20. Big Trouble in Little China (1986, dir. John Carpenter)
From 1978 to 1988, John Carpenter may have been the finest filmmaker in America. During that span he directed 9 films, including Halloween, The Fog, Escape from New York, The Thing, Christine, Starman, and They Live. One of his most under appreciated films from that time was Big Trouble in Little China, a fantastic and thrilling action comedy. Set in the magical underworld of San Francisco Chinatown, this is the most exuberantly creative film of Carpenter’s career. Kurt Russell is hilarious as the clumsily heroic—and I think iconic—Jack Burton.
19. Braveheart (2006, dir. Mel Gibson)
I don't know if Mel Gibson is an anti-Semite, although there is a certainly a preponderance of evidence that indicates as much. It's quite possible that if I ever met Mel Gibson we would get into a violent argument over politics and the crude religiosity of Passion of the Christ. But I do one for certain... Mel Gibson is capable of being one of the most exciting filmmakers working today. His 1995 film Braveheart is the most outstanding historical epic of the last 25 years. It's one of the single-most propulsive,moving, and powerfully made films I've ever seen.
18. The Thing (1982, dir. John Carpenter)
... And we're back to John Carpenter. If you haven't noticed, I'm an incredible fan of Carpenter's work, and I think his best film is The Thing. This nerve-shatteringly tense film sets the standard for paranoid horror.
17. Saving Private Ryan (1998, dir. Steven Spielberg)
Although some may disagree, I think this is Steven Spielberg's last great film. In fact, I would even suggest that Steven Spielberg's post-Saving Private Ryan filmography has largely been inconsistent. A.I., though visually stunning, was plagued by a dense structure that made the film's attempts at a meaningful thematic examination of humanity and technology fall flat. I found Minority Report to be a competent thriller but nothing more (I say competent, but at times I found the film to painfully conventional). His best film since Saving Private Ryan may be Catch Me if You Can, which is wonderfully entertaining but never strikes me as exceptional. The Terminal was sappy and forgettable; War of the Worlds was dazzling in many ways, but contrived in others. Even the highly acclaimed Munich faltered under the weight of its political and philosophical indecisiveness. And Indiana Jones and the Kingdom of the Crystal Skull, well... it's just bad. Saving Private Ryan, on the hand, is GREAT. Not only is it one of the most distinctive, involved, and visceral visual experiences in modern cinema, but it is also one of the most thought-provoking war films ever made. Few films depict the effects war on the human psyche as poignantly as Saving Private Ryan.
16. Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (1964, dir. Stanley Kubrick)
I sincerely wish Stanley Kubrick had lived long enough (and made films fast enough) to make a movie in every genre, because if there's one thing Dr. Strangelove proves it's that Stanley Kubrick could do anything he wanted as a filmmaker. In 1964, he made one of the most incisive and dangerously funny comedies ever with Dr. Strangelove. Quite simply, this film is nearly perfect.
15. In the Bedroom (2001, dir. Todd Field)
I think this is one of the most emotionally hard-hitting films ever made. All of the performances are fantastic, but in particular Tom Wilkinson's turn as the mild-mannered doctor grieving the loss of son is one of the best male performances IN CINEMA HISTORY.
14. Hannah and Her Sisters (1986, dir. Woody Allen)
For as wonderfully rich and funny as Woody Allen's work is, no one can accuse him of being an optimist, which is why it may be unfair for me to pick his most life-affirming film as my favorite. But I don't care. I love Hannah and Her Sisters. It's one of the funniest, most intelligent, and most human films I've ever seen.
13. Psycho (1960, dir. Alfred Hitchcock)
I don't care what anyone says... Psycho scares me. It's a stunningly well-crafted and psychologically disturbing horror film that is absolutely one of Hitchcock's best.
12. Fright Night (1985, dir. Tom Holland)
I know... no one ever says that Fright Night is one of the best films of all time (I certainly know it's not on the Criterion Collection's short list). Truthfully, no one ever says it's simply one of the best horror films of all time. All I know is I could watch this movie over and over (I know because I have) and still love every minute of it, that and also happen to think that it's brilliantly imaginative and well-stylized.
11. Unforgiven (1992, dir. Clint Eastwood)
Fuck The Good, the Bad, and the Ugly... when it comes to westerns give me Unforgiven any day of the week (just to clarify, I don't dislike The Good, the Bad, and the Ugly, I was just saying that for emphasis). Eastwood's haunting and beautifully made film expresses the tragedy of violence better than anything I've seen.
Wednesday, October 28, 2009
Tuesday, October 27, 2009
Top 100 Films: 30-21
30. 2001: A Space Odyssey (1968, dir. Stanley Kubrick)
The only Academy Award Stanley Kubrick ever won was for special achievement in visual effects, which he received for this film. Not only was the award completely deserved (as were many others as far as Kubrick is concerned), but 2001 is perhaps the most awe-inspiring visual achievement in cinema, period.
29. Nixon (1995, dir. Oliver Stone)
From 1986 to 1995, Oliver Stone was responsible for some of the most provocative and indelible films of the 20th century. In 1986 he released a personal, terrifying, and utterly unique statement on the war in Vietnam with Platoon; that same year he directed the fiery and brilliant political thriller Salvador. In 87, he presented the world with Wall Street, an eerily salient reflection of the role of economic greed in the American experience. In 89, Stone returned to the Vietnam War with Born on the Fourth of July, and in doing so produced perhaps the last great film on the subject. In 1990, Stone directed the flawed but inimitable Jim Morrison biopic The Doors. In 1991, JFK made Stone the "most dangerous man in America" and the release of Natural Born Killers in 1994 was arguably more controversial. But in 1995, Stone gave audiences one of the best films of his career with Nixon. Stone's dark, layered film achieves an almost operatic power in it's piercing study of America's most self-destructively human president.
28. Mississippi Burning (1988, dir. Alan Parker)
American has a complicated past when it comes to race relations and no matter how many African-American presidents we elect, that past will not go away. Mississippi Burning literally unearths the dead remains of that past with it's absorbing account of the investigation into the deaths of four civil rights workers in 1964. Amazingly directed by Englishman Alan Parker, this film comes closer than nearly any other in confronting the darkness of American history.
27. Annie Hall (1977, dir. Woody Allen)
Woody Allen may not believe he's made a masterpiece, but why would we take his word for it? Watch his movies and see for yourself. I've seen most of Woody Allen's work and one of my absolute favorites is Annie Hall. I'm obviously not alone in my love for this film. It did win Best Picture, and rightfully so. It's one of the most unique, funny, and emotionally true films ever made.
26. Sunset Boulevard (1950, dir. BillyWilder)
For me, this is the definitive film of Billy Wilder's diverse, wildly successful career. It is as finely executed and boldly overstated as anything ever done, right down to the film's expert structure and the go-for-broke brilliance of Gloria Swanson's performance.
25. The Shawshank Redemption (1994, dir. Frank Darabont)
In my opinion, Frank Darabont has a had a spotty career. I was one of those that thought The Mist was an inconsistent, though occasionally gripping, film that at times was damaged by contrived and simplistic characterizations (Thomas Jane's performance didn't help either). In the larger scheme of things, Darabont's sweet-natured but clumsy The Majestic was far too harshly criticized, but it was by no means a great film. And although The Green Mile was highly acclaimed and received a best picture nomination, in hindsight the film is not as striking as it seemed in 1999. However, I have nothing negative to say about Darabont's stunning 1994 feature The Shawshank Redemption. This film is a remarkably powerful emotional journey crafted with exquisite richness and simply great performances by Tim Robbins and Morgan Freemen.
24. The Departed (2006, dir. Martin Scorcese)
When The Departed was first released, many critics said it was Scorcese's best film since Goodfellas. I'll do them one better. I think it's a better film than Goodfellas. How can the Departed, a remake of the popular Japanese thriller Infernal Affairs, be better than something as imperceptibly perfect as Goodfellas? Well, firstly I don't think Goodfellas is perfect, but secondly I thought the themes of class, loyalty, and personal identity were more clearly and in some ways more relevantly expressed in The Departed. The performances are just as rich in my opinions with Leonardo DiCaprio, Matt Damon (in the best performance to date), and Jack Nicholson making wonderful turns in the film. Also, I think The Departed is as stylistically muscular as anything Scorcese has ever done. Overall, this a preciously rare example of a thriller being a truly great film.
23. Ghostbusters (1984, dir. Ivan Reitman)
As one of the most imaginative and breathtakingly hilarious comedies ever, it is entirely appropriate that Ghostbusters be considered simply one of the best films ever.
22. L.A. Confidential (1997, dir. Curtis Hanson)
I know what you're thinking... if he thought the career of Academy Award nominated filmmaker Frank Darabont was spotty, what will he think about Curtis Hanson? The truth is, I generally don't think about Curtis Hanson, especially since Lucky You left such a terrible taste in my mouth (that film was AWFUL). But I can't deny the extraordinary skill Hanson showed with L.A. Confidential. This utterly absorbing crime epic examines the complex nature of justice in a morally corrupt and exploitative world.
21. Rushmore (1998, dir. Wes Anderson)
Wes Anderson is one of the most innovative American filmmakers of the last twenty years. Over the course of his career making films like Bottle Rocket, the incomparable Royal Tenenbaums, Life Aquatic with Steve Zissou, and The Darjeeling Limited, Anderson has crystallized a wholly individualistic style that has proven to be broadly influential. Of all of his films, Rushmore is my favorite. In my opinion it is not only his most finely honed work emotionally, but it is as creatively well-wrought as anything he's done.
The only Academy Award Stanley Kubrick ever won was for special achievement in visual effects, which he received for this film. Not only was the award completely deserved (as were many others as far as Kubrick is concerned), but 2001 is perhaps the most awe-inspiring visual achievement in cinema, period.
29. Nixon (1995, dir. Oliver Stone)
From 1986 to 1995, Oliver Stone was responsible for some of the most provocative and indelible films of the 20th century. In 1986 he released a personal, terrifying, and utterly unique statement on the war in Vietnam with Platoon; that same year he directed the fiery and brilliant political thriller Salvador. In 87, he presented the world with Wall Street, an eerily salient reflection of the role of economic greed in the American experience. In 89, Stone returned to the Vietnam War with Born on the Fourth of July, and in doing so produced perhaps the last great film on the subject. In 1990, Stone directed the flawed but inimitable Jim Morrison biopic The Doors. In 1991, JFK made Stone the "most dangerous man in America" and the release of Natural Born Killers in 1994 was arguably more controversial. But in 1995, Stone gave audiences one of the best films of his career with Nixon. Stone's dark, layered film achieves an almost operatic power in it's piercing study of America's most self-destructively human president.
28. Mississippi Burning (1988, dir. Alan Parker)
American has a complicated past when it comes to race relations and no matter how many African-American presidents we elect, that past will not go away. Mississippi Burning literally unearths the dead remains of that past with it's absorbing account of the investigation into the deaths of four civil rights workers in 1964. Amazingly directed by Englishman Alan Parker, this film comes closer than nearly any other in confronting the darkness of American history.
27. Annie Hall (1977, dir. Woody Allen)
Woody Allen may not believe he's made a masterpiece, but why would we take his word for it? Watch his movies and see for yourself. I've seen most of Woody Allen's work and one of my absolute favorites is Annie Hall. I'm obviously not alone in my love for this film. It did win Best Picture, and rightfully so. It's one of the most unique, funny, and emotionally true films ever made.
26. Sunset Boulevard (1950, dir. BillyWilder)
For me, this is the definitive film of Billy Wilder's diverse, wildly successful career. It is as finely executed and boldly overstated as anything ever done, right down to the film's expert structure and the go-for-broke brilliance of Gloria Swanson's performance.
25. The Shawshank Redemption (1994, dir. Frank Darabont)
In my opinion, Frank Darabont has a had a spotty career. I was one of those that thought The Mist was an inconsistent, though occasionally gripping, film that at times was damaged by contrived and simplistic characterizations (Thomas Jane's performance didn't help either). In the larger scheme of things, Darabont's sweet-natured but clumsy The Majestic was far too harshly criticized, but it was by no means a great film. And although The Green Mile was highly acclaimed and received a best picture nomination, in hindsight the film is not as striking as it seemed in 1999. However, I have nothing negative to say about Darabont's stunning 1994 feature The Shawshank Redemption. This film is a remarkably powerful emotional journey crafted with exquisite richness and simply great performances by Tim Robbins and Morgan Freemen.
24. The Departed (2006, dir. Martin Scorcese)
When The Departed was first released, many critics said it was Scorcese's best film since Goodfellas. I'll do them one better. I think it's a better film than Goodfellas. How can the Departed, a remake of the popular Japanese thriller Infernal Affairs, be better than something as imperceptibly perfect as Goodfellas? Well, firstly I don't think Goodfellas is perfect, but secondly I thought the themes of class, loyalty, and personal identity were more clearly and in some ways more relevantly expressed in The Departed. The performances are just as rich in my opinions with Leonardo DiCaprio, Matt Damon (in the best performance to date), and Jack Nicholson making wonderful turns in the film. Also, I think The Departed is as stylistically muscular as anything Scorcese has ever done. Overall, this a preciously rare example of a thriller being a truly great film.
23. Ghostbusters (1984, dir. Ivan Reitman)
As one of the most imaginative and breathtakingly hilarious comedies ever, it is entirely appropriate that Ghostbusters be considered simply one of the best films ever.
22. L.A. Confidential (1997, dir. Curtis Hanson)
I know what you're thinking... if he thought the career of Academy Award nominated filmmaker Frank Darabont was spotty, what will he think about Curtis Hanson? The truth is, I generally don't think about Curtis Hanson, especially since Lucky You left such a terrible taste in my mouth (that film was AWFUL). But I can't deny the extraordinary skill Hanson showed with L.A. Confidential. This utterly absorbing crime epic examines the complex nature of justice in a morally corrupt and exploitative world.
21. Rushmore (1998, dir. Wes Anderson)
Wes Anderson is one of the most innovative American filmmakers of the last twenty years. Over the course of his career making films like Bottle Rocket, the incomparable Royal Tenenbaums, Life Aquatic with Steve Zissou, and The Darjeeling Limited, Anderson has crystallized a wholly individualistic style that has proven to be broadly influential. Of all of his films, Rushmore is my favorite. In my opinion it is not only his most finely honed work emotionally, but it is as creatively well-wrought as anything he's done.
Monday, October 26, 2009
Top 100 Films: 40-31
First, I have to say, I apologize for taking so long to update this list. Alright, now that all three of you out there who were actually waiting have been allayed, here is the next installment.
40. The Curious Case of Benjamin Button (2008, dir. David Fincher)
I know this will seem like a controversial pick. Many people don't like this film, and a part of me understands why. It's not a conventional film, and I don't mean that condescendingly. David Fincher's epic follows the life of the backward aging Benjamin Button (played by Brad Pitt, who is magnificent in this performance) from birth to death. We see Benjamin experience his life in a profoundly unique way, and I personally found his struggle to live and love to be wonderfully moving. In addition, I think this film is one of the most superbly expressed and artful films of the last decade. David Fincher's direction is astounding.
39. Raging Bull (1980, dir. Martin Scorcese)
With all due respect to Robert Redford, his 1980 film Ordinary People, a sincere and emotionally affecting drama in its own right, should not have won best picture, and the reason is simple: Raging Bull was nominated. Martin Scorcese's film stands as one of the most powerful, complex, and gut-wrenching portraits of a flawed human being in cinema history.
38. Groundhog Day (1993, dir. Harold Ramis)
Is #38 too high for a mid-nineties comedy starring Bill Murray? If we're talking about Larger Than Life (1996), than the answer is yes; however, if we're talking Harold Ramis's ingeniusly hilarious Groundhog Day, then no. In this maniacally original film, Bill Murrary gives one of the most poignant-and perfect-performances of his career.
37. Crimes and Misdemeanors (1989, dir. Woody Allen)
Put simply, before there was Matchpoint, which was lauded by critics, there was Crimes and Misdemeanors, Woody Allen's more incisive precursor. This is a truly unique film that progresses along two radically different story lines: in one, an optometrist played by Martin Landau (in one of the best performances of his career) struggles to protect his reputation when his mistress threatens to reveal their relationship; in the other, a struggling documentary filmmaker (Woody Allen) languishing in a failing marriage must compromise his creative ethics when he's forced to take a job from his brother. Both stories are immensely compelling but that Woody Allen is weave them together as seamlessly and potently as he does is remarkable. This is one of Woody Allen's best films.
36. Apocalypse Now (1979, dir. Francis Ford Coppola)
When I said that Stanley Kubrick's Full Metal Jacket (1987) was possibly the most acute portrait of men in combat in film, I wasn't lying, but Francis Ford Coppola's Apocalypse Now may be the most searingly vivid and surreal vision of war ever presented.
35. Star Wars: A New Hope (1977, dir. George Lucas)
Whenever I come across Episode 1, 2, 3 (and trust me, I try to come across as seldomly as possible) I ask myself, "How did George Lucas get so much right in a New Hope and so much wrong in the newer films. One thing that comes to mind is actors. Overall, there are simply better actors in Episode 4 (Alec Guiness, Harrison Ford, and, yes, even Mark Hamill and Carrie Fisher, who perform admirably). But that doesn't stand up. No one can argue that Liam Neeson, Ewen McGregor, Natalie Portman, Samuel Jackson, and even a focused Hayden Christianson (his performance in Shattered Glass is very good) can give good performances. More and more, it seems that the answer is George Lucas himself. I think it's fairly obvious that when it came to certain aspects of the newer films, namely the writing, acting, and direction, George Lucas just did not try. But A New Hope was a different story. He actually tried, and in doing so crafted one of the most brilliant and enduring fantasy films of all time. I don't think I'm alone when I say I love this movie.
34. Pulp Fiction (1994, dir. Quentin Tarantino)
Seeing Inglorious Basterds this summer helped crystalize for me that I am not a perpetual fan of Quentin Tarantino. To put it mildly, I strongly disliked Inglorious Basterds, and truthfully I've found Tarantino's work since Pulp Fiction to be inconsistent. But Quentin Tarantino's first films are purely amazing. Pulp Fiction, in particular, is as bold, innovative, and stunningly realized as anything ever made.
33. Alien (1979, dir. Ridley Scott)
Ridley Scott is another filmmaker I'm not perenially fond of. I think he has made two great films (Blade Runner, Alien), some undeniably good films (American Gangster, Kingdom of Heaven, Blackhawk Down, Gladiator), and some bad films (Someone to Watch Over Me, Black Rain, White Squall, G.I. Jane, Hannibal, A Good Year). I think his most compelling feature is Alien (Blade Runner is spectacular but at times pulled down by the weight of its own abstractions). This 1979 film is one of the most visceral and brilliantly stylized horror films of all time and stands as a benchmark in the genre.
32. The Constant Gardener (2005, dir. Fernando Meirelles)
It must surprise some to see The Constant Gardener ranked above the wildly acclaimed City of God (2003), but I truthfully think it's better. In fact, I think Fernando Meirelles is one of the most important filmmakers working today. I've been moved by everything he's done (including the unfairly overlooked Blindness), but none moreso than The Constant Gardener, a gritty, vibrantly real, and emotionally powerful examination of human exploitation in Africa. In my opinion, Ralph Fiennes performance as Justin Quayle, a British diplomat seeking to unravel the mystery of wife's murder, is one of the five best film performances of all time. Period.
31. Goodfellas (1990, dir. Martin Scorcese)
I'll keep on my comments on Martin Scorese's remarkable mafia epic brief, and simply say this: Goodfellas is the definitive mob film in cinema, and I say this with full knowledge of the films it is competing with (Godfather 1 and 2, anyone?).
40. The Curious Case of Benjamin Button (2008, dir. David Fincher)
I know this will seem like a controversial pick. Many people don't like this film, and a part of me understands why. It's not a conventional film, and I don't mean that condescendingly. David Fincher's epic follows the life of the backward aging Benjamin Button (played by Brad Pitt, who is magnificent in this performance) from birth to death. We see Benjamin experience his life in a profoundly unique way, and I personally found his struggle to live and love to be wonderfully moving. In addition, I think this film is one of the most superbly expressed and artful films of the last decade. David Fincher's direction is astounding.
39. Raging Bull (1980, dir. Martin Scorcese)
With all due respect to Robert Redford, his 1980 film Ordinary People, a sincere and emotionally affecting drama in its own right, should not have won best picture, and the reason is simple: Raging Bull was nominated. Martin Scorcese's film stands as one of the most powerful, complex, and gut-wrenching portraits of a flawed human being in cinema history.
38. Groundhog Day (1993, dir. Harold Ramis)
Is #38 too high for a mid-nineties comedy starring Bill Murray? If we're talking about Larger Than Life (1996), than the answer is yes; however, if we're talking Harold Ramis's ingeniusly hilarious Groundhog Day, then no. In this maniacally original film, Bill Murrary gives one of the most poignant-and perfect-performances of his career.
37. Crimes and Misdemeanors (1989, dir. Woody Allen)
Put simply, before there was Matchpoint, which was lauded by critics, there was Crimes and Misdemeanors, Woody Allen's more incisive precursor. This is a truly unique film that progresses along two radically different story lines: in one, an optometrist played by Martin Landau (in one of the best performances of his career) struggles to protect his reputation when his mistress threatens to reveal their relationship; in the other, a struggling documentary filmmaker (Woody Allen) languishing in a failing marriage must compromise his creative ethics when he's forced to take a job from his brother. Both stories are immensely compelling but that Woody Allen is weave them together as seamlessly and potently as he does is remarkable. This is one of Woody Allen's best films.
36. Apocalypse Now (1979, dir. Francis Ford Coppola)
When I said that Stanley Kubrick's Full Metal Jacket (1987) was possibly the most acute portrait of men in combat in film, I wasn't lying, but Francis Ford Coppola's Apocalypse Now may be the most searingly vivid and surreal vision of war ever presented.
35. Star Wars: A New Hope (1977, dir. George Lucas)
Whenever I come across Episode 1, 2, 3 (and trust me, I try to come across as seldomly as possible) I ask myself, "How did George Lucas get so much right in a New Hope and so much wrong in the newer films. One thing that comes to mind is actors. Overall, there are simply better actors in Episode 4 (Alec Guiness, Harrison Ford, and, yes, even Mark Hamill and Carrie Fisher, who perform admirably). But that doesn't stand up. No one can argue that Liam Neeson, Ewen McGregor, Natalie Portman, Samuel Jackson, and even a focused Hayden Christianson (his performance in Shattered Glass is very good) can give good performances. More and more, it seems that the answer is George Lucas himself. I think it's fairly obvious that when it came to certain aspects of the newer films, namely the writing, acting, and direction, George Lucas just did not try. But A New Hope was a different story. He actually tried, and in doing so crafted one of the most brilliant and enduring fantasy films of all time. I don't think I'm alone when I say I love this movie.
34. Pulp Fiction (1994, dir. Quentin Tarantino)
Seeing Inglorious Basterds this summer helped crystalize for me that I am not a perpetual fan of Quentin Tarantino. To put it mildly, I strongly disliked Inglorious Basterds, and truthfully I've found Tarantino's work since Pulp Fiction to be inconsistent. But Quentin Tarantino's first films are purely amazing. Pulp Fiction, in particular, is as bold, innovative, and stunningly realized as anything ever made.
33. Alien (1979, dir. Ridley Scott)
Ridley Scott is another filmmaker I'm not perenially fond of. I think he has made two great films (Blade Runner, Alien), some undeniably good films (American Gangster, Kingdom of Heaven, Blackhawk Down, Gladiator), and some bad films (Someone to Watch Over Me, Black Rain, White Squall, G.I. Jane, Hannibal, A Good Year). I think his most compelling feature is Alien (Blade Runner is spectacular but at times pulled down by the weight of its own abstractions). This 1979 film is one of the most visceral and brilliantly stylized horror films of all time and stands as a benchmark in the genre.
32. The Constant Gardener (2005, dir. Fernando Meirelles)
It must surprise some to see The Constant Gardener ranked above the wildly acclaimed City of God (2003), but I truthfully think it's better. In fact, I think Fernando Meirelles is one of the most important filmmakers working today. I've been moved by everything he's done (including the unfairly overlooked Blindness), but none moreso than The Constant Gardener, a gritty, vibrantly real, and emotionally powerful examination of human exploitation in Africa. In my opinion, Ralph Fiennes performance as Justin Quayle, a British diplomat seeking to unravel the mystery of wife's murder, is one of the five best film performances of all time. Period.
31. Goodfellas (1990, dir. Martin Scorcese)
I'll keep on my comments on Martin Scorese's remarkable mafia epic brief, and simply say this: Goodfellas is the definitive mob film in cinema, and I say this with full knowledge of the films it is competing with (Godfather 1 and 2, anyone?).
Friday, October 9, 2009
Top 100 Films: 50-41
50. Full Metal Jacket (1987, dir. Stanley Kubrick)
Stanley Kubrick's singular vision of the Vietnam War stands, perhaps, as the most haunting portrait of men in combat in film history.
49. Dead Man Walking (1995, dir. Tim Robbins)
Although Tim Robbins' film provides an impassioned argument against the death penalty, I hesitate to call it strictly political; rather, it is a powerful artistic statement about loss and personal redemption. Susan Surandon and Sean Penn give the best performances of their careers.
48. City of God (2003, dir. Fernando Meirelles)
To illustrate the importance of this 2003 film, let me ask a simple question: would Danny Boyle have ever conjured the manic inspiration to make Slumdog Millionaire without City of God. Fernando Meirelles' Academy Award nominated drama is the most resonant, sprawling, and recklessly brilliant crime film since Goodfellas.
47. The Natural (1984, dir. Barry Levinson)
At times Barry Levinson's simplistic approach as a filmmaker can be a severe detriment (Envy, Disclosure, and the utterly horrible Man of the Year are prime examples of this), but his style is perfectly suited to this sports fairy tale starring Robert Redford. Levinson's film achieves an expressive, painterly elegance that compliments the film's almost extra-mythical quality. And the film itself is as rousing a sports drama as any.
46. Se7en (1995, dir. David Fincher)
A few weeks ago I turned on the television and found myself watching a brooding, rain-drenched murder mystery. Was it Se7en? No. It was the 1999 film Resurrection starring Christopher Lambert. But that's the point. It's easy to forget just how influential David Fincher's Se7en is unless you've seen some of the numerous carbon copies like Resurrection that have been produced after it. This film is truly groundbreaking in its darkly realized stylization.
45. Being There (1979, dir. Hal Ashby)
Few actors have embodied a character as fully and as marvelously as Peter Sellers does in the remarkable comedy Being There. On first glance, one might view Seller's characterization of the simple-minded, slightly vacant, and television-obsessed Chance as being easy. And that's the genius of the performance. In this film, Sellers crosses the plane of mere performance and becomes Chance.
44. The Birds (1963, dir. Alfred Hitchcock)
Alfred Hitchcock's take on apocalyptic drama is as heightened and terrifying as anything that has been produced.
43. The Big Lebowski (1997, dir. Joel Coen)
There's not much to say about this film except that it's pure comedy genius.
42. The Lives of Others (2006, dir. Florian Hencknel von Donnersmarck)
In 2006 there was one foreign film that everyone was talking about: Pan's Labyrinth. And yet, what won Best Foreign Language Film at the Academy Awards that year? The Lives of Others. At his oscar party, Sir Elton John was apparently so surprised that his favorite didn't win he said, "What the fuck?" (or something like that). In this case, I actually think the Academy got it right. Not only was Florian Hencknel von Donnersmarck's penetrating look at the East Germany the best foreign language film of the year, it was one of the most interesting and powerful films in some time.
41. Magnolia (1999, dir. Paul Thomas Anderson)
Hard Eight... good. Boogie Nights... great. Magnolia... greatest. Although most might prefer Anderson's Boogie Nights, I'll take the epic, oblique, shamelessly emotive Magnolia any day of the week.
Stanley Kubrick's singular vision of the Vietnam War stands, perhaps, as the most haunting portrait of men in combat in film history.
49. Dead Man Walking (1995, dir. Tim Robbins)
Although Tim Robbins' film provides an impassioned argument against the death penalty, I hesitate to call it strictly political; rather, it is a powerful artistic statement about loss and personal redemption. Susan Surandon and Sean Penn give the best performances of their careers.
48. City of God (2003, dir. Fernando Meirelles)
To illustrate the importance of this 2003 film, let me ask a simple question: would Danny Boyle have ever conjured the manic inspiration to make Slumdog Millionaire without City of God. Fernando Meirelles' Academy Award nominated drama is the most resonant, sprawling, and recklessly brilliant crime film since Goodfellas.
47. The Natural (1984, dir. Barry Levinson)
At times Barry Levinson's simplistic approach as a filmmaker can be a severe detriment (Envy, Disclosure, and the utterly horrible Man of the Year are prime examples of this), but his style is perfectly suited to this sports fairy tale starring Robert Redford. Levinson's film achieves an expressive, painterly elegance that compliments the film's almost extra-mythical quality. And the film itself is as rousing a sports drama as any.
46. Se7en (1995, dir. David Fincher)
A few weeks ago I turned on the television and found myself watching a brooding, rain-drenched murder mystery. Was it Se7en? No. It was the 1999 film Resurrection starring Christopher Lambert. But that's the point. It's easy to forget just how influential David Fincher's Se7en is unless you've seen some of the numerous carbon copies like Resurrection that have been produced after it. This film is truly groundbreaking in its darkly realized stylization.
45. Being There (1979, dir. Hal Ashby)
Few actors have embodied a character as fully and as marvelously as Peter Sellers does in the remarkable comedy Being There. On first glance, one might view Seller's characterization of the simple-minded, slightly vacant, and television-obsessed Chance as being easy. And that's the genius of the performance. In this film, Sellers crosses the plane of mere performance and becomes Chance.
44. The Birds (1963, dir. Alfred Hitchcock)
Alfred Hitchcock's take on apocalyptic drama is as heightened and terrifying as anything that has been produced.
43. The Big Lebowski (1997, dir. Joel Coen)
There's not much to say about this film except that it's pure comedy genius.
42. The Lives of Others (2006, dir. Florian Hencknel von Donnersmarck)
In 2006 there was one foreign film that everyone was talking about: Pan's Labyrinth. And yet, what won Best Foreign Language Film at the Academy Awards that year? The Lives of Others. At his oscar party, Sir Elton John was apparently so surprised that his favorite didn't win he said, "What the fuck?" (or something like that). In this case, I actually think the Academy got it right. Not only was Florian Hencknel von Donnersmarck's penetrating look at the East Germany the best foreign language film of the year, it was one of the most interesting and powerful films in some time.
41. Magnolia (1999, dir. Paul Thomas Anderson)
Hard Eight... good. Boogie Nights... great. Magnolia... greatest. Although most might prefer Anderson's Boogie Nights, I'll take the epic, oblique, shamelessly emotive Magnolia any day of the week.
Thursday, October 8, 2009
In Defense of Michael Moore
Controversial filmmaker Michael Moore recently released Capitalism: A Love Story. Naturally, much of the criticism surrounding the film has been focused on Moore himself and the seeming cult of personality he has created.
On imdb, I read an entertainment article in which the author claimed he couldn't take
Capitalism: A Love Story seriously because of Moore's presence in the movie. Now, I understand some people's ambivalence toward Moore. He inserts himself shamelessly into his work and his films blur the lines between documentary and propaganda. And yet still, my answer to his critics is simple: GET OVER IT.
To attack a man's work for such a superficial point is intellectually crass to the highest degree. And yet this makes perfect sense. After all, it's much easier to dismiss Moore as a muckraking egomaniac than to confront the hard questions his films ask.
Simply put, Michael Moore is one of the most important filmmakers in the country. No one challenges the corrupt power structures in this nation more forwardly and relentlessly than he. And I do believe that he is an equal-opportunity radical. He will attack anyone, no matter what their political affiliations or reputation. Remember Sicko (certainly, the most powerful indictment of the United States' immoral health care system that anyone has produced). In that film, Michael Moore criticized Senate and Congressional Republicans for accepting massive contributions from insurance companies, but he also exposes Hillary Clinton for doing the same thing.
I believe he is genuinely concerned for the well-being and improvement of this country and his films have been instrumental in revealing profound inequities in our society. And to those who criticize him for perceived factual inaccuracies in his work, I would say a few things. First, Michael Moore has defended his work tirelessly and almost every fact in them. Secondly, few people question the larger points his films make. For instance, there are disputes about some of the facts presented in Bowling for Columbine, but can anyone deny that the United States has more gun deaths than any advanced democracy in the world? And Moore's critics have certainly attacked Sicko, but can anyone deny that United States has one of the WORST health care systems of any western industrialized democracy? If you don't think so, look at the WTO, United Nations, and the Human Development Index, to see where the United States ranks.
One final point. NO ONE should feel sorry for Charlton Heston for being interviewed by Moore. First of all, Charlton Heston did not have Alzheimer's at the time, he simply had Alzheimer's-like symptoms. And if he did have Alzheimer's he shouldn't have allowed himself to be president of the NRA.
On imdb, I read an entertainment article in which the author claimed he couldn't take
Capitalism: A Love Story seriously because of Moore's presence in the movie. Now, I understand some people's ambivalence toward Moore. He inserts himself shamelessly into his work and his films blur the lines between documentary and propaganda. And yet still, my answer to his critics is simple: GET OVER IT.
To attack a man's work for such a superficial point is intellectually crass to the highest degree. And yet this makes perfect sense. After all, it's much easier to dismiss Moore as a muckraking egomaniac than to confront the hard questions his films ask.
Simply put, Michael Moore is one of the most important filmmakers in the country. No one challenges the corrupt power structures in this nation more forwardly and relentlessly than he. And I do believe that he is an equal-opportunity radical. He will attack anyone, no matter what their political affiliations or reputation. Remember Sicko (certainly, the most powerful indictment of the United States' immoral health care system that anyone has produced). In that film, Michael Moore criticized Senate and Congressional Republicans for accepting massive contributions from insurance companies, but he also exposes Hillary Clinton for doing the same thing.
I believe he is genuinely concerned for the well-being and improvement of this country and his films have been instrumental in revealing profound inequities in our society. And to those who criticize him for perceived factual inaccuracies in his work, I would say a few things. First, Michael Moore has defended his work tirelessly and almost every fact in them. Secondly, few people question the larger points his films make. For instance, there are disputes about some of the facts presented in Bowling for Columbine, but can anyone deny that the United States has more gun deaths than any advanced democracy in the world? And Moore's critics have certainly attacked Sicko, but can anyone deny that United States has one of the WORST health care systems of any western industrialized democracy? If you don't think so, look at the WTO, United Nations, and the Human Development Index, to see where the United States ranks.
One final point. NO ONE should feel sorry for Charlton Heston for being interviewed by Moore. First of all, Charlton Heston did not have Alzheimer's at the time, he simply had Alzheimer's-like symptoms. And if he did have Alzheimer's he shouldn't have allowed himself to be president of the NRA.
Sunday, October 4, 2009
Top 100 Films: 60-51
60. The Shining (1980, dir. Stanley Kubrick)
Stanley Kubrick's 1980 chiller redefined the standards of gothic horror and is one of the most cerebrally terrifying films ever made. Jack Nicholson's performance, which some have criticized as being excessive or even hammy, is in my opinion a masterclass of slowly building insanity.
59. The Last Temptation of Christ (1988, dir. Martin Scorcese)
Martin Scorcese once said that Taxi Driver was Paul Schrader's film, Raging Bull was Robert DeNiro's, and Last Temptation of Christ was his. That doesn't mean Last Temptation of Christ is his best film, but I think it should at least be considered. It's an astonishingly vivid and full-fledged depiction of a religious narrative that literally billions are familiar with, but there has not been a bolder or more involving rendering of the subject matter than this. The fact that this film was so intensely criticized upon its release in 1988 for its distinctly human representation of Jesus is almost laughably ironic. Scorese's film is not an indictment of religious values or even the narrative of Jesus Christ. In fact, it may one of the most profoundly spiritual films in recent memory. All in all, a powerful and thought-provoking work that should be required viewing in Catholic schools.
58. The Royal Tenenbaums (2001, dir Wes Andersen)
It's hard to overstate the importance of the Royal Tenenbaums in modern cinema. In terms of its exacting, singular stylism, Wes Anderson's third film is quite possibly one of the most influential of the 21st century. Not only that, but it also happens to be an incredible, wholly original comedy filled with great performances.
57. The Exorcist (1973, dir. William Friedkin)
I don't think it's going too far to say that this is William Friedkin's last great film (I hope I'm not offending any Jade fans out there). But what a film. Other horror films since have attempted to capitalize on the deep-seated fears surrounding possession, but none is as effective as The Exorcist, which was nominated for best picture in 1973. In it, Friedkin masterfully constructs a hyperrealistic atomphere in which the fully audience accepts the prospect of demonic possession. Truly, a stunningly crafted and powerful horror.
56. My Left Foot (1989, dir. Jim Sheridan)
I don't know why Jim Sheridan decided to direct 50 cent in Get Rich or Die Tryin', because the man is certainly capable of producing great work. My Left Foot is one such work. Daniel Day Lewis' performance is rightfully applauded as an incomparable example of method acting genius. Yes, genius. Not only is his performance physically precise, but his emotional embodiment of Christy Brown is astoundingly real.
55. Fargo (1996, dir. Joel Coen)
Fargo is a unique film even for the Coen brothers. It's superb synthesis of the darkly comic and the genuinely dramatic is nearly unparalleled in its greatness. The performances are uniformly great, and many are even iconic (Frances McDormand as the spunky sheriff, William H. Macy as Jerry Lundergard).
54. Jaws (1975, dir. Steven Spielberg)
The beauty of this Steven Spielberg film is not necessarily in its thrills or its scares, although certainly they are; rather, it is in how surprisingly moving and emotionally nuanced the film is. The quiet moment between Brody and his son at the dinner table, the eerily affecting scene on the boat when the man share their scars... these moments are what makes this movie stand out as a masterpiece among blockbusters-as well as Spielberg's brilliant direction.
53. Edward Scissorhands (1990, dir. Tim Burton)
This was a benchmark film for Tim Burton. It solidified his reputation as a fantastical, uniquely expressive artist, but even more importantly it demonstrated his work's deeply emotional power. This is the most heartrending film of Burton's career, and I think his best.
52. Silence of the Lambs (1991, dir. Jonathan Demme)
As much about the depth of childhoold trauma (and the uniqely American character of serial killing), Demme's Silence of the Lambs is an expertly crafted thriller featuring Jodie Foster and Anthony Hopkins in the best performances of their careers.
51. The Godfather (1972, dir. Francis Ford Coppola)
I know it would be standard practice to rank The Godfather in the top 20 in the very least, but this is where I honestly place it. This shouldn't take anything away from it. It's a remarkable film-possibly, the best single collection of performances of any movie. Coppola handles the subject matter with dexterous skill, but at times I think the film's restrained aesthetic is too much. Personally, I think Coppola' best work as a director is after this film. But other aspects of the film are nearly perfect. As I said before, almost all of the performances are great and the relationships are as finely developed as any of the great works of fiction.
Stanley Kubrick's 1980 chiller redefined the standards of gothic horror and is one of the most cerebrally terrifying films ever made. Jack Nicholson's performance, which some have criticized as being excessive or even hammy, is in my opinion a masterclass of slowly building insanity.
59. The Last Temptation of Christ (1988, dir. Martin Scorcese)
Martin Scorcese once said that Taxi Driver was Paul Schrader's film, Raging Bull was Robert DeNiro's, and Last Temptation of Christ was his. That doesn't mean Last Temptation of Christ is his best film, but I think it should at least be considered. It's an astonishingly vivid and full-fledged depiction of a religious narrative that literally billions are familiar with, but there has not been a bolder or more involving rendering of the subject matter than this. The fact that this film was so intensely criticized upon its release in 1988 for its distinctly human representation of Jesus is almost laughably ironic. Scorese's film is not an indictment of religious values or even the narrative of Jesus Christ. In fact, it may one of the most profoundly spiritual films in recent memory. All in all, a powerful and thought-provoking work that should be required viewing in Catholic schools.
58. The Royal Tenenbaums (2001, dir Wes Andersen)
It's hard to overstate the importance of the Royal Tenenbaums in modern cinema. In terms of its exacting, singular stylism, Wes Anderson's third film is quite possibly one of the most influential of the 21st century. Not only that, but it also happens to be an incredible, wholly original comedy filled with great performances.
57. The Exorcist (1973, dir. William Friedkin)
I don't think it's going too far to say that this is William Friedkin's last great film (I hope I'm not offending any Jade fans out there). But what a film. Other horror films since have attempted to capitalize on the deep-seated fears surrounding possession, but none is as effective as The Exorcist, which was nominated for best picture in 1973. In it, Friedkin masterfully constructs a hyperrealistic atomphere in which the fully audience accepts the prospect of demonic possession. Truly, a stunningly crafted and powerful horror.
56. My Left Foot (1989, dir. Jim Sheridan)
I don't know why Jim Sheridan decided to direct 50 cent in Get Rich or Die Tryin', because the man is certainly capable of producing great work. My Left Foot is one such work. Daniel Day Lewis' performance is rightfully applauded as an incomparable example of method acting genius. Yes, genius. Not only is his performance physically precise, but his emotional embodiment of Christy Brown is astoundingly real.
55. Fargo (1996, dir. Joel Coen)
Fargo is a unique film even for the Coen brothers. It's superb synthesis of the darkly comic and the genuinely dramatic is nearly unparalleled in its greatness. The performances are uniformly great, and many are even iconic (Frances McDormand as the spunky sheriff, William H. Macy as Jerry Lundergard).
54. Jaws (1975, dir. Steven Spielberg)
The beauty of this Steven Spielberg film is not necessarily in its thrills or its scares, although certainly they are; rather, it is in how surprisingly moving and emotionally nuanced the film is. The quiet moment between Brody and his son at the dinner table, the eerily affecting scene on the boat when the man share their scars... these moments are what makes this movie stand out as a masterpiece among blockbusters-as well as Spielberg's brilliant direction.
53. Edward Scissorhands (1990, dir. Tim Burton)
This was a benchmark film for Tim Burton. It solidified his reputation as a fantastical, uniquely expressive artist, but even more importantly it demonstrated his work's deeply emotional power. This is the most heartrending film of Burton's career, and I think his best.
52. Silence of the Lambs (1991, dir. Jonathan Demme)
As much about the depth of childhoold trauma (and the uniqely American character of serial killing), Demme's Silence of the Lambs is an expertly crafted thriller featuring Jodie Foster and Anthony Hopkins in the best performances of their careers.
51. The Godfather (1972, dir. Francis Ford Coppola)
I know it would be standard practice to rank The Godfather in the top 20 in the very least, but this is where I honestly place it. This shouldn't take anything away from it. It's a remarkable film-possibly, the best single collection of performances of any movie. Coppola handles the subject matter with dexterous skill, but at times I think the film's restrained aesthetic is too much. Personally, I think Coppola' best work as a director is after this film. But other aspects of the film are nearly perfect. As I said before, almost all of the performances are great and the relationships are as finely developed as any of the great works of fiction.
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