out their welcomes quickly on-screen. “Hot Tub Time Machine 2” is well-placed for counter programming on Christmas Day.