Greetings, reader!
My ranking of my 100 all-time favorite films continues today, as I go from #70 to #61 in this fourth instalment of my ten-part countdown. I hope you like today's selection!
70. In Bruges (2008)
"But then, like a flash, it came to me. And I realized, fuck man, maybe that's what hell is: the entire rest of eternity spent in fuckin' Bruges"
There's comedy. There's dark comedy. There's extremely dark comedy. And then there's In Bruges. Seriously, this Martin McDonagh masterclass is so melancholic, so upsetting and so downright depressing that you'd constantly forget that you're watching a comedy film if it weren't for the fact that the movie also happens to be fucking hilarious. And before you get started on questioning my use of profanity, I'm doing it out of respect for this glorious film, as I believe that foul language is the only damn way to properly discuss this film, which happens to be filled to the brim with terrible fucking language.
The film's delicate balance between gloomy and hysterical, sad and laugh-worthy, artistic scenery and just fucking around, truly comes alive in the contrast between main characters Ken (Brendan Gleeson) and Ray (Colin fucking Farrell). The two hitmen have been sent to Bruges, Belgium, to await further instructions, and they take to the town differently - Ken finds it quaint and beautiful, while Ray fucking hates the living hell out of it. The crown jewel in this unique and fucking amazing film is its riveting and emotionally powerful (yet still, somehow, extremely funny at the same time) final act. A strong fucking recommendation for this fucking film.
69. The Breakfast Club (1985)
"You see us as a brain, an athlete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at 7:00 this morning. We were brainwashed"
I'm trying to picture the concept of 1980's Hollywood if John Hughes hadn't existed, but all I'm coming up with is a blank void - it's like trying to picture 80's rock music if hair didn't exist. Mr. Hughes was a seriously influential filmmaker for the decade's trademark brand of delightful feel-good cinema, and none of his other works stand quite as tall as The Breakfast Club. Like last week's entry Clerks, this coming-of-age classic proves that you don't always need a whole lot to make a great film. If your cast chemistry, dialogue writing and life lessons are on point, all you need is to stick five characters into detention for 1 hour and 37 minutes and you'll have one of the most universally beloved films of all time on your hands.
That's pretty much all there is to The Breakfast Club, and the end result is a thing of perfection. Five fleshed-out versions of high schooler stereotypes spend their detention together, loathing each other at first but slowly realizing that there is a human being under every click and cliché. Parts of the film are surprisingly gripping, as the characters open up about their less-than-flattering backgrounds and the pain that people in their peer group endure, but a majority of it is a bunch of good fun with a whole lot of heart put into the mix. Watching this as a grown-up is a cozy experience worthy of smiles and fist pumps; watching it as a teenager was a somewhat profound sensation (if there's one film that every youth should watch, it's probably this one).
68. Dunkirk (2017)
"Well done, lads. Well done"
"All we did is survive"
"That's enough"
Now that we've gotten today's fluffy comedies out of the way, let's dive straight into the deep end of World War II. Not just any WWII epic, mind you, but the one that possibly captures the brutal intensity of war better than any other film about the Second World War that I've seen (and I've seen my share). Obviously, I don't have the slightest idea of what being in war is like, but no other film has made me picture it as intensely and intimately as Dunkirk - not to mention the fact that multiple WWII veterans have complimented the film for apparently having an extremely real-feeling atmosphere, which certainly adds to its credibility.
Christopher Nolan is one of my favorite filmmakers, and this is his only feature film where his directing is even more impressive than his writing. Mind you, the script is excellent, as it details the true story of the Dunkirk evacuation in a no-nonsense way with Nolan's trademark non-linear storytelling spicing up the narrative, but the directing is what truly makes Dunkirk into one of the all-time greats (Hans Zimmer's nerve-wracking score doesn't hurt either). The best example is the scene that Quentin Tarantino himself has called "maybe the greatest shot in war movie history" - the sequence of bombs being dropped on the beach as the soldiers lie in fright. The viewers can feel the sheer terror and helplessness that the characters are experiencing through the magnificent sound editing, action choreography, visual effects and cinematography. Not your light Friday night movie for sure, but a gripping and extremely worthwhile viewing experience in the right state of mind.
67. The Hobbit: An Unexpected Journey (2012)
"Saruman believes that it is only great power that can hold evil in check. But that is not what I have found. I've found it is the small things, everyday deeds of ordinary folk that keeps the darkness at bay. Simple acts of kindness and love. Why Bilbo Baggins? Perhaps it is because I am afraid, and he gives me courage"
Once again, it's time to hit full defense mode as I try my best to reason one of my more controversial movie opinions - the greatness of the oft-criticized Hobbit trilogy. I come back to the same argument I used two weeks ago when discussing The Hobbit: The Battle of the Five Armies (2014) - the fact that these movies are less good than the Lord of the Rings trilogy doesn't inherently make them bad or even average. The Lord of the Rings films are some of the very best top notch cinema ever made, so an entry into the same franchise can be clearly a step or two worse while still being absolutely amazing. It is unfair that many cinema enthusiasts base their opinions on the Hobbit films solely based on how they compare to Lord of the Rings, because that is a gold standard that's quite impossible to reach. If we judge the Hobbit films as movies of their own, there is a whole lot to love and appreciate.
First of all, many of the elements that made the LOTR trilogy so great are also evident here: Howard Shore's epic score, Sir Ian McKellen's perfect take on the character of Gandalf, and the generally awe-inspiring scenery and magical feel of Peter Jackson's Middle-Earth. The film's light and adventurous atmosphere feels just right, because the Hobbit book was much lighter and more child-friendly than the darker and more large-scope Lord of the Rings. Furthermore, the cinematic adaptation nails many of the book's most memorable parts (the troll encounter, the fascinating arrival at Rivendell, and Bilbo's (Martin Freeman) intense interaction with Gollum (Andy Serkis) come to mind). The casting of Richard Armitage as dwarf leader Thorin is genius, as he thoroughly understands the character in all his complexity and feels exactly like his literary counterpart. All in all, a wonderfully adventurous adaptation of one of my favorite books from my childhood, the hatred for which will always confuse me.
66. Whiplash (2014)
"Not quite my tempo"
This winner of three Academy Awards relates to me in many ways: I'm a drummer, so main character Andrew (Miles Teller) is easy to relate to; I'm a fan of jazz music, so the astonishingly great Justin Hurwitz soundtrack has me in awe; and most importantly, I'm studying to become a music teacher, and my goal for my future career is essentially to be the exact opposite of Mr. Fletcher (J.K. Simmons), the conservatory band instructor in this movie. Simmons rightfully won an Oscar for his nightmarishly intense performance as this monster of a man, who handily answers the question "What if the idea of pushing people past their limit in the name of results is taken too far - like way too far?".
While parts of the film are bound to be exciting for a fan of drumming and music, I can say that Whiplash is not a fun film to watch no matter how into jazz you are. Watching the main character slowly break under pressure, as the band instructor's insane demands leave him practicing until his fingers bleed, is quite nauseating, as these kinds of gripping Oscar films often strive to be. As hard as Whiplash is to watch, I can't help but love the movie for just how masterful it is. The intense atmosphere, the way the viewer gets hooked and emotionally invested in the story, and the all-too-real acting by Simmons and Teller all make this film into an unforgettable and breathtaking viewing experience. I recommend Whiplash to everyone, as long as they're in a steady enough state of mind so that the film's mounting sense of pressure doesn't make their head explode.
65. A Nightmare on Elm Street (1984)
"One, two, Freddy's coming for you,
Three, four, better lock your door,
Five, six, grab you crucifix,
Seven, eight, gonna stay up late,
Nine, ten, never sleep again"
Truly, even clearly, one of the greatest horror films ever made. What really gets me about this iconic slasher is just how complete of a horror film it is: if you're any kind of horror fan at all, no matter what your subgenre preferences, this is the movie for you as it has a good chunk of everything.
If you like your horror films properly spooky, this is one of the scariest flicks ever made with its creepy atmosphere and ingeniously well-timed jump scares. If you're sick of typical slashers and want quality cinema from your horror films, Wes Craven's impeccable directing and the exceptional cast (Johnny Depp and Heather Langenkamp knock it out of the park) have you covered. And if you're into strange, experimental and groundbreaking films, Nightmare is definitely the horror flick for you with its crazy and wild aesthetic and bizarre dream-worlds created by the brilliant mind of Wes Craven. A horror masterpiece if I ever saw one.
64. Back to the Future (1985)
"Roads? Where we're going, we don't need roads"
There are boring movies. There are movies that are good, but not especially entertaining. Then there are entertaining movies, very entertaining movies, and some extremely entertaining movies.
And then, there's Back to the Future.
This fast-paced, adrenaline-filled, only-could've-been-made-in-the-80's work of pure, unadulterated fun is just a brilliant film to watch in pretty much any state of mind. Robert Zemeckis manages to create an atmosphere so delightful and blissful, that this sci-fi adventure (and its sequels) can be watched just over and over and over again without ever getting tired.
While there's a lot to love in this film amidst the zany Alan Silvestri score and the absolutely thrilling plot, my favorite element has to be that main stars Michael J. Fox and Christopher Lloyd have possibly the greatest on-screen chemistry of all time - I say 'possibly', because Samuel L. Jackson and John Travolta in Pulp Fiction (1994) are their only real rivals and I still haven't decided which pairing I prefer. What I can say is that Back to the Future is possibly the world's hardest movie to hate, because its whole vibe is in the very essence of 'fun' as a concept. I dare you to watch this film and not have a huge grin on your face for a majority of the runtime.
63. Scent of a Woman (1992)
"I always knew what the right path was. Without exception, I knew. But I never took it. You know why? It was too damn hard. Now here's Charlie. He's come to the crossroads. He has chosen a path. It's the right path. It's a path made of principle that leads to character. Let him continue on his journey"
From the film's beautiful title, the basic plot premise of a young boy helping a blind man, and the movie's opening minutes with the whimsical Thomas Newman soundtrack and blissful autumn scenery, you'll except Scent of a Woman to be a traditional, run-of-the-mill inspirational feel-good movie. Then, Lt. Col. Frank Slade (Al Pacino) drops in, giving the film a major shift in tone with his brutal language and raw outlook on life. Mind you, when all is said and done, Scent of a Woman is indeed an inspiring film that leaves a smile on one's face, but the road to that point is filled with more dire obstacles than one might expect. Simply put, the main character can be such a pain in the ass that his character arch occasionally feels like chore to get through - making it all the more satisfying when progress finally starts to happen.
Until then, we're left to enjoy uncomfortable but well-crafted and entertaining sequences of Charlie Simms (Chris O'Donnell) trying his best to get along with this very, very difficult old man. The plot ranges from moments of hilarious humor to heart-stopping scenes of raw emotion, and everything in between, as the actors soak in their wonderful chemistry while their characters each learn a life lesson or two on the way. Also, to no one's surprise, Pacino is absolute dynamite as always in this role that finally won him an Oscar after being nominated but not winning for seven consecutive times. Whoo-ah, what a film.
62. Philadelphia (1993)
"In this courtroom, Mr. Miller, justice is blind to matters of race, creed, color, religion and sexual orientation"
"With all due respect, your honor, we don't live in this courtroom, do we?"
Jonathan Demme's Philadelphia is many things. The #1 best performance of Tom Hanks's career, for starters, and a riveting courtroom drama as well. Most importantly, though, Philadelphia is a gripping tale of discrimination and standing up for what's right, and thus a historically significant film concerning LGBTQ+ rights and representation. This sort of representation was especially important in the early 90's, with AIDS spreading fast and (often extremely homophobic) misinformation about AIDS spreading even faster. Attitudes towards the gay community had come a long way forwards in the previous decades, only for this illness and happily escalated lies about how it spreads making for a convenient new excuse to shun LGBT people and shut them out of society. By 1993, the scientific facts about how AIDS does and doesn't spread had been around for quite a while, but people didn't want to hear it. And this makes works of art like Philadelphia extremely important.
Not only does the movie shine light on much-needed facts while telling an overall powerful story, but it does it in style as well. Bruce Springsteen's song Streets of Philadelphia, written for this movie and subsequently winning the Academy Award for Best Original Song, creates a sentimental and gripping atmosphere right from the start. Jonathan Demme's solid directing keeps the atmosphere tight, and alongside Hanks's Oscar-winning performance as HIV victim Andrew Beckett, Denzel Washington provides another great performance as Joe Miller, the lawyer who takes the case of Andrew's wrongful firing from his law firm. Miller's personal character arch is a great representation of society's shifting attitudes, as he slowly learns his way out of his own homophobic attitudes, showing viewers that this can be done.
And when you think about Philadelphia as a movie that aimed to change the attitudes of a largely homophobic society, one has to applaud the sheer genius of casting Tom Hanks out of all people in the lead role: for many Americans at the time, seeing such a universally beloved actor taking up the role of a gay man might've been just the nudge they needed to start realizing that we're all human beings and we need more tolerance in our society. Also, kudos to Hanks for bravely taking a role that was deemed very controversial and lost him a lot of fans (well, more accurately, those fans lost Tom Hanks, as the decision to boycott the beloved actor for playing the role of a gay man is 100% their loss. Have fun not watching Forrest Gump, idiots).
61. Tenet (2020)
"I'll see you in the beginning, friend"
As beloved as Christopher Nolan's earlier science fiction works Inception (2010) and Interstellar (2014) are, they have gotten their share of criticism by the nerdier fans of the genre who weren't happy with Nolan's use of exposition - to make complex ideas accessible for mainstream audiences, the dialogue in these films explains everything so thoroughly that it feels to some like the filmmaker is holding the audience's hand and leaving nothing for the viewer's own brain to figure out. I don't mind such things at all, but I do get where this argument is coming from, and therefore I appreciate that Nolan apparently listened to his core fans and gave them what they wanted to a borderline aggressive degree: Tenet doesn't spend one second over-explaining anything, as all of the film's complexities just sort of happen and the viewers have to work everything out for themselves. If any film deserves to be called a thinking person's movie, it's this one.
If you have the brain energy to follow such a puzzle box, it makes for an amazing cinematic experience. My favorite thing about Tenet is the sheer creativity in the premise: the concept of time travel has been done to death in literature and movies, yet Christopher Nolan, being a mad genius, came up with an entire new way of writing time travel. The way time travel works in Tenet (I won't even begin to describe it here) is fresh and exciting, and the plot is so well-written and hard to decipher that the film definitely needs and deserves to be watched multiple times. Clever writing, ultimate creativity and a thrilling atmosphere ensue.
Thank you for reading! Tune in next week for movies #60 - #51, which include the most normal movie from the least normal director, a possibly surprising member of the Star Wars franchise, a Best Picture winner from the 90's, and a film that I never want to see again.
P.S. Against all odds, an unlikely event that I have been dreading took place last week: during this ten-week period of counting down my 100 favorite movies, I saw a film that would've made it into my Top 100 but it's too late now. Therefore, I will give a special shout-out to this masterpiece (which I had oddly enough seen before, but only the second viewing made me fully appreciate what a Top-100-worthy masterpiece it is). The film in question is Eternal Sunshine of the Spotless Mind (2004), written by the brilliant mind of Charlie Kaufman and directed by Michel Gondry. The film is, at its heart, one of the most beautiful and touching love stories from the world of movies, told through the lens of an incredibly creative premise. If I had re-watched the film earlier (or if my original viewing hadn't been at 4:00 A.M. during my teenage years), it definitely would've made it into my official Top 100 - probably somewhere around places #50 - #70 or so.
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