• Pages

  • Categories

  • Archives

  • Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 42 other followers

  • Top Posts

The Big 2-9

Aside from the fact that this day sealed my fate as the “Never Gets a ‘Happy Birthday’ from the Teacher or Your Classmates Because School’s Out for Summer Kid,” June 28 never seemed like a terribly interesting day to be born.

Until I realized that’s also the day sublimely talented actors Kathy Bates, John Cusack, the late Gilda Radner and the late Pat “Wax On, Wax Off” Morita headed toward the light of the birth canal. June 28 also gave King Henry VIII to England (bet that’s one pregnant lady the Great Holy Aardvark wishes he could have uninseminated). And June 28 happens to be the only day every year where the month and the day are different perfect numbers*.

But really, the only reason I ever get all jacked up is because the 28th of June is when the World’s Greatest Director — the reason I love movies and the reason I have such a warped, wacko sense of humor — Mel “Lepetomane” Brooks classed up Planet Earth’s population.

This year, though, looks be far more exciting because Andy at Fandango Groovers hatched a brilliant idea: Write a post listing favorite films for every year I’ve been breathing. Later in 2010 Andy’s planning a blog event on this theme, so start thinking about your choices, readers. Without further adieu, here are my favorites from 1981-2010:

Ash will saw off your nose.

1981: “The Evil Dead” — Maybe directors did horror-comedy before Sam Raimi’s cult classic, but those movies did not feature the unstoppable Bruce Campbell as erstwhile hero Ash, who would later go on to coin the phrases “boomstick” and “hail to the king, baby.”

1982: “First Blood” — The first in the Rambo franchise, Sly Stallone’s “First Blood” combines jaw-dropping action, buckets of bloodshed and a surprisingly poignant message about the treatment of Vietnam vets in America.

1983: “The Big Chill” — College pals Glenn Close, Tom Berenger, William Hurt, Kevin Kline and Jeff Goldblum reunite to mourn a friend’s suicide. This much acting talent on one set is a recipe for goodness.

1984: “Blood Simple” (full review) — The fact that this is Joel and Ethan Coen’s first film is almost as astounding as the film itself. Almost.

1985: “The Breakfast Club” — The late John Hughes showed us, in this poignant ode to real teen issues, that lurking inside everyone there’s a princess, a jock, a brain, a basket case and a criminal in search of connection. And a little doobage.

1986: “Aliens” (full review) — Twenty-four years later and Ellen Ripley (Sigourney Weaver) remains a female action hero with smarts, guts and muscles. What a novel idea.

1987: “The Untouchables” — Most gangster movies offer plenty of bloody shoot-em-ups, slick double-crosses, dark double-breasted suits and bank accounts stuffed like you wouldn’t believe. Brian De Palma’s “Untouchables” also has something else: a conscience.

Velcome to vaxwork...

1988: “Waxwork” (full review) — There are crappy films, and then there are films that revel and delight in their own crappiness. Guess which kind “Waxwork” is.

1989: “Heathers” (full review) — No matter how cruel the queen bees in your school were, they don’t hold a candle to Idi Amin wannabe Heather Chandler.

1990: “GoodFellas” (full review) — Powered by the performances of Joe Pesci, Paul Sorvino, Lorraine Bracco, Robert De Niro and Ray Liotta, “GoodFellas” set the bar for gangster movies impossibly high.

1991: “Terminator 2: Judgment Day” — The follow-up to Cameron’s impressive “Terminator,” the sequel blasted the volume up to 11, boasted some thrilling chase scenes (the semi rundown is iconic) and reached the level of Whoa, I’ve Never Seen That Before! with its ice-cool villain T-1000 (Robert Patrick). 

1992: “Reservoir Dogs” (full review) — Quentin Tarantino gives the Cuisinart treatment to the traditional caper-gone-wrong and ends up making one of the most inventive films of the ’90s.

1993: “Schindler’s List” — Steven Spielberg’s sweeping, horrifying and heartbreaking retelling of the story of Oskar Schindler (Liam Neeson) mission to rescue Jews during the Holocaust is emotionally punishing, but it’s a film that must be seen. It can change your life if you let it.

1994: “Pulp Fiction” (full review) — It’s got John Travolta and Samuel L. Jackson as hitmen, a booty-shaking soundtrack and scene about Christopher Walken wearing a watch up his ass two years. That’s all you need to know. 

Will the real Keyser Soze please stand up?

1995: “The Usual Suspects” (full review) — Not only does Bryan Singer’s noirish, twisty thriller feature a killer-good ensemble cast (Kevin Spacey AND Gabriel Byrne AND Benicio del Toro AND Chazz Palminteri), “The Usual Suspects” also has the best twist ending. Ever written.

1996: “Fargo” (full review) — Dear Coen brothers: Thank you for showing me that it’s never impossible to take an old formula (best-laid plans gone to hell) and put a devious, violent spin on them. Sincerely, M. Carter @ the Movies

1997: “Chasing Amy” — Too few directors of romantic comedies have no interest in showing relationships as they actually are. Kevin Smith is not one of these directors. His “Chasing Amy” is raw, frank to the point of crudeness and deeply heartfelt, and it examines the problems all lovers — gay and straight — face.

1998: “The Opposite of Sex” — “The Opposite of Sex” is the best black comedy you’ve never seen. Don Roos puts the screws to the traditional narrated film formula with Dee Dee (Christina Ricci), a heroine who may be plucky but isn’t the least bit lovable. She’ll ransom your dead gay lover’s ashes and not think twice about it. 

Move Milton's (Stephen Root) desk to Storage Room B and see where that gets you.

1999: “Office Space” (full review) — Mike Judge takes a maze of cubicles and turns it into a feature-length film that’s the personification of Dante’s limbo, then sets it to a fantastic rap soundtrack. It’s good to be a gangsta.

2000: “Quills” (full review) — No other actors slips so effortlessly into the part of the villain as Geoffrey Rush can, and that mirthful, slightly evil glint in his eyes makes him the perfect (and only acceptable) choice to play the infamous Marquis de Sade.

2001: “The Believer” — Based on the true story of Dan Burros, a Jew who became a Neo-Nazi, Henry Bean’s “The Believer” looks unflinchingly at all aspects of faith and features what may be Ryan Gosling’s most gripping performance. Ever. 

2002: “City of God” — Fernando Meirelles’ crime drama plays out like an elegaic marriage of the best parts of Martin Scorsese’s “GoodFellas”  and Charles Dickens’ “Great Expectations,” capturing the bloody, grim realities of a life lived in Brazil’s rough Cidade de Deus (City of God) favela.

2003: “Mystic River” — Author Dennis Lehane understands, deep down in his soul, the rhythms of Boston’s shady, bleak underworld. Director Clint Eastwood understands the people who have fallen through the cracks. Together, “Mystic River,” about three childhood friends dealing with a murder, they make an unbeatable team.

Javier Bardem's performance is anything but bleak.

2004: “Mar adentro” (full review) — Is it possible to make a film about a quadriplegic (Javier Bardem) who wants nothing more than to die and have that film turn out to be an affirmation of life? Look to “Mar adentro” for the answer.

2005: “The Constant Gardener” — Taut political/medical conspiracy thrillers ordinarily don’t offer emotions as complex as the plotlines. But director Fernando Meirelles etches characters (Rachel Weisz, Ralph Fiennes) who matter to each other, and so they matter to us.

2006: “The Lives of Others” (full review) — Movies about Big Brother rarely take the time to humanize the enemy, but director Henckel von Donnersmarck finds humanity even in the most ardent supporter (Ulrich Mühe) of suppressing free will.

2007: “No Country for Old Men” (full review) — Call it the Coens’ Law: Every time you think they’ve made their best movie ever, they top themselves. How they’ll top this gritty, violent and blackly funny caper is something this reviewer has gotta see.

2008: “The Dark Knight” — With “Batman Begins,” Christopher Nolan single-handedly revived a years-ailing franchise; in the inspired sequel — part Greek tragedy, part action flick, part sweeping character drama — he let Heath Ledger reinvent the iconic Joker in the spirit of creation.

Get in my bell-ay, Jew Hunter!

2009: “Inglourious Basterds” (full review) — In terms of sheer imagination and cojones, almost no director working today can match Quentin Tarantino, who in this misspelled epic rewrites the ending to WWII and gives cinema one of its greatest villains (Christoph Waltz).

2010: So far? “Shutter Island.” The predicted winner? “True Grit.”

*It’s my birthday and I’m giving you a math lesson. Can you say “nerd”?

Desert Island DVDs: The Big 8

So you find yourself, in true “Lost” fashion, stranded on a desert island in the vast sea, with nothing but your wits, your wiles and your good looks to keep you company. (OK, so it sounds a little nonsensical. Life doesn’t always have to make sense, does it? Willingly suspend your disbelief, people.) Since there’s no sunscreen, the sun’s going to dispatch that lovely complexion right quickly. With no one to parlay to your thrust in verbal jousting matches, the wit will be the first to go. And since there are no objects of lustful desire, the wiles, well, they aren’t worth a fig.

But wait! Suddenly you remember that you had the forethought to pack not one, not two but eight DVDs before the terrible stranding went down! Because you, die-hard movie lover, unlike 98 percent of the world’s population, know what’s really important: not sunscreen or non-perishable canned goods or a first aid kit or even a chummy volleyball named Wilson, but films. A world without water is palatable, but a world without movies?

That’s just crazy talk, is what that is.

Here’s my humble list of eight movie-films — divided into what I deem to be eight “essential” categories or groups — I’d require to keep me entertained on this neverending island venture:

 

Action

Why: Despite the a-changin’ times Bob Dylan crooned about, strong female action heroes remain in short supply in the world of film. And so James Cameron’s tense-as-hell, gripping, action-dense thriller stands apart because of Ellen Ripley (Sigourney Weaver), a fierce heroine who throws punches with the best of them yet retains that elusive quality — empathy — so little seen in action heroes. With Weaver’s iconic, brilliant performance, every viewing of “Aliens” feels like the first time.

 

Comedy

Why come I picked this: You were expecting something a little “Holy Grail”-ier, perhaps? No offense to the Greatest Movie Ever Made, but there are times when British tomfoolery hits the spot and times when a desert island dweller wants to see that the world-at-large — poor people, with their dwindling IQs and those climbing Costco Law School prices — is far, far worse off than she is. Plus, there’s nothing like 10 seconds of “Ow, My Balls!” to clear those island doldrums riiiiight up.

 

Drama

Why: Back in his younger days, Marlon Brando wasn’t just a contender, he was THE contender — for coolest cat in any room, best method actor alive, name the category and he’d be fighting for a top spot in it. Though his career is studded with amazing and accomplished performances, his turn in “On the Waterfront” as one-time boxer Terry Malloy shows the actor in total command of his gifts. Pair that with a stellar ensemble cast (including heavyweights Lee J. Cobb and Karl Malden) and it’s a knockout. Every time.

 

Foreign

Why: Some people like their thrillers fast-n-furious, with lots of explosions and a juggernaut soundtrack that drowns out any hope of character interaction. Me, I like a slower burn that takes longer to take effect but packs a whallop when it does. Florian Henckel von Donnersmarck’s beautiful film about 1984 Socialist East Germany, living under the thumb of the Stasi secret police, fits that bill and contains a stunning performance by the late Ulrich Mühe. This is a movie that will change your life.

 

Horror

Why: Cast aside all thoughts of the 85 remakes that followed John Carpenter’s low-budget 1978 classic that frightened viewers everywhere way, way down in their primal scare spots — they matter not. The original “Halloween” has no equal, for no other horror film has managed to create a character 1/16 as terrifying as Michael Myers, a masked force of evil that cannot be stopped. Carpenter outdid our imaginations in ways that still make us cry “uncle,” and that’s one hell of an achievement.

 

Independent

Why: Sometimes stories are compelling because the characters are extraordinary, or their deeds are, or their circumstances baffle or astound us. This is not the case with “The Station Agent,” an unassuming but enormously touching independent film about three wildly different people who, through nothing more than proximity and chance, stumble into one another’s company and discover they share one thing: loneliness. Never underestimate the power of simple human connection to touch the soul.

 

Romantic Comedy

Why: Love stories that don’t follow a traditional arch, that take bold risks and play about with our sense of time and space and memory, are rare, so when you find a good one the tendency is to hold on tight. Few romantic comedies manage to be as poignant, achingly bittersweet and unexpectedly funny as Michel Gondry’s “Eternal Sunshine of the Spotless Mind,” an unconventional tale of two lovers that suggests, gently but clearly, that sometimes love does not conquer all or end in smiles and rainbows.

 

War

Why: Quentin Tarantino is a director who delights in messing with our heads, taking what we know of linear storytelling and throwing it in a Cuisinart; for him, originality is king. In that respect, “Inglourious Basterds” may well be his one true masterpiece, at once a tongue-in-cheek rewrite of World War II’s ending, a war film, an ensemble drama, a madcap comedy, a wild adventure. And now that I’ve seen it once, I can’t spend another second of my life without Christoph Waltz in it.

——

Complete Catalogue of Desert Island DVD Lists

  • Tara from 101 Goals in 1001 Days
  • Shawn from 7 Dollar Popcorn
  • Andrew from Andrew at the Cinema
  • Castor from Anomalous Material
  • Dylan from Blog Cabins
  • Nick from Cinema Romantico
  • Wynter from Cinemascream
  • Aiden from Cut the Crap Movie Reviews
  • The Mad Hatter from The Dark of the Matinee
  • Lady Hatter (posted on Hatter’s blog)
  • Sebastian from Detailed Criticisms
  • Elizabeth from Elizabethan Theatre
  • Andy From Fandango Groovers Movie Blog
  • Steve from The Film Cynics
  • Alex from Film Forager
  • Ripley from Four of Them
  • Ruth from FlixChatter
  • Marc from Go,See,Talk!
  • Jason from Invasion of The B-Movies
  • Caz from Lets Go To The Movies
  • Kai from The List
  • Olive from Movie News First
  • Darren from the mOvie blog
  • Travis from The Movie Encyclopedia
  • Heather from Movie Mobsters
  • Wendy from The Movie Viewing Girl
  • Paul from Paragraph Film Reviews
  • Phil from Phil on Film
  • Faith from Ramblings of a Recessionista
  • Nick from Random Ramblings of a Demented Doorknob
  • Ross & Ross from Ross v Ross
  • Meaghan from Wild Celtic
  • Mike from You Talking to Me?
  • No. 25: “Aliens” (1986)

    “Get away from her, you bitch!”
    ~~Ripley

    Struggling to name a female action hero for the ages? Well, look no further than “Aliens,” James Cameron’s full-throttle follow-up to 1979’s “Alien.” Though Warrant Officer Ellen Ripley (Sigourney Weaver) isn’t the first woman to kick ass and take names, she’s certainly one of the memorable, and maybe one of the best. Cameron wrote Ripley that way, no doubt, but Weaver takes her to another level. She’s not afraid to show the strength alongside the weakness, and she reveals the very real emotional toll of so much violence and stress. In Ripley Sigourney Weaver does more than create a first-rate action hero; she provides “Aliens” with an emotional center potent enough to push this tense sci-fi/action juggernaut from “very good” into “exceptional.” 

    Cameron illustrates early on the tremendous faith he’s placed in Weaver’s talent, as “Aliens” opens and closes with Ripley’s image. She is the only survivor of an expedition 57 years before (the plot of Ridley Scott’s “Alien,” more a horror film than “Aliens” is), where the crew members of space freighter Nostromo battled hostile aliens on a mystery planet. Ripley awakens from hypersleep inside a salvage ship headed to the same planet, LV-426, to find out why contact’s been lost with the terracolony there. Knowing what she knows, Ripley’s violently opposed to the mission, but agrees on one condition: Burke (a very scummy Paul Reiser), who works for the company that finances the colony, assures her they’ll every last alien. Seeing as he’s a corporate type well schooled in the art of spin, what he really means is he’s positive he can turn those creatures into some mighty effective weapons. The crew, composed of Cpl. Hicks (Michael Biehn), Pvt. Hudson (Bill Paxton, functioning as the comic relief), trigger-happy Pvt. Vasquez (Jenette Goldstein) and Bishop (Lance Henriksen), an android, don’t like Burke any more than Ripley does, but a mission is a mission.

    When the ship docks on LV-426, “Aliens” kicks into action overdrive. Every last colonist has vanished, seemingly dead, but one child, a girl called Newt (Carrie Henn), has survived. She and Ripley bond out of emotional necessity, and their relationship becomes crucial to Ripley’s character and to the film’s plot. The silence and emptiness is creepy, but not half as creepy as the sense that the aliens are there, hiding in ceilings or lurking in corners. It isn’t long before the crew discovers what Ripley knew all along: that the aliens have taken over, snatching the colonists and using them as hosts for alien eggs. That realization ushers in a veritable explosion of nonstop action, a series of crew/alien battles so unrelentingly tense and savage and frightening that “Aliens” actually becomes difficult to watch. The final half hour is a testament to Cameron’s technical skill as a director. These scenes are all build-up and no release; “Aliens” sucks us in, then slams us, squirming and struggling, to the floor, pins us down and refuses to let up. The alien queen’s final attack on Ripley — an impressive melding of fight choreography and effects — merits recognition as one of the most thrilling action sequences ever filmed.

    From a technical standpoint, “Aliens” merits high marks across the board. James Horner’s dynamic musical score moves in unpredictable ways, heightening our unease and providing an excellent backdrop for the action. Visual effects supervisors Robert and Dennis Skotak ascend to new heights in costuming with their conception of the alien suits worn by stunt artists, gymnasts and dancers. The alien queen, a combination of puppetry, hydraulics and more, is a work of art. Never before has an alien creature appeared so terrifyingly real; never before has what we see on screen surpassed what our imaginations could dream up. In the simplest terms, “Aliens” achieves what we viewers never thought possible.

    And somehow, in all the explosions and the machine gun fire and the flames and draining violence, Sigourney Weaver stands out. She’s in the frey and manages to rise above it. Weaver’s Ripley is a testament to something most action films hide: She isn’t a hero because she’s invincible, but because she isn’t.