Happy Easter everyone! Yes, it is Easter Sunday as I type this, and nice to be topical :-)
Here are the penultimate set of 10 films that are simply the best:
Goodbye Mr. Chips - obviously the Robert Donat version. It's a wonderful if slight tale of the history of one teacher as he observes the passage of time from the halls of his school. Covering his arrival at the school to the end of his days there, and encompassing the losses of his ex-wards to war. It's a sentimental, but poignant look at England and of loss of innocence. A tear-jerker to boot!
Gorky Park - of a number of gritty thrillers in the 80s I liked this the most. William Hurt in one of his calm, cold roles, matched against cold-hearted Lee Marvin amongst the seedy Soviet underworld. Unpleasant at times, but stylish, and unflinching. Reminiscent of the Osterman Weekend in tone, but I like the coldness in this one more.
Harvey - another Jimmy Stewart unmissable classic. This film is funny, delightful, and contains more than a little hint of sexual innuendo. Relying heavily on the affectionate performance of Stewart, there's a lovely story about life, love and perception told through the eccentric tale of someone who just sees things differently to those around him. You can see elements of many aspects of today's physical comedy and farce introduced here, revealed in a more gentle manner than the pure slapstick of earlier, silent, movies. It's about not losing sight of what's important in life, and letting yourself believe. A wonderful, happy, entertaining time.
How the west was won - this can be considered a 'cheat' choice, as we really have three films (at least) in one here. Directed by the three greats - Ford, Hathaway and Marshall - this is a true 'epic'. The cast list alone goes on forever ... Stewart, Wayne, Tracy, Peck, Reynolds, Moorehead, Peppard, Wallach, Malden, ... as we have the story of the American westward sprawl told through a number of stories, crossing several family generations. Odd to see on the small screen as shot in 'cinerama' (where a central screen is flanked by two side wings) but something that has to be seen. Truly epic. An amazing film that flies by, even though it runs to almost 3 hours.
Il Postino - This is just a marvellous film. Telling the tale of a simple postman who is employed by exiled Chilean poet Pablo Neruda to deliver his mail, it shows the impact one man of words can have on a life. It's funny, but no comedy, romantic, but not sentimental ... it's about a life and what living should be. Not a huge tale, about dramatic events (although it is dramatic) but a small story about a man and his life. At times incredibly sad and heart-rending, a film that touches your heart. It's beautiful.
Leon - a long time ago, in a galaxy far far away, Luc Besson made good films. 'Leon' sits between the good and the bad, and is certainly more commercially aware than some of his earlier work, but doesn't fall into the trap of being too obvious. There are still quirky characters, and odd performances - a manic one by Gary Oldman definitely, and an assured one from the débutante Portman. Full of stylish action, and tense standoffs (one of the best between Portman and a door) this is high-end French action for the US market.
Local Hero - practically flawless in every department, one of the best British films of all time. Whimsy, warmth, wit and wisdom as a US oil company more than meets its match in the Scottish highlands. Just everything that makes films great is contained in this wonderful story. Brilliant at all times.
Looking for Mr. Goodbar - This is a seedy, unsavoury film, almost a very black comedy, with Diane Keaton in a challenging role, showing more teeth than she was often given in the Woody Allen films he was making around the same time. Found shocking at the time, I still think it would be seen as powerful today. The story of a pleasant, amiable school teacher trawling the singles bars at night, looking for casual sex with strangers. Certainly a strong film with plenty of irony, and bleak 'everyday-ness' to it. I think it was Richard Gere's first film, but you won't see him until almost the end. If you've never seen it, then you must watch it.
Love and Death - and here is the delightful Miss Keaton again. Wonderful, witty, gorgeous and engaging, her partnerships with Allen are the highlights of several of his classics. However, of all of their collaborations I find this the most consistently humorous, particularly the scenes when Allen is being despatched to the front, much to his displeasure. The latter Blackadders owe a debt to Allen - in much the same way as Atkinson plays Blackadder as a modern man in different times, so Allen simply plays a neurotic New York Jew in all of his movies of this era. He is the knowing wise-cracking fish out of water, whilst the cast around him live in the appropriate time. Much of the obvious humour stems from this position, but Allen is smart enough to draw the parallel both ways, so he often reflects modern-day issues through the events of the times he shows. And above all, it's a silly send-up of War and Peace. Nothing wrong there.
Marathon Man - well, is it safe? A tremendous, fast-paced thriller which rips along. Most of Hoffman's (early) films were outstanding and this is no exception. Many classic scenes and brilliant characters and actors combined. Brilliant.
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Well, almost done ... just my final 10 to reveal. I think this ten is (again) as good as any. Thank you.
Sunday, April 24, 2011
Monday, April 11, 2011
10 more!
I admit that I was going to blog about interesting(!) times with Freeview TV but can't find the passion for it at the moment, so ... here's another 10 (30 down, 20 to go).
Midnight Express: I regard this as one of those 'mega' movies; something that's a proper, full-on, experience. There is so much to this film - it's very gritty, grim, yet at the same time optimistic and (eventually) hopeful. A number of tremendous performances (I didn't recognise Hurt until the end credits) and something ironic in the eventual tale of Brad Davis. Iconic scenes too. Don't smuggle drugs in Turkey. No. Really don't. My favourite Alan Parker film.
North by Northwest: Are we keeping a count of Hitchcock films? I didn't think I was a particular fan, but this in many ways is the definitive Hitchcock (of that time). A much-seen classic with all the Hitchcock signatures and Cary Grant holding it all together. Wonderful sinister villains, and paced so beautifully from start to finish. You're bound to have seen it, but watch it again. You'll have a great time.
Notting Hill: No, please, stop looking at me like that. Thanks. Okay - I think most of Richard Curtis's output (at least film-wise) is no great shakes. I'm certainly no fan of "four weddings" (it's nice enough) but I am a sucker for a good rom-com. And this is a good rom-com. A very good rom-com. The 'rom' is ably delivered by Julia Roberts (and the excellent ensemble supporting cast), showing a delightful, wistful London, replete in cosy suburbs and secret nooks. This is London not seen again until 'Last Chance Harvey' ... the London we export, rather than the London we encounter. And 'com' is matched by Rhys Ifans and Grant's quirky friends. It's pitch-perfect and lovely, and all the nice things. Nice isn't always bad.
One Deadly Summer: Isabelle Adjani. Naked. Lots. And yet there's much more to this. It's a chaotic whodunnit (and what was done) that zips along with a frothy zeal that draws you in. At times obvious, and possibly a mish-mash of too many themes, but very engaging, and emotional. Sad, yet also full of life. Lots to commend this. A French film that isn't too French to leave you out of the sensibilities of what's going on. I think there are possibly 3 'foreign' films in my list, and they are all French. What does that say?
Outlaw Josey Wales: This Western sits at the cusp of the transition of Westerns, from the austere, traditional white-hat/black-hat westerns of the 40s-60s to the gritty realism of the 80s and beyond (we've since moved elsewhere with some atrocious tosh of late). Eastwood at his most laconic, with a superbly pithy script. There are numerous 'cusp' films of this era, but this is the most enjoyable, watchable, and well-rounded. In many ways the definitive western (almost ... more later). "Dying's not much of a living."
Platoon: Oliver Stone's epic war reflection. There are of course parallels to be made with Apocalypse Now, and the physical and vocal similarities between the Sheen pair is obvious. But this film belongs to Berenger and Defoe, both slugging out mesmerising performances, instilling dirty unflinching realism into the dark tale of the horrors of war; or simply the horror of mankind when pushed to extremes. A film you'll watch once and never forget. Iconic and cataclysmic. Powerful stuff.
Quatermass and the Pit: Somewhere I have the BBC TV original. On some tape. Somewhere. Never watched it but I have it. This Hammer remake for the big screen is every bit the bum-clencher. I've watched it recently, and some of the impact has been lost, but it's still an eerie, spooky, unsettling feature, full of dark foreboding and chills. Has the feel of a 70s play (The Stone Recorder sort of thing) but another proper chiller.
Rear Window: Well, here's Mr Hitchcock again. And another definitive film (of there can be more than one). It has all the classic elements once more, but with the delightful pairing of Stewart and Kelly at the centre. It's simply wonderful in all of its elements, and no-one can fail to be supremely entertained by this film. This is Stewart at this peak, and Hitchcock too. An all-time classic, and deservedly so. Outstanding.
Room with a View: Okay, there was a whole raft of Merchant/Ivory, and not all were to my taste but this is delightful. Simon Callow and HBC can hardly do wrong, and this is both passionate and funny, yet also beautiful and uplifting. A reminder of happy times in more than the obvious way.
Say Anything… : In my head this sits alongside The Sure Thing, possibly for obvious reasons. However, written and directed by Cameron Crowe there's more here than John Cusack in the rain wooing Ione Skye with Peter Gabriel. There's at least John Mahoney too in pre-Frasier days, and lots of sharp dialogue with more than a little truth. Okay ... we know where we're going from act one, but it's a decent trip and not so formulaic as to be patronising. It's iconic of the 80s. Which don't seem so bad from this angle, and probably quite reminiscent of today's times in large part.
--------
Almost done!
Midnight Express: I regard this as one of those 'mega' movies; something that's a proper, full-on, experience. There is so much to this film - it's very gritty, grim, yet at the same time optimistic and (eventually) hopeful. A number of tremendous performances (I didn't recognise Hurt until the end credits) and something ironic in the eventual tale of Brad Davis. Iconic scenes too. Don't smuggle drugs in Turkey. No. Really don't. My favourite Alan Parker film.
North by Northwest: Are we keeping a count of Hitchcock films? I didn't think I was a particular fan, but this in many ways is the definitive Hitchcock (of that time). A much-seen classic with all the Hitchcock signatures and Cary Grant holding it all together. Wonderful sinister villains, and paced so beautifully from start to finish. You're bound to have seen it, but watch it again. You'll have a great time.
Notting Hill: No, please, stop looking at me like that. Thanks. Okay - I think most of Richard Curtis's output (at least film-wise) is no great shakes. I'm certainly no fan of "four weddings" (it's nice enough) but I am a sucker for a good rom-com. And this is a good rom-com. A very good rom-com. The 'rom' is ably delivered by Julia Roberts (and the excellent ensemble supporting cast), showing a delightful, wistful London, replete in cosy suburbs and secret nooks. This is London not seen again until 'Last Chance Harvey' ... the London we export, rather than the London we encounter. And 'com' is matched by Rhys Ifans and Grant's quirky friends. It's pitch-perfect and lovely, and all the nice things. Nice isn't always bad.
One Deadly Summer: Isabelle Adjani. Naked. Lots. And yet there's much more to this. It's a chaotic whodunnit (and what was done) that zips along with a frothy zeal that draws you in. At times obvious, and possibly a mish-mash of too many themes, but very engaging, and emotional. Sad, yet also full of life. Lots to commend this. A French film that isn't too French to leave you out of the sensibilities of what's going on. I think there are possibly 3 'foreign' films in my list, and they are all French. What does that say?
Outlaw Josey Wales: This Western sits at the cusp of the transition of Westerns, from the austere, traditional white-hat/black-hat westerns of the 40s-60s to the gritty realism of the 80s and beyond (we've since moved elsewhere with some atrocious tosh of late). Eastwood at his most laconic, with a superbly pithy script. There are numerous 'cusp' films of this era, but this is the most enjoyable, watchable, and well-rounded. In many ways the definitive western (almost ... more later). "Dying's not much of a living."
Platoon: Oliver Stone's epic war reflection. There are of course parallels to be made with Apocalypse Now, and the physical and vocal similarities between the Sheen pair is obvious. But this film belongs to Berenger and Defoe, both slugging out mesmerising performances, instilling dirty unflinching realism into the dark tale of the horrors of war; or simply the horror of mankind when pushed to extremes. A film you'll watch once and never forget. Iconic and cataclysmic. Powerful stuff.
Quatermass and the Pit: Somewhere I have the BBC TV original. On some tape. Somewhere. Never watched it but I have it. This Hammer remake for the big screen is every bit the bum-clencher. I've watched it recently, and some of the impact has been lost, but it's still an eerie, spooky, unsettling feature, full of dark foreboding and chills. Has the feel of a 70s play (The Stone Recorder sort of thing) but another proper chiller.
Rear Window: Well, here's Mr Hitchcock again. And another definitive film (of there can be more than one). It has all the classic elements once more, but with the delightful pairing of Stewart and Kelly at the centre. It's simply wonderful in all of its elements, and no-one can fail to be supremely entertained by this film. This is Stewart at this peak, and Hitchcock too. An all-time classic, and deservedly so. Outstanding.
Room with a View: Okay, there was a whole raft of Merchant/Ivory, and not all were to my taste but this is delightful. Simon Callow and HBC can hardly do wrong, and this is both passionate and funny, yet also beautiful and uplifting. A reminder of happy times in more than the obvious way.
Say Anything… : In my head this sits alongside The Sure Thing, possibly for obvious reasons. However, written and directed by Cameron Crowe there's more here than John Cusack in the rain wooing Ione Skye with Peter Gabriel. There's at least John Mahoney too in pre-Frasier days, and lots of sharp dialogue with more than a little truth. Okay ... we know where we're going from act one, but it's a decent trip and not so formulaic as to be patronising. It's iconic of the 80s. Which don't seem so bad from this angle, and probably quite reminiscent of today's times in large part.
--------
Almost done!
Monday, April 4, 2011
Another 10 (they are all great - honest!)
Following swiftly on from my initial 10, and still in no kind of order save vaguely alphabetty -
Shadowlands: A beautiful (true) story with one of those familiar Hopkins performances at the heart, ably complemented by both Debra Winger and Edward Hardwicke. I'm a sucker for Hardwicke from his 'Holmes' days, let alone who his forebears are. And besides everything I think Lewis's tales were the first I really fell in love with. So add all that together and you'll find it hard to dislike this poignant, beautiful, and painful film. It's a complete tear-jerker to boot!
Shawshank Redemption: Well, I almost left this out, as it's now become one of those films that everyone rates highly, and by that familiarity it's power is somewhat lessened. However it's a beautiful moral tale, excellently acted and directed, with a great plot and the performances of Robbins and Freeman at the heart. Let alone Clancy Brown in one of his many fearsome roles.
[Maybe there should be a list of favourite TV series ... I've already mentioned ITV's definitive working of Sherlock Holmes; we'd have to include Carnivale as well; Buffy - well Angel at least; Farscape; West Wing; Hill Street Blues - well, at least one British production in that initial list]
Slaughterhouse 5: One of those bizarre sci-fi confusions from the early 70s, directed by George Roy Hill, covering many concepts and jumping about as unevenly as the central characters time-line does. A film that was made to tell a story, not to make money. It's a confusing and not always satisfactory adaptation, but still one of those films everyone one should see. Ambition is good.
Some kind of Wonderful: Uh-huh, yeah. Chris Columbus/John Hughes territory. I think I first watched this on a video rental, than taped it from a BBC showing, which I probably still have. The continuity announcer says something like, "...and now for a tale where in terms of beautiful women, Keith can't see the wood for the trees" (yes, I've watched it too many times ... I even have the closing song on CD somewhere). What can I say? The script *is* funny. The characters are slight and the situation is silly (and the same as 'Pretty in Pink', etc.) but it does have Mary Stuart Masterson. I don't think I need any more justification. Yup. That'll do.
Spartacus: Well, it's Spartacus. What more needs to be said? Amazing cast, cinematography, direction, story, ... everything is epic and incredible. You'll go a long way to find a better film. Something you can watch again and again and still enjoy. A proper 'film' in every sense. Brilliant.
Terminator: From the opening credits to the final scene this is a superb. I recall watching it in the cinema not knowing whether Arnie was the goodie or the baddie to start with. It handles the tricky time travel subject in a more coherent manner than any other film I can think of, and is tightly directed with outstanding action. The franchise is still going 20 years later, but the original has yet to be eclipsed. Some might argue that T2 is better - but it merely has higher production values, and is practically a remake. This, though, eschews the glib one-liners and tongue-in-cheek patter to deliver a seminal sci-fi thriller. It put both Cameron and Schwarzenegger on map, and whatever either have done since they owe to this film.
The Cat People: The RKO/Val Lewton classic, not the Paul Schrader remake (which is very good for completely different reasons). Like a number of the black and white classics, the film deliberately leaves much vague and ill-defined, leaving it to the much better imagination of the viewer to determine what exact form the menace takes. Only towards the very end is a somewhat lazy adjunct added, but this does not lessen the overall dread pervading the film. Just because this is the 40s doesn't mean that the plot lacks bite ... the central theme of a woman afraid to consummate her marriage for fear of what it might release in her is pretty bold and handled frankly. This is 'horror' as it should be - frightening, not merely horrific and distasteful. A lovely example of proper film-making with characters fleshed out as real people. Watch this.
The Haunting: Well, see above. I obviously mean the Robert Wise original, not the dreadful rehash. A black and white movie with no hideous monsters, no gore, no blood, no massacre. How can that be scary? Okay. Get this. Watch it. Alone. At night. When it's dark. Then come back and tell me it's not scary. Genuine terror and suspense. One of those great scary films that just aren't made these days. Something that will have you pulling the duvet up tight around you at every creak and shadow. "I'm not holding your hand."
The Lady Vanishes: An early Hitchcock classic and possibly my favourite of all his works. This is just an enjoyable romp. Wonderfully eccentric characters litter the piece, with such delight and wit that you want to board that train, even if you might never get off it alive. Simply enjoyable and entertaining, without being malicious or unpleasant. Wonderful wonderful fun. If you've never seen this, then don't miss out. Satisfaction is guaranteed.
The life and death of colonel blimp: Powell and Pressburger. Is anything more needed? Okay - since you're being picky. The honey-voiced Roger Livesey making an incredible 40 year transformation as the main character; Deborah Kerr playing three roles; a sympathetic and realistic German soldier (this film was made in 1943); a backdrop of a world in turmoil; the strength of friendship; the beauty of love; the compassion of man; ... there are few films, if any, that can match this utter gem. An amazing achievement.
------
Okay - that's 20 down and 30 still to go. I know ... there can't be any better films than these. Some of these are truly classics. Don't deny yourself a good ole watch of them. Please.
Shadowlands: A beautiful (true) story with one of those familiar Hopkins performances at the heart, ably complemented by both Debra Winger and Edward Hardwicke. I'm a sucker for Hardwicke from his 'Holmes' days, let alone who his forebears are. And besides everything I think Lewis's tales were the first I really fell in love with. So add all that together and you'll find it hard to dislike this poignant, beautiful, and painful film. It's a complete tear-jerker to boot!
Shawshank Redemption: Well, I almost left this out, as it's now become one of those films that everyone rates highly, and by that familiarity it's power is somewhat lessened. However it's a beautiful moral tale, excellently acted and directed, with a great plot and the performances of Robbins and Freeman at the heart. Let alone Clancy Brown in one of his many fearsome roles.
[Maybe there should be a list of favourite TV series ... I've already mentioned ITV's definitive working of Sherlock Holmes; we'd have to include Carnivale as well; Buffy - well Angel at least; Farscape; West Wing; Hill Street Blues - well, at least one British production in that initial list]
Slaughterhouse 5: One of those bizarre sci-fi confusions from the early 70s, directed by George Roy Hill, covering many concepts and jumping about as unevenly as the central characters time-line does. A film that was made to tell a story, not to make money. It's a confusing and not always satisfactory adaptation, but still one of those films everyone one should see. Ambition is good.
Some kind of Wonderful: Uh-huh, yeah. Chris Columbus/John Hughes territory. I think I first watched this on a video rental, than taped it from a BBC showing, which I probably still have. The continuity announcer says something like, "...and now for a tale where in terms of beautiful women, Keith can't see the wood for the trees" (yes, I've watched it too many times ... I even have the closing song on CD somewhere). What can I say? The script *is* funny. The characters are slight and the situation is silly (and the same as 'Pretty in Pink', etc.) but it does have Mary Stuart Masterson. I don't think I need any more justification. Yup. That'll do.
Spartacus: Well, it's Spartacus. What more needs to be said? Amazing cast, cinematography, direction, story, ... everything is epic and incredible. You'll go a long way to find a better film. Something you can watch again and again and still enjoy. A proper 'film' in every sense. Brilliant.
Terminator: From the opening credits to the final scene this is a superb. I recall watching it in the cinema not knowing whether Arnie was the goodie or the baddie to start with. It handles the tricky time travel subject in a more coherent manner than any other film I can think of, and is tightly directed with outstanding action. The franchise is still going 20 years later, but the original has yet to be eclipsed. Some might argue that T2 is better - but it merely has higher production values, and is practically a remake. This, though, eschews the glib one-liners and tongue-in-cheek patter to deliver a seminal sci-fi thriller. It put both Cameron and Schwarzenegger on map, and whatever either have done since they owe to this film.
The Cat People: The RKO/Val Lewton classic, not the Paul Schrader remake (which is very good for completely different reasons). Like a number of the black and white classics, the film deliberately leaves much vague and ill-defined, leaving it to the much better imagination of the viewer to determine what exact form the menace takes. Only towards the very end is a somewhat lazy adjunct added, but this does not lessen the overall dread pervading the film. Just because this is the 40s doesn't mean that the plot lacks bite ... the central theme of a woman afraid to consummate her marriage for fear of what it might release in her is pretty bold and handled frankly. This is 'horror' as it should be - frightening, not merely horrific and distasteful. A lovely example of proper film-making with characters fleshed out as real people. Watch this.
The Haunting: Well, see above. I obviously mean the Robert Wise original, not the dreadful rehash. A black and white movie with no hideous monsters, no gore, no blood, no massacre. How can that be scary? Okay. Get this. Watch it. Alone. At night. When it's dark. Then come back and tell me it's not scary. Genuine terror and suspense. One of those great scary films that just aren't made these days. Something that will have you pulling the duvet up tight around you at every creak and shadow. "I'm not holding your hand."
The Lady Vanishes: An early Hitchcock classic and possibly my favourite of all his works. This is just an enjoyable romp. Wonderfully eccentric characters litter the piece, with such delight and wit that you want to board that train, even if you might never get off it alive. Simply enjoyable and entertaining, without being malicious or unpleasant. Wonderful wonderful fun. If you've never seen this, then don't miss out. Satisfaction is guaranteed.
The life and death of colonel blimp: Powell and Pressburger. Is anything more needed? Okay - since you're being picky. The honey-voiced Roger Livesey making an incredible 40 year transformation as the main character; Deborah Kerr playing three roles; a sympathetic and realistic German soldier (this film was made in 1943); a backdrop of a world in turmoil; the strength of friendship; the beauty of love; the compassion of man; ... there are few films, if any, that can match this utter gem. An amazing achievement.
------
Okay - that's 20 down and 30 still to go. I know ... there can't be any better films than these. Some of these are truly classics. Don't deny yourself a good ole watch of them. Please.
Saturday, April 2, 2011
Oops ... First 10
Okay, apparently the 'Top 50' proto-list was due to be out be now. Well, that's a private list for private people (oh yeah), but I'll be trailing that 50 here, in groups of 10 or so ... okay, here goes (no order here ... just going from the bottom of the alphabet up - probably).
The shape of thing to come: Simply mind-boggling. This film version of the H G Wells classic, filled with British acting royalty, puts contemporary films in their place in terms of visual gusto and ambitious elan. What is portrayed here is not simply Wells's own views but the visual foresight of a world that barely seems capable of taking the steps this film does. Jaw dropping. I kid you not.
The Right Stuff: Amazing recounting of the space race from before Chuck Jaeger broke the sound barrier, up to the Apollo missions. A stellar cast of 'major stars in the making' and amazing cinematography. See this on the big screen in its full uncut glory to be drawn into a world of exploration, daring, and down-right bloody-minded determination. Inspirational.
The shape of thing to come: Simply mind-boggling. This film version of the H G Wells classic, filled with British acting royalty, puts contemporary films in their place in terms of visual gusto and ambitious elan. What is portrayed here is not simply Wells's own views but the visual foresight of a world that barely seems capable of taking the steps this film does. Jaw dropping. I kid you not.
The Sure Thing: Several films of this era summon up an innocence and joy that is very much of the time. This Rob Reiner gem features the amicable John Cusack at his best, along with several other staples of this time. Always knowing and never insulting, I think this is more of a 'Ferris Bueller' than that. Less obvious, but just as compelling; fun, funny, silly, and a great distraction.
The world According to Garp: Forget the maudlin, over-sentimental Robin Williams too often encountered today. Meet the newcomer just out of 'Mork and Mindy' perfectly cast in the tricky opus from John Irving. Combined with a typically solid performance from John Lithgow, and an amazingly composed one from Glenn Close (wasn't she nominated for Oscars in each of her first three roles?) this film has it all. Great quotes; wonderful characters; a central theme about life, hope, and dreams. Movie-making at its best. A film for everyone to watch
Truman Show: As above, when tied down and controlled, Jim Carrey has more than a little acting talent. Here he only occasionally threatens to ape in front of the camera. Peter Weir in fine form, and a lovely, small, restrained piece about whether we are actors on the stage, and even if we are, should we be content with that role? Sometimes a little loose, but never unenjoyable. I wonder what more Carrey could bring if he were stretched. Another film about hope and daring to dream.
Truth about Cats and Dogs: At the risk of being maligned, but I love love love this film for several reasons. Uma Thurman looking more gorgeous than is possible; Janeane Garofalo likewise, more quotable lines than you can shake a fist at, and a central theme about people not being easy to pigeon-hole. What's not to like? All this and a soundtrack featuring Al Green and Squeeze. Sit down and hug your knees. The only thing off colour is Ben Chaplin doing an impression of Dick Van Dyke, rather than using his own voice ("Ben, you just don't sound English enough. More dyke please. Not you, Garofalo ...")
Unforgiven: Eastwood is one of the best directors of our time. Fact. Sometimes he's too acclaimed, but films like Unforgiven make you realise just how good he is at his craft. This is a film the surpasses its genre. Don't treat this as a simple 'western' this is much more. Eastwood, Hackman, and Freeman form the heart of the movie, Freeman typically as the observer (c.f. Shawshank Redemption / Million Dollar Baby) with Hackman and Eastwood as two sides of the same coin. Hackman has rarely been better, which is some accolade, and Eastwood the actor gives his normal restrained performance. A story about right, wrong, and that huge area of grey between the two. No easy answers, and rightly so. Superb.
V For Vendetta: I love this film. Not simply for Hugo Weaving (are we sure it's him?) doing a lovely Blackadder impression, or Natalie Portman in frilly knickers (I barely looked), but for something very important that wasn't lost from Moore's dystopian future - something about the view of man as defining his own nature and not merely ceding all morality to the state. Visually accomplished, and with a thunderous score, it's never dull and draws the viewer into V's uncompromising purpose. A film about 'stuff', so no bad thing.
White Christmas: Yes, done to death and seen many times, but lovely and warm and friendly and nice. Featuring two of my favourite stars of that era ... neither Crosby nor Clooney, but the bright and shining 'co-stars' of Kaye and Ellen who simply click together in a heart-warming manner. The story is painfully slight and simple, the songs not unforgettable, yet it conjures such a happy and positive image it's hard to argue against. Without the depth of a Capra masterpiece, but sometimes you don't want to be bludgeoned, just warmed through by something wholesome.
Yankee Doodle Dandy: You'll have to blame my mother partly for this, as it was essential viewing whenever it was on. You can level accusations of jingoism against it, but at its heart we have the performance of Cagney. The knowing, post-gangster, post-hoofer Cagney; although there's more than enough of the hoofer to keep us going here. He radiates throughout the film, lighting up ever scene with a boyish energy and innocence. Something for the times, but also something for all times. And that dance down the stairs at the end is a moment of film history, making your stomach do silly things.
(apologies if my prose is too film-critic-y ... blame it on the Baz)
Phew ... 10 down. Maybe one or two would make the Top 10 even. Hope you enjoy. And if you disagree ... well, it is MY list after all :-p
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