Watch and See – My Favorite 101 Films: Part 3
Welcome back, to my continuing series of my top 101 films! In case you missed it, here’s part 2!
Welcome back to my continuing series of my favorite 101 films of all time, where you’ll encounter: wood chippers, tanks, “Nazi Julie Andrews”, Beauty and the Beast, something precious, whiskey, “In the Hall of the Mountain King” whistled, Nabokov smiling, something too gay to function, the end of the world, memory problems, a smile, and two tragic heroines, who happen to be hookers.
41. Fargo (1996) Directed by Joel and Ethan Coen
Most of the Coen Brothers’ films, I’ve observed, tend to be neo-noirs disguised under some other sort of other genre clichés. However, their dark classic Fargo is just a straight up noir, studying the lives of criminals, a police officer, a mild mannered guy with a lot of debt, and the small town residents of North Dakota with their funny accents. The Coens described where they grew up as “Siberia with family themed restaurants”, and that description seems to be a good metaphor for the perfect blend of comedy and suspense. The film is dark and cold, but also completely hilarious. Fargo is perfect, dontcha know?
42. GoldenEye (1995) | Directed by Martin Campbell
I have always asserted that the best James Bond films are simply the best espionage films. It works outside of the series and can stand on its own. This is just as true as Martin Campbell’s first Bond effort, GoldenEye, which ushered in Pierce Brosnan as Double O Seven for the first time. Bridging the gap between the hokey escapism of the previous14 films and the gritty realism of the Craig era, GoldenEye works well because aside from a couple key scenes and the fact that, as per usual, Bond recites his name, it doesn’t feel like a Bond film, therefore not weighted by certain expectations. Even if the expectations were there, it would surpass them, and rightly so. GoldenEye was a fantastic way for Bond to enter the ‘90s.
43. In the Loop (2009) | Directed by Armando Iannucci
In the Loop is the Dr. Strangelove for the 21st century. The terrific film delves into the world of British politics and profanely satirizes everything. If it weren’t so gut bustingly funny, it would be deeply depressing to realize how incompetent some of these people are. The screenplay is incredible, its language so vulgar and funny that it shed new light on certain topics. And added some insults to my lexicon. (“Nazi Julie Andrews!”) Based loosely on the BBC show The Thick of It, In the Loop spectacularly mocks the fog of war.
44. Kill Bill (2003/2004) | Directed by Quentin Tarantino
Kill Bill was Tarantino’s pop art collage. Stealing (or borrowing, whatever you prefer) everything under the sun to create a fast paced, frenetic film, it’s a playscape for the senses. The visceral thrills are second to none, as Tarantino shows off how much he knows about film, provides a badass female lead fantastically played by Uma Thurman, and seems to have an incredibly fun time.
45. King Kong (2005) | Directed by Peter Jackson
If there has ever been a contemporary remake that’s been done right, it is this one. Peter Jackson’s gorgeously realized film is a stunner in every way. The level of detail, the characterizations, and the look of the film. The best thing about it is, though, the Beauty, Ann Darrow (a charming Naomi Watts) and the Beast, Kong (Andy Serkis is a genius, did you know that?). The love that Kong feels for Ann is so beautiful and so real that the ending breaks my heart every time. Animated with integrity, Kong’s fall from grace is painful and beautiful all at once. No one brings me to tears more often than the utterance of “It wasn’t the airplanes. It was Beauty killed the Beast.”
46. Kuroneko (1968) | Directed by Kaneto Shindo
This Japanese horror film with a feminist twist features some of the most stunning cinematography in a horror film. Deriving much of the action and movement from traditional Noh Theater, the stage is lit for ghostly shimmers, as a vengeful woman and her mother, who sometimes appear as cats, rip the throats out from samurais. Its plot is fine, but it is undoubtedly a showcase for the presentation, from the beautiful costumes and sets to the dreamlike cinematography. Spectacularly creepy, it’s like dancing with the demons in the pale moonlight.
47. The Lady Vanishes (1938) | Directed by Alfred Hitchcock
This seems to be Hitchcock at his jauntiest. He may have made other light dark comedies, and even one deliberate comedy, but The Lady Vanishes is his frothiest film yet. Some of the techniques that would become Hitch’s trademark are featured in the film, but whatever the sense of foreboding; it is driven away by how amusing and funny it is. Its romance and the “opposites attract” would actually leave a little bit of a legacy, with Carrie Fisher quoting the film in When Harry Met Sally… (“You’re the most contemptible man I’ve ever met!”) Hitch keeps the audience entertained by both the comedy and the mystery, but even noted film historians have started watching the film with the intent to analyze it heavily and given up, lying back, and relaxing their ride on Hitch’s train.
48. Lady Vengeance (2005) | Directed by Park Chan-wook
I always go back and forth between this and Oldboy as to which is better. Both are part of a thematic trilogy from Chan-wook, and on days when the Lady takes the cake, she really takes it. The emotional resonance in this film is extraordinary. A beautiful study of revenge and redemption, Lady Vengeance sticks out for its lush colors (or not, if you watch the excellent Fade to White version, in which scene by scene, the film desaturates) and its very Murder on the Orient Express-like conclusion. The treatment revenge has in this film is, in a way, less harsh than in Oldboy. Out protagonist comes to realize what she’s doing and how revenge itself is changing her far more quickly and halfway through the film, her motivations change slightly. It remains one of the most beautiful thrillers of the last decade.
49. The Lord of the Rings Extended Editions (2001 – 2003) | Directed by Peter Jackson
There is not very much to say about Peter Jackson’s epic trilogy that hasn’t been said before. Though the pacing is at times problematic (how would you deal with the material?), it’s extravagant and amazingly huge in scope. If anyone could ever tackle these tomes and bring them to life, it was Jackson.
50. Lost in Translation (2003) | Directed by Sofia Coppola
Sofia Coppola is an expert at capturing the meandering reality of loneliness. She did it, probably in a flashier way, with The Virgin Diaries, she did it with more focus on the costumes than on the plot in Marie Antoinette, but she explored the topic perfectly in Lost in Translation, which won her an Academy Award for Best Original Screenplay. Two lonely people in a place where there is a significant language barrier meet and… do not sleep together. Instead, they find in each other kindred souls and a kind of intimacy that is unmatched with merely sex. The exploration of strangers in a lonely place offering solace to one another is pitch perfect in every scene. It turns out that existential ennui translates perfectly for the screen.
51. M (1931) | Directed by Fritz Lang
Having seen this film several times, there is no way that I will not think of Lang’s noir-ish crime thriller M when I hear the foreboding notes of “In the Hall of the Mountain King”. Whistled faux-innocently by the ever creepy Peter Lorre is the first sign that nothing good is to come of this. Almost a critique of the police procedural as we know it, the deliberate pacing, sparsely framed shots, and beautiful chiaroscuro all add up to what is an indelible experience. (And, yes, I do consider it a part of German Expressionism).
52. Manhattan* (1979) | Directed by Woody Allen
I’ve gone back and forth between Woody Allen’s Annie Hall and Manhattan for what feels like ages, but I decided the latter would be in my top ten. More the comedic drama than Annie Hall’s dramatic comedy, the bittersweet tale of unrequited love and intellectuals in New York is a masterpiece. The film’s one liners are perfect, but underneath is the pathos and feeling of desire that everyone feels in the film. The Gershwin filled score adds to these tender moments of drama and romance, aiding the tone perfectly. And, of course, the film features some of the best black and white cinematography ever on screen by the Prince of Darkness, Gordon Willis. While some may love New York, I, myself, love Manhattan.
53. The Manchurian Candidate (2004) | Directed by Jonathan Demme
Here’s another remake that was very successful in terms of quality. Though, re-adaptation seems a little more appropriate. Demme re-appropriates the themes of the original film, which circled around Communism, and used them in a contemporary context. Taking place after Desert Storm, the film gears in on various medical testing and the state of terrorism in the real world. It makes for an effective and taut thriller. Live Schreiber and Meryl Streep are incredible in the film.
54. Mean Girls (2004) | Directed by Mark Waters
You may think it odd for me to have this film on my Top 101, but I truly adore it. Tina Fey’s acute study of the teenage girl in high school and the desire for popularity is one of the smartest teen films to ever be made. Endlessly quotable, its astute observations (as I mentioned in my lengthy review) are more than true. Even at the small school I go to, there are things that have happened that have reminded me of Mean Girls. Part of this realism is that the film is based on a nonfiction book, the other part being just good writing. Mean Girls is supported by outstanding performances from its cast, including Lindsay Lohan, Lizzy Caplan, and Rachel McAdams. Yes, I’m going to say it: This movie is so fetch!
55. Melancholia* (2011) | Directed by Lars von Trier
It’s no secret that Lars von Trier is the benevolent sadist of art cinema. His films are rarely easy to watch, always beautiful, and always challenging. With Melancholia, he presents to us an operating staging of the end of the world. Though, the end of the world hardly means anything in comparison to the characters he studies in the film and the lives he analyzes. The fly by planet may be that manifestation of depression for Justine, but it’s Kirsten Dunst’s stand out performance that makes the end of the world so memorable. Charlotte Gainsbourg, too, is outstanding ass Justine’s older sister, and their relationship dynamic slowly disintegrates throughout the film. The cinematography, despite being hand held in nature, still captures beautiful scenes and portraits. The impact Justine has, as her emotions fly out of control, is just as damaging as the collision of Earth and Melancholia. But that’s what great art is: a collision of beautiful ideas, sounds, images, and emotion.
56. Memento (2000) | Directed by Christopher Nolan
Christopher Nolan’s breakthrough art house film is an incredible exploration into memory, denial, and crime. A gloriously fantastic neo-noir with a tight script, amongst the things that make this film extraordinary is the nonlinear narrative. Yes, my friend, linearity goes out the window, as it is played backwards. If I didn’t love this film, I wouldn’t have written my extended essay on it. Guy Pearce plays a damaged man searching for his wife’s killer, but as we go further back into his mind and into the past, the things that are revealed are chilling yet incredibly human. Nolan starts playing his games for the big time in Memento. Stunning in every frame, Memento is one of the greatest film noirs ever made.
57. Midnight in Paris (2011) | Directed by Woody Allen
Woody Allen’s delightful tale of the dangers of nostalgia is a pitch perfect comedy that hits every right note. Owen Wilson brings something new to the Woody archetype, making his struggling screenwriter his own, while the supporting cast is absolutely amazing. From mean girl Rachel McAdams, the pedantic Michael Sheen, and the tons of historical figures that appear as Gil travels back to Paris in the 1920’s (notably Hemingway, the Fitzgeralds, and Dali), Allen is at the top of his game here. Midnight in Paris is a film that both warns one of the dangers of nostalgia, but enjoys it all the same.
58. Modern Times (1936) | Directed by Charlie Chaplin
Charlie Chaplin avoided sound for as long as he could, and nearly a decade after The Jazz Singer had premiered with its revolutionary synchronized soundtrack, Chaplin was still holding tight keeping his Little Tramp’s lips sealed. The film is not completely silent. Modern Times incorporates some sound effects and probably half a dozen lines spoken by minor characters. And while Modern Times is undeniably hysterical, heartwarming, and as good of a showcase of Chaplin’s pantomime abilities as any of his films from a great filmography, Modern Times provides some interesting social commentary about consumerism, labor workers, and the industrialization of America. The film also ushered in the classic jazz standard “Smile”, which would be famously sung by Nat King Cole. With its ambiguous, but happy ending, Chaplin would move forward with technology and social awareness in his films.
59. Moon (2009) | Directed by Duncan Jones
Duncan Jones’ debut feature is a about a man on the moon, who mines, and feels lonely. Yes, the existential crisis of loneliness in space. It sounds rather trite, but with sharp visuals, a gorgeous and atmospheric score by Clint Mansell, and absolutely stunning performance from Sam Rockwell, Moon is a star amongst emotional dramas. Sam Rockwell’s performance of Sam Bell is the “every man”, a man who has been working and mining for the last three years on the moon. When his time on the moon is about to close and he gears up to head back home, he realizes that he has become so attached to solitude, he does not understand how he will cope with the change in environment. It’s a beautiful, subtle, and at times fantastically suspenseful film.
60. Nights of Cabiria/Vivre sa Vie* (1957/1962) | Directed by Federico Fellini/Jean-Luc Godard
The prostitution of society, religion, magic, celebrity, emotion, and money are the subjects of two of the greatest films ever made. I see Fellini’s Nights of Cabiria and Godard’s Vivre sa Vie as companion pieces, both dealing with similar subjects, both dealing with similar tragic protagonists, and both ending in similar ways. In Fellini’s film, Giulietta Messina inhabits the outspoken, down on her luck prostitute Cabiria. She aspires to be something bigger, but men constantly, habitually take advantage of her. In Godard’s film, framed around twelve tableaus, Anna Karina plays Nana, a Parisian girl who aspires to be an actress, but soon is relegated to being a prostitute. Both films take place in beautiful places in the world, and show the decrepit nature beneath the façade. Both films are directed with integrity and mastery of the medium. And both films are heartbreaking and tragic. If you don’t cry, or at least shed a tear, at the end of the films, you are a robot or a sociopath. Containing two of the greatest performances by women in cinematic history, both films, exploring complex characters, are the best the world of cinema has to offer.
Head Under Water: Review for “The Descendants”
Making a good dramedy, or even black comedy, is not a science. Although, when watching them, one feels that it should be. Balancing out the drama and the comedic timing is often imperfect, but films like Gran Torino get away with it without pushing the audience way because it is not “serious enough”. It ends up being both impactful in an emotional aspect as well as a humorous one. The subject matter is also up for grabs, for as long as there is good writing and better acting, they can get away with murder (see: Fargo). Alexander Payne, whose last film was the critically acclaimed Sideways in 2004 which I have not seen) and before that About Schmidt (which I have seen), likes deadpan, dark humor. Probably a bit darker than even one of the darkest of comedies, Withnail and I. That means his films can often be a hit or a miss with viewers.
Here, Payne tries to balance the nuance of drama and the absurdity of comedy in The Descendants, whose working title could have been “White People Problems Starring George Clooney as a Handsome White People”. It is a family drama, one that begins with Clooney’s wife in the hospital after a water skiing accident and leads into Clooney learning he has been, as in all interesting familial dramas since Shakespeare’s Othello, cuckolded. His journey not only involves confronting the man with whom his wife cheated on, but also telling various family members of his wife’s now terminal condition and that, according to her will, she wants the plug to be pulled. The journey is taken with Clooney, whose character name is Matt King, as well as with his 17 year old daughter Alex (Shailene Woodley), his 10 year old daughter (Amara Miller), and this dopey kid Alex knows Sid (Nick Krause). All the while, King, who is the sole trust owner of 25,000 acres of Hawaiian land that his ancestor had as her dowry, must decide to whom he must sell this humungous plot.
It all goes down in rather dramatic fashion. That, right there, is one of the main problems. Not only is it sometimes terribly melodramatic, there’s barely a hint of comedy in the film. That is not always because it is not in the screenplay, but the comedic timing of both the director as well as the actors is so poor, they can manage to turn something that could have been highly amusing into something middling and unintentionally annoying. There is no balance here. There is no contrast of the dark drama of human life against the absurdity of it manifested as humor, unlike, say, Woody Allen’s ambitious “comedy up against drama” film Crimes and Misdemeanors. Granted, that film is broader in its comedic format, but even the Coen Brothers, who’ve mastered the art of dark comedy, made something insane and dark like Burn After Reading into something hilarious.
Maybe it is because that the two aforementioned directors (or three, depending on who’s counting) are superb screenwriters, legendary for their wit, pathos, and dialogue. The dialogue in this film comes to a screeching halt. It’s almost as if the actors were not only speaking in clichés, which would have been bad enough, but had been taking them directly from Lifetime Movies. Lines as hard hitting like, “You really have no clue, do you?” and “It’s obvious, isn’t it?” and the tender, “I love my family; I love my wife!” pepper the film’s uninteresting yet relentless melodramatic scenario. That being said, the use of voiceover is actually nice. Creating that kind of nuance and introspection that the films of Charlie Kaufman have been able to do, Clooney’s voice over is calm and nice to listen to. But, like all good things, it does not last. It barely takes up 20 minutes of the film, and thus comes off as inconsistent. The voiceover never actually returns. Regardless of it being presented in the present tense, this inconsistency seems kind of lazy.
Clooney’s performance is nuanced enough so that you can see all the stress etched into his face and his eyes. But because one can normally rely on him having some sort of comedic timing, such as in Steven Soderbergh’s Ocean’s trilogy, his almost brute unfunniness is a shock and even a bit jarring. You often see him looking down at his shorts to something, contemplating why bad things happen to good people. The problem being, it takes too long for the film to get going for the audience to actually care about his situation. However, his performance, generally speaking, is very good. Just not great.
Shailene Woodley plays an angsty teenager, which is to say, to some extent, playing a character that is completely derivative. Her performance is unoriginal and unenticing. Being a regular on the ABC Family melodrama/teen soap The Secret Life of the American Teenager, Woodley is used to playing this archetype and also well acquainted with the concept of turning on the water works. Again, if only we (or I) cared.
Yes, the film covers a rather dramatic subject matter. But it all seems so trite and lazily done. There is to enough pathos in the film to render it believable or worthy, and it instead comes off as a movie about rich white people problems. With the cinematography being occasionally ostentatious (oh, hey, let’s punctuate each scene transition with pretty Hawaiian landscapes), the acting being pretty lacking with the exception of Clooney, and the dialogue being completely ridiculous, it’s kind of shocking how far off the rails this film went, when it could have been a moving, funny, and intimate portrait of a family going through a tremendous loss with scattered moments of humor. It ended up just being depressing, halfhearted, and lackluster.