tag:blogger.com,1999:blog-39440546890113086192024-02-02T07:46:35.457-08:00Peter's Movie ThoughtsPeter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-3944054689011308619.post-12835256427463699362017-01-23T22:48:00.000-08:002017-01-23T22:48:00.065-08:00Top 20 of 2016<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; line-height: normal; text-align: center;">
<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">It's that time of the year again, time for me to spew out my opinions what my favourite movies of the year were. As always there are some caveats. These are my favourites, not the unequivocally best made, well-reviewed critical darlings (sorry <i>Moonlight</i>). The films that I enjoyed the most and look forward to revisiting in years to come, even if they have flaws. Also, you'll note that I included films released in early 2017 since they qualify for the current Oscar season. And vice versa, I didn't include prestige films from last January like <i>The Revenant.</i></span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Overall for 2016, it was a disappointing year. Although I'm proud of my list, maybe only a few of the top 5 would make a top list on any other year. Most of the wide release movies this year were quite atrocious; the only great blockbusters were the kid movies. To find many of the movies on this list, I really had to search outwards to documentaries, foreign films, and the prestige films released in the last few weeks. At any rate, I hope you enjoy the list, and that it inspires you to go and seek these out. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Number of movies from 2016 I saw:</u> 107</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Total number of movies I saw this year:</u> 185</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Worst movies:</u> The Secret Life of Pets, True Memoirs of an International Assassin, 13 Hours</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Biggest Disappointments:</u> Mascots, BvS:DoJ, The Birth of a Nation</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Didn't Get Around to Seeing for this list:</u> Elle, Lion, Miss Sloane</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u>Honourable Mentions:</u> Hell or High Water, Queen of Katwe, The Lobster, Don't Breathe, The Jungle Book, The Founder</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This South Korean film is directed by the ever bold Chan-wook Park (<i>Oldboy</i>), and is probably his classiest one yet. That is to say it isn't without the stylish panache and 18A material of his previous work: a smidge of ultra-violence and loads of sensual and sexual content. This is a tale set in 1930s Korea under Japanese rule, where a handmaiden servant infiltrates a rich Japanese Count in order to rob him. Then the plot flips and turns with double-cross after double-cross, which crafts a twisted pretzel of a mystery. What's more is that the film is told in 3 separate parts which depict the same actions from the differing perspectives of the three main characters. Like all big budget South Korean films of the last few decades, this is a gorgeously shot film told with patience, that manipulates the audience in the best of ways. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This is a low budget indie film directed by Karyn Kusama about a hipster dinner party. Not exactly my cup of tea. But what starts out as such, eerily pulls you along as a conspiracy thriller and winds up being a vicious tale of jealousy, regret and paranoia. Our surrogate and main character Will, arrives at a chic LA party with past friends and new acquaintances. Then through flashbacks and carefully crafted emotional undertones, we understand that the hosts are his ex-wife and her new beau, who both no longer appear to act the way they used to. New creepy guests arrive, and old friends fail to notice what Will suspects: perhaps our hosts have some sinister intentions. The film plays with perspective as we question whether everyone else is crazy, or if we (Will) are experiencing some PTSD from the past relationship. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">It's been a long time since I've really enjoyed a Clint Eastwood film. <i>Gran Torino</i> was great, and <i>Million Dollar Baby </i>is very good, but the other 15-odd movies he made over the past two decades are always so workmanlike and forgettable. Likely well-made, but lacking in vision. The difference here is that not only does his workmanlike, by-the-numbers filmmaking mirror the content of ordinary people just doing their job well, but Eastwood manages to make a point out of it all. He embellishes the true-events just enough, in order to craft a story that shows how there is nothing more important than humanity and the power and magnificence we can achieve by working hard together. Pretty much the exact same "go humanity!" lessons learned from last years' <i>The Martian,</i> but far more subdued. There is a soothing and calming effect glossed over this film that reflects the professionalism and collected demeanour of the titular character. And Tom Hanks plays him with such a down-to-earth and comforting way, that we all feel better with him at the helm. It's a movie executed so confidently and assuredly which matches the story, and delivers a hopeful tale of how when people get together and do their best, the impossible can be achieved. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>17. Finding Dory</b></span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Take everything great about <i>Finding Nemo</i>, and just do more of that. Works fine enough for me! More of the stunning underwater animation. More of the charming main characters sprinkled with fun side characters. More emotional tear-jerking moments about parenting (the shells!!!). More of that aesthetically soothing and serene score from Thomas Newman. The new additions of the selfish (not shellfish) Hank and baby Dory are wonderful characters that remain as endearing as he originals. However, also being a typical sequel, it suffers from more zaniness in trying to outdo the original; which results in some "overly silly" plot contrivances and illogical real-world shenanigans. Yet the core story remains powerful. Using fish and animals with handicaps, they made a wonderful allegory for parenting and child-rearing. As Sigourney Weaver says: Rescue, Rehabilitation & Release.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>16. The Nice Guys</b></span><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">One of the funnier movies this year, this is a true retro throwback to the action comedies of the late 80s like <i>48 Hrs, Beverly Hills Cop </i>and <i>Lethal Weapon. </i>The latter of which was written by Shane Black, the writer and director here. Also, helping to fit this mould of foul-mouthed partners trying to solve a crime with street smarts and guns, is that <i>The Nice Guys</i> also takes place back in the 70s to help get us closer to that era when a Dirty Harry type could roam the streets. Our two mismatched heroes here, are a thug hitman (played by a grizzled yet enigmatic Russell Crowe) and a deadbeat-dad, private investigator (played by Ryan Gosling in one of the best performances this year). They get caught up in a purposely complicated investigation and bumble their way through it, not unlike <i>The Big Lebowski</i>. As they try their best to solve the crime for some cash, they find themselves coming out the other end with a lovely sense of redemption for each of them. It's a movie that is funny and loaded with slapstick, has endearing characters, and has an engaging mystery that is as relevant today as it was in the 70s. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This is the surprise thriller of the year. With nearly zero advertising (which was refreshing), until a last minute blitz the two weeks prior to opening, all we had to go on was that a girl wakes up trapped in a bunker with strangers. The film plays out as a mystery as we begin to discover that the outside world may not be where she wants to go either. The only 2016 performance better than Gosling in <i>The Nice Guys,</i> belongs hands down to John Goodman, over here at <i>10 Cloverfield Lane. </i>He puts on an intimidating yet vulnerable performance and creates an incredible and imposing character who you never forget about, even when he's off-screen. Then, when he's on the screen, he is magnetic. Our protagonist is at his whim in the beginning, but bit by bit, she undermines him and this only makes him more threatening. It's a simple movie with wonderful interplay between the three leads, and the effect of the mystery unraveling only gets better on a rewatch. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Like most good comedies, this one bombed at the box office, and hopefully will find an audience over time. Essentially a <i>This Is Spinal Tap</i> for the modern pop scene, <i>Popstar</i> is a music mockumentary about the fictional singer Conner4Real. Played by the ever affable Andy Samberg, Conner becomes an egocentric pastiche of the numerous mega-stars like Justin Bieber. The film fires shots at the modern music industry: at the fame-hungry stars, their leeching friends, the lack of musical talent, the reliance on spectacle, the very nature of music documentaries, the scandals, etc... And while it can be scathing, the movie never forgets to be funny. Easily the funniest movie in a long time, the jokes mostly all land and it would seem that it'll be timeless. Yes, it makes a point of focusing on the current pop music, but these are all issues and topics that have existed for decades in the industry. Unlike many of the recent efforts of other comedians' movies (Will Ferrell, Melissa McCarthy, Kevin Hart), this movie doesn't rely on improvising and actually uses a script! In fact, they had so many ideas that there's over 40 minutes of deleted scenes and music videos on the Blu-Ray that are just as good as the final cut. Plus, the most important part of any satire, is that it's clear that Samberg and the creators care about music and actually put effort into crafting catchy and fun songs that could pass for real charts!</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">It may just be a documentary released on Netflix, but it has pedigree behind it. Directed by Ava DuVernay (director of the outstanding <i>Selma</i>), this is an engrossing essay on the American prison system and its violation of the 13th amendment. The documentary puts forth the argument, or rather, proof that prisons in the US have become the new form of slavery. Using hard, concrete numbers and exposing the cover ups that keep this knowledge under wraps, DuVernay spits out a flurry of professionals explaining the details of this corrupt system, thus making an indisputable case. It's a saddening film that shows how slavery is not dead, and is only getting worse while more and more African-Americans are targeted for jail only to fuel the cycle of slavery. This is a powerful documentary that's told professionally and angrily. It matters more than ever as the problem perpetuates.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">As terrible of a person Mel Gibson has been, there's no denying he makes great movies. I don't think <i>Hacksaw</i> is as great as his other 3, but it is still really good. This is the true story of a pacifist who enters into WWII as a patriot, but as a pacifist, refuses to hold a gun or even be violent. As expected from Gibson, the scenes of battle and the War are outstanding. They are coherent and exhilarating while maintaining a thorough sense of logic from A to B. Plus they also feel fresh and different from the zillions of other war movies in existence. Gibson's intense direction cuts right to the core of the action to create a frenetic pacing that drives the second half of the film. The first half also delivers in its own way. Although it does tread into standard biopic fare, it is necessary to convey the reasoning for our hero's beliefs. Namely, the court hearing that divides the two halves of the film is the crux of the story and delivers a lot of questions and ideas on the ideology of pacifism. The faults of the movie however, lie in the final 10 minutes wherein the Japanese are finally given a face but it's a cartoonish portrayal. Then there is one final hoorah on the battlefield that is not required for the purpose of the story, but rather just to add some needless extra "action moments" ending in some overt Christian symbology. Nevertheless, this is a gripping tale about staying true to one's beliefs in the face of those that threaten to take them away. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Based on the BP oil spill, this docudrama delivers everything you want from a stellar blockbuster movie going experience. There's the epic disaster and big screen spectacle, the serious implications and grit of a documentary, thrilling and engaging action, even humour and down-to-earth character building. Peter Berg, the director, has found a knack for meshing exciting action and Mark Wahlberg with real life events (<i>Lone Survivor, Patriot's Day</i>), but this one in particular manages to deliver the most on the entertainment factor. Hanging out with our main characters (including the ever awesome Kurt Russell) during the first half is a charming display of camaraderie among blue collar workers. Like <i>Sully</i>, you just get to watch professionals doing great work and executing 100% on their jobs. Then the corporate fat-cats (played by a gleefully enigmatic John Malkovich) get involved at the oil rig, and things go south. The audience knows it, and like the oil, the tension builds up & up under insurmountable pressure until disaster strikes in one of the biggest explosions and longest lasting disaster sequences I've ever seen on a big screen.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">There have been many attempts to make video games into movies, and they have all crashed and burned. But the best ones so far have been the ones that aren't based off of an existing property, but rather take the elements of a video game to craft a different type of story (<i>Wreck-It Ralph, Edge of Tomorrow</i>) and now <i>Hardcore Henry</i>. Here, our gimmick is that the entire movie is in the first person perspective; in a super-violent, super-energetic, shoot 'em up action flick fuelled by Red Bull injected into your veins and kicked into high gear like being strapped to a rocket ship. We become Henry, the super soldier out for revenge who will stop at nothing and kill everyone who gets in his way. To many, this can be very troublesome: being placed in the direct perspective of someone who kills a lot of baddies. But, having been desensitized to violence in video games themselves, I am able to separate myself from this concern and can value the movie for the creativity it displays. The gimmick is present and there to be shown off first and foremost, but the movie delivers so much more. Like a video game, each action sequence ramps up in "difficulty", not only in the types of foes, but in the filmmaking craft. So many events in this movie are hard to imagine how they did it. From parkour building scaling, to a chase over a bridge, to a brief but insane highway chase, to endlessly inventive brawls and shootouts, this movie runs at 110%. A sublimely entertaining, violent, adrenaline-fuelled, cartoon of an action movie.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>9. Rogue One: A Star Wars Story</b></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Our very first Star Wars film that is not part of a trilogy. Or rather, it is, as it turns out, still inextricably linked to the original film; but where this film succeeds is how it can nevertheless remain separate. First and foremost, this is not under the traditional format of a Star Wars movie, it is under the guise of a WWII movie. Much like the war movies of the 60s (my favourite subgenre of movies), in the first half, we are introduced to a ragtag group of rebels who set out on a mission outside of the authority of their own side, each displaying their unique skill set and over the course of the film, they each commit themselves wholly to the cause in their own redemptive way. Then of course, the second half is an all out war. Secondly, what makes this film different, is that this is the most beautifully shot film in the franchise that adds loads of memorable imagery into this universe. The director took his time in crafting and designing artful shots and the film relishes them. He does his own thing and doesn't feel restricted to confining to the style of the existing films, but at the same time, he ensures to harken back to the original trilogy where it counts. Whether it's making the CG elements such as the Star Destroyers to look like physical models, or to draw upon and further enhance the mystical branches of the Force, the film is best defined as a stand alone film with its own vision that expands the ideas of the original without merely mimicking them (see <i>Force Awakens). </i>Plus, of course, we get a juicy Darth Vader scene to end all scenes!</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This is the second South Korean film to make this list (for another from this year worth checking out, see the zombie movie <i>Train to Busan</i>). <i>The Wailing</i> is certainly one of the most original films from 2016. It is essentially a horror movie, but it blends together elements from police procedurals, zombies, exorcisms, monsters, ghosts and some humour for good measure. The film starts out with a bumbling small town detective investigating a series of murders, but as the mystery unfolds, we discover there's something more supernatural at work. As mentioned, the story dives in and out of various monster movie tropes and stylings until we finally discover what is really at play. Despite numerous scares and horrifying murders, the film remains playful through our protagonist cop; who is continually forced to accept the crazy situations he finds himself in. This balancing of tonal shifts is just one of the facets that always draws me to South Korean cinema (see also <i>The Host</i> and <i>I Saw the Devil</i>). Like these films, it is also chock full of production design, from the make-up, to the penetrating operatic score, to the immaculate imagery and classical camerawork. All of this comes together to make my favourite scene of the year: The Exorcism Scene. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>7. La La Land</b></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Coming off of <i>Whiplash</i>, Damien Chazelle's <i>La La Land</i> certainly had high expectations from me. Although it is not a masterpiece like this previous film (the biggest difference being the script), <i>La La Land</i> is still a wonderful film. It begins as a full blown musical almost to a comical point, and bit by bit, evolves into something quieter to brilliantly mimic the arc of Ryan Gosling's character. However genius and meta that may be, this changing structure lends to an underwhelming experience. The energy slows down throughout. But that doesn't take away from how well made the film is. In fact, I assume it will only get better on a second viewing having known where the film goes. The set design and cinematography are fantastic. Depending on the mood of the scene, the costumes, lighting and sets will directly reflect the emotions. Meanwhile the director crafts some beautiful imagery to help create a romantic aura to sweep you off your feet into a dreamlike version of Hollywood and the pursuit of artistic integrity. What's more is that most of the musical numbers occur in single takes. This style of wide-angles shooting certainly harkens back to the movie musicals of the 50s and early 60s (<i>Singin in the Rain, American in Paris, Umbrellas of Cherbourg). </i>Chazelle even goes so far as to include a fantasy musical number that encompasses the whole plot, much like the aforementioned Gene Kelly musicals. Just like <i>Whiplash</i> it's a story about artists inspiring artists to pursue what they value and be great at it. But instead of using vulgarity and aggressive competition as inspiration, <i>La La Land </i>uses passion and heart to get us there. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Probably the smallest and least heard-of movie on this list, <i>Life Animated</i> is an inspiring and life-affirming documentary. This is the story of an autistic young man named Owen Suskind. He was brought up on Disney animated movies until he was 3, at which point, he developed autism. From there, he stopped talking and withdrew himself into a silent state. His parents struggled to find a way to communicate with their son, until they discovered that Owen was able to speak through Disney movies. We learn how he could channel all of his emotions and express himself through Disney quotes, characters, and movie scenes. It's a powerful story about overcoming obstacles, understanding autism, and of course for me, finding inspiration and comfort in Disney movies and childhood. The final act of the documentary takes Owen to the realization that eventually, real life will sneak up on you, and we have to adapt and let go. I certainly shed a few tears, but it's a happy story!</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>5. Silence</b></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Martin Scorsese's <i>Silence </i>is an epic film delivered by a Master. Yet it is epic in the most quiet and personal way possible. I struggle to find many similar films, but <i>The Thin Red Line</i> certainly comes to mind. Both of which are about large scale violent events in history, but contrastingly, the presentation is very quiet and subdued. Quiet movies that demand the scope of the big screen. <i>Silence</i> follows the journey and trials of two Jesuit priests who go to Japan in the 1600s to spread the word of Christianity and search for a lost mentor in these lands. This is the second Christian epic movie starring Andrew Garfield this year, and he is certainly proving his chops. A lot of emotional conflict is required of him here, and he does some fantastic work carrying the film. That isn't to say that the great Scorsese doesn't still deliver top notch work himself. Compared to <i>The Wolf of Wall Street</i>, he dials down the pacing to a crawl, but it is in service of a meditative and thought provoking script that explores the many facets of faith. The film is nearly devoid of music, lasts almost 3 hours, and doesn't have much of a propelling plot, but that is all to leave room for a serene and contemplative journey. How far can someone be tested in their faith? Especially when they are being tortured, threatened, alienated, and hardest of all - receiving nothing but silence in return. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUf-6LQ8dNriPY3rkywJhQCY38AuQ5A2oUa9lp3FGLO7y-GDzMs9145tXlNW-Xb3SAzhKXqyWaUO1sZWfyWoWqhsgfTjAffyY4fInDECXQD3tf_D6o6jKc3UrhlWiOPOeaONCq1dH3igo/s1600/amy-adams-jake-gyllenhaal-nocturnal-animals-tom-ford-tiff-michael-shannon.png.644x350_q100.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUf-6LQ8dNriPY3rkywJhQCY38AuQ5A2oUa9lp3FGLO7y-GDzMs9145tXlNW-Xb3SAzhKXqyWaUO1sZWfyWoWqhsgfTjAffyY4fInDECXQD3tf_D6o6jKc3UrhlWiOPOeaONCq1dH3igo/s640/amy-adams-jake-gyllenhaal-nocturnal-animals-tom-ford-tiff-michael-shannon.png.644x350_q100.png" width="640" /></a></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><i>Nocturnal Animals</i> begins with our main character, played by Amy Adams, who is a rich, elite artist that leads a luxurious life. She is part of the cutting-edge LA po-mo art scene but appears to be sad behind her fake veneer. Then to her surprise, she receives a novel in the mail from her ex lover, played by Jake Gyllenhaal. The novel is a thriller called Nocturnal Animals, and inside the cover, she sees it is dedicated to her. Curious, she begins to read this thriller about kidnaping, murder, revenge and police investigations. Reading the story, it provokes her and reminds her about her past relationship with Gyllenhaal. The film therefore becomes her realization that the novel is a symbolic representation of their break up. But the beauty of this film comes in the format: all three of these stories (present, past and symbolic thriller) are edited together to each coincide in parallel revelations. Everything lines up and synchronizes at key moments, and some even foreshadow how other plots will resolve. This is a truly satisfying film on an editing and narrative level. Being directed by Tom Ford, this is also a stunningly shot film. He stages some unforgettable scenes and ensures that nearly every frame could stand as its own as a piece of art. Plus the four main actors each put forth some outstanding work: Amy Adams as the cold but emotionally vulnerable lead, Gyllenhaal as both a hopeless romantic, and an emasculated father who gets broken down and built back up, Aaron Taylor Johnson as a despicable and maddeningly vile villain, and Michael Shannon who steals the show as the knight in shining armour. Despite an intensely disturbing kidnaping scene, this is an exhilarating film that is incredibly satisfying with everyone working at the top of their craft. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqacu5HTsErKCmzBxS_aev-vobvH6dY9wRtudUcfCBlXy-a7jdwbaO7DWfBdT4RqN1CzwQHSgyNhr2SQsir0nVB5FalRqal5h2NUXM0572yjSsiIH3fGv5HktLRtN0ZMCiSpMDZal5Bvo/s1600/the-red-turtle-20167270.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqacu5HTsErKCmzBxS_aev-vobvH6dY9wRtudUcfCBlXy-a7jdwbaO7DWfBdT4RqN1CzwQHSgyNhr2SQsir0nVB5FalRqal5h2NUXM0572yjSsiIH3fGv5HktLRtN0ZMCiSpMDZal5Bvo/s640/the-red-turtle-20167270.jpg" width="640" /></a></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">The year of great animated movies also gave us this little gem. Studio Ghibli presents this beautiful tale of a man who gets stranded on an island and learns to survive. Much like <i>Cast Away,</i> he learns to cope and adapt to his surroundings and accept fate. He makes a few attempts to leave the island on a raft, but each time, gets thwarted by a giant red turtle. Having given up, he blames the creature and seeks revenge on it. It would be best not to describe what follows in this quiet and mystical story. But needless to say, the film goes on to present the story of Life itself. It is a parable of the trials of growing up, adapting, letting go and the cyclical nature of moving on. If the story wasn't beautiful enough, the art style is poetic in execution while resembling a <i>Tintin</i> type of design. The soundscapes and score do a lot of work to paint emotions in our ears that help fill out the story while at the same time, not saying much of anything. Which is all the more effective since the entire film has no dialogue!</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Not that we have to pick sides in a world where we get two Disney animated movies in one year, but I am clearly on team <i>Zootopia</i>. <i>Moana</i> is good, but this one knocks it out of the park. This is a refreshing, colourful, funny, creative, endearing, assemblage of ideas that all come together to make my most entertaining movie this year. The world building from frame one is fantastic. Each scene unleashes more and more designs, more and more characters, and continually reveals new elements to this animal world. This animal menagerie is familiar territory for Disney, but all of the bright colours, exquisite details in the animation, kinetic pacing, and varying designs feel new. This is a visual film. Like a movie ought to, it tells a lot of the story through images and movement. The initial train ride into Zootopia tells you all you need to know about this world. It teases you and gives you glimpses of various corners of this city, that are immaculately thought out and has me constantly wanting to return and explore more. But of course, what's a movie without substance? The script keeps the energy and comedy flowing while unfolding a solid mystery to reveal an important morality tale about prejudice. In taking the various ecosystems, unlimited slew of characters, and playing off of the traditional stereotypes of certain animals, we learn not to judge others from how they appear. Jason Bateman's voice work for the fox Nick Wilde is a perfect casting choice, and works so well as he delivers a sly exterior over a broken soul. The juxtaposition of appearances vs personalities, carnivores vs herbivores, large vs small, tundra next to desert is all further development of the theme. The visual contrasts which serve the theme (as so gleefully deployed in the immaculate chase through "small town") are a plenty in <i>Zootopia; </i>a film that understands scope, and a lush demonstration of the visual medium that is film.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">The second movie on this list to feature Amy Adams. The second movie on this list to have Forest Whitaker. The second movie on this list to focus on an alien encounter (SPOILERS for the other film!). The second movie on this list to feature a Heptapod! But this film is second to none in 2016. Directed from one of my new favourite Canadians, Denis Villeneuve (with the outstanding track record of <i>Sicario, Enemy, Prisoners</i>...and the upcoming <i>Blade Runner </i>sequel!), this is a confidently executed film. It certainly feels like a movie that was wholly conceived, plotted, designed and executed by an auteur, and not meddled with by studio execs. We are thrust into our world where alien ships have descended upon us and they wait for us to make a move. Taking a (hopefully) real-world approach to this situation, the film follows some scientists and linguists as they try to communicate and make contact with the "heptapods" before the military does anything too rash. This is a movie about establishing treaties and being in favour of intellectualism. The search for a way to interact with 'the other' in a peaceful manner. A hopeful film that has humanity taking the correct course of action. Villeneuve's craft is our guide through this story and he takes his time but never feels the need to hold our hand. We learn how the basics of teaching linguistics work, how the alien language works, and how their technology and characteristics work. Yet, we are never hit over the head with exposition. In fact there are even long stretches of zero dialogue (the ominous boarding of the pods, and the communication scenes) that are a part of the director's foreboding style; these moments are doubly effective when paired with his recent composer of choice, the mysterious Johann Johannsson. The added majesty of this film comes from the spirals the narrative pulls off. What starts out as a trite overused convention of the "personal flashbacks" peppered throughout, twists into a wonderfully satisfying revelation that plays with our expectations of the visual medium, and brings new meaning to the title. <i>Arrival </i>is a film of hope and trust in humanity, with an innovative narrative, a beautiful score, unforgettable cinematography, great acting and confident patient directing that knows exactly how to pace itself and unravel at the perfect moments. </span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-81629840934476757452015-11-03T09:06:00.002-08:002015-11-03T09:06:49.685-08:00October 2015 Update<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Below are my movie watchings for October. I have supplied bite-sized reviews for new films, and quick ratings for older ones. The ratings are based on a <span style="color: yellow;">5-Star</span> system.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">I hope you enjoy!</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Sicario</u></b></span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large; font-weight: bold;">5</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeBb9FhVtDArQPe0VL6PvzW4Z6PjuW-t_hIN0fWw3zZEcWK8T0GYgZF3E21aalxiBVi_xdxJv86pJts3CbBlOqdMNPvNahWYhCZA5sTVRRvjKnqDfrpVDz2Kuqa5AcNPX3GWdeZ-Yrs4/s1600/sicario-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBeBb9FhVtDArQPe0VL6PvzW4Z6PjuW-t_hIN0fWw3zZEcWK8T0GYgZF3E21aalxiBVi_xdxJv86pJts3CbBlOqdMNPvNahWYhCZA5sTVRRvjKnqDfrpVDz2Kuqa5AcNPX3GWdeZ-Yrs4/s640/sicario-1.jpg" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">A tale of the battle for control of the drug gangs at the U.S.-Mexico Border. We experience the first-hand struggles of a SWAT leader trying to quell the issues and make a difference in this never ending war. Emily Blunt plays our leader and surrogate, and since she is kept out of the loop of the secret government ops, we are also kept in the dark plot-wise. This makes for a somewhat frustrating viewing, but earns points for not holding our hand. This is a film fuelled with intensity and frustrations. Not a happy story, but finely crafted and engaging. The climatic stealth-ops raid near the end is much more visually compelling than its <i>'Zero Dark Thirty'</i> counterpart, and <i>'Sicario</i>' diverts us into an important twist of character perspectives in the final act (which again is way more interesting that '<i>Zero')</i>. This is a structurally brave film full of intense moments and a depressing viewpoint of the world.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b><u>Steve Jobs</u></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large;"><b>5</b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrAipxB7FkhNnsEo_BhXrbSWuSYoW923Oq4CTXEuO_dpLyzkefsYr3a9tVTL4Pe5TUxGDE4kzYXF5ljJgs6fbnDjXUZAr419HW34aOR4VeN1ezxe01P9jE3zEYIrdK4vm6qDIUC_pL9-U/s1600/the-intense-first-trailer-for-aaron-sorkins-steve-jobs-movie-paints-a-picture-of-an-egotistical-and-difficult-man.jpg.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrAipxB7FkhNnsEo_BhXrbSWuSYoW923Oq4CTXEuO_dpLyzkefsYr3a9tVTL4Pe5TUxGDE4kzYXF5ljJgs6fbnDjXUZAr419HW34aOR4VeN1ezxe01P9jE3zEYIrdK4vm6qDIUC_pL9-U/s640/the-intense-first-trailer-for-aaron-sorkins-steve-jobs-movie-paints-a-picture-of-an-egotistical-and-difficult-man.jpg.png" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">2015 is racking up the quality biopics! Between <i>'Love & Mercy', 'Selma', 'Straight Outta Compton', </i>and this Apple magnate picture, I'm starting to enjoy biopics. The two main criticisms about this film that I've been hearing, seem invalid to me. The first, being that this is 'boring' since it only takes place over 3 days (in a 14 year span), and you are just watching 2 people converse and argue for the entire film. But I found this utterly engaging and enjoyable. With a script by Aaron Sorkin, this film is armed with the rapid-fire dialogue of intelligent people being witty. Like Sorkin's <i>'The Social Network' </i>and the best stage plays, we are enthralled by the words. The second criticism is that this film is not an accurate portrayal of various events in Steve Jobs' life. So what? This is not a documentary, and to imagine all of the events and conversations discussed in this film occurred over these 3 days, is ignorant. Sorkin and director Danny Boyle reduce what is important thematically and play out those elements over a chapter-like timeline. The film presents itself as a play of ostensibly any human beings with drive (this could be about any type of genius, and still be as effective), it does not purport to be the defining biography.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b><u>The Martian</u></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large;">4.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ovx-G1ZN7di82Kdp2fuGOD2-KTZdQcsfN1ip1ocnFf3QJvsWRj4rnQ8YVDC1NXY9WZCuiUsTigQIFG7SKpI7uw4akEeaCZ3RoG5IHta_PkmDGqzvJL-_rnqU-TOS81H5ZguQ5q7p-Tc/s1600/The-Martian-viral-teaser.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ovx-G1ZN7di82Kdp2fuGOD2-KTZdQcsfN1ip1ocnFf3QJvsWRj4rnQ8YVDC1NXY9WZCuiUsTigQIFG7SKpI7uw4akEeaCZ3RoG5IHta_PkmDGqzvJL-_rnqU-TOS81H5ZguQ5q7p-Tc/s640/The-Martian-viral-teaser.jpg" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">Science is fun! Much like the recent <i>'Everest</i>', this is a procedural survival tale. However, <i>'The Martian'</i> is light years above the highest peaks of '<i>Everest</i>' thanks to an engaging screenplay full of character wit and a fruitful exploration and celebration of the scientific method. Matt Damon's charm as the hapless smart-aleck maroonee is the shining light in an otherwise straightforward story. Yet, a simple story doesn't have to be plain and uninteresting, and the screenplay keeps the motor running on this film. Boiled down to its essentials, this is a tale of the collective intelligence of humanity. Our triumphs, and being able to come together for a positive outcome of survival and overcoming impossible odds. A film of hope that is sure to please anyone. Narratively and emotionally, the opposite of <i>'Sicario'.</i></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b><u>The Walk</u></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCiRp3tYEX96aqHjwxnXqspPMjWgCrkXyRIgHlY-Yus-_aR89sARv4SDFI6cR2FQ_a_C5ZLQqCPfYeQaMLYYm6UUFOdBzrFxcdXGxBqw7HNSo99YdA1vVnMuzrEI9vQTzE9UPE2hgkD5g/s1600/2NYFF-master675.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCiRp3tYEX96aqHjwxnXqspPMjWgCrkXyRIgHlY-Yus-_aR89sARv4SDFI6cR2FQ_a_C5ZLQqCPfYeQaMLYYm6UUFOdBzrFxcdXGxBqw7HNSo99YdA1vVnMuzrEI9vQTzE9UPE2hgkD5g/s640/2NYFF-master675.jpg" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">The story of Philippe Petit, the exuberant dreamer who illegally hung a high-wire and crossed it between the Twin Towers back in the 70's. The charm of this movie comes from our narrator (Petit) who tells his tale with such levity and enthusiasm. A man who has nothing but hope and a desire to live his dreams. Unfortunately, most of the film is a derivative heist flick and this drags it down. However, the jovial tone and the imminent 'wire-walking' third act is a marvel. Oddball director Robert Zemeckis creates some fantastic imagery through his precarious framing and an impressive sense of depth. The wire-walking simultaneously delivers a sense of exhilaration and intensity, while soothing us with a sense of calm and resolution. It is an impressive feat. Much like <i>'The Martian</i>', this earns a lot of points through an optimistic outlook on life with a plucky main character. Plus, the inevitable final nod to the Twin Towers is appropriately handled and poignantly well said. It's just a shame the first two thirds of the film are so plain</span><span style="font-size: large;">.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b><u>Bridge of Spies</u></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisI6e2ORkaOTXvVxvEcduCZd4xdMgvTCgggwLVmhnJacYFpPfYGBnxkO0ikdJVr8_7k95QicRo35U-O5F4Tx0-j2TbHKZ2zqSFmWKlZDfOsM7bnqgQ5d2XXFwDt0bPE-rwV48P-XSqYF8/s1600/sjp_jb_d16_02726r_-_compressed_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisI6e2ORkaOTXvVxvEcduCZd4xdMgvTCgggwLVmhnJacYFpPfYGBnxkO0ikdJVr8_7k95QicRo35U-O5F4Tx0-j2TbHKZ2zqSFmWKlZDfOsM7bnqgQ5d2XXFwDt0bPE-rwV48P-XSqYF8/s640/sjp_jb_d16_02726r_-_compressed_1.jpg" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">Spielberg's latest offering continues his historical drama trend after <i>'War Horse' </i>and <i>'Lincoln'. 'Bridge of Spies'</i> aligns with this tradition of an individual (or horse) standing in the face of everyone else who persecutes, in order to do the right thing. In the thick of the Cold War, Tom Hanks plays a lawyer who gets tangled up in some spy work and must find a peaceful resolution between two fearing countries, while trying to do what is morally correct. This is an extremely satisfying story of the courage we must have to do what is right. However, perhaps I miss the old (or younger) Spielberg who aimed for higher highs in his films. Although the script is very intelligent, and there is beautiful if not cloyingly repetitive imagery from his cinematographer Kaminsky, we lack the ol' Spielberg ambition in this film. Hanks does provide some levity throughout, and I would suspect a supporting nomination for Mark Rylance who plays the accused Rudolf Abel. But this lacks the bravura performance of Day Lewis in <i>'Lincoln',</i> or the intensity of <i>'Munich'</i>, or the artistry and boldness of <i>'Schindler's List',</i> or even the cinematography and music of <i>'War Horse'</i>. Perhaps this is just meant to be a small-scale simple film with an outstanding cast and top notch screenplay. Not much of a "director's" movie.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b><u>Crimson Peak</u></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="color: yellow; font-size: x-large;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60PTluYiqVta-jlPqWOwgEZNDYkXEzG7yePh9lo_IZRrwLq9jLM04A9jda7Z6Sv3gaxNIKGubX-HLciYt94VCynMWpoXRbr1OfO8VwkPtzru-VOe8C8V-gZ-DvoUlQLmodisT8BXLuPM/s1600/6358134344656943712009450230_Crimson-Peak-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60PTluYiqVta-jlPqWOwgEZNDYkXEzG7yePh9lo_IZRrwLq9jLM04A9jda7Z6Sv3gaxNIKGubX-HLciYt94VCynMWpoXRbr1OfO8VwkPtzru-VOe8C8V-gZ-DvoUlQLmodisT8BXLuPM/s640/6358134344656943712009450230_Crimson-Peak-poster.jpg" width="640" /></a></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: large;">What starts out as a Jane Austin-type romance, turns into a ghostly haunted house tale. What is most impressive here is what was successful in Del Toro's earlier film <i>'Pan's Labyrinth'</i>: his ability to juggle and fuse two different story tones, and of course his production design and colour use. The interchanging between period drama romance and nightly ghost hauntings are enchanting and fit together very well. However, the scares themselves are hardly very scary. It aims for more of a haunting feeling rather than terror. Del Toro moves from lush shades of gold, brown, and white for the romance, then brings about sinister yet beautiful tones of crimson, blues, and blackness when the scares are around the corner. I would also like to give a standing ovation to the costume designer! Like Del Toro's previous movie <i>'Pacific Rim'</i>, the plot and the screenplay are the weak points, but the spell he casts visually is the real treat here.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Cabinet of Dr. Caligari (1920) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Phantom of the Opera (1925) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Adventures of Prince Achmed (1925) <span style="color: yellow;">5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Sunrise: A song of two humans (1927) <span style="color: yellow;">5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Wind (1928) <span style="color: yellow;">2.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Mummy (1932) <span style="color: yellow;">2.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Wolfman (1941) <span style="color: yellow;">3.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Phantom of the Opera (1943) <span style="color: yellow;">3</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Rhapsody (1954) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Them! (1954) <span style="color: yellow;">2.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Seventh Voyage of Sinbad (1958) <span style="color: yellow;">4</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The House on Haunted Hill (1959) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Tingler (1959) <span style="color: yellow;">2.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Omen (1976) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Friday the 13th (1980) <span style="color: yellow;">3</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Master of Disguise (2002) <span style="color: yellow;">0.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Holes (2003) <span style="color: yellow;">2.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Trick 'r Treat (2007) <span style="color: yellow;">4.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><b><span style="font-size: large;">Marina Abramovich: The Artist is Present (2012) <span style="color: yellow;">5</span></span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>The Final Girls (2015) <span style="color: yellow;">3</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Experimenter (2015) <span style="color: yellow;">3.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>Beasts of No Nation (2015) <span style="color: yellow;">3.5</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>While We're Young (2015) <span style="color: yellow;">4</span></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: medium;"><span style="font-size: x-large;"><b>White God (2015) <span style="color: yellow;">5</span></b></span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-57411209867445007902015-10-02T11:39:00.000-07:002015-10-03T09:20:54.726-07:00September 2015 Update<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Below are my movie watchings for September. I have supplied bite-sized reviews for new films, and quick ratings for older ones. The ratings are based on a <span style="color: yellow;">5-Star</span> system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>The Man From U.N.C.L.E.</u></b></span><br />
<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4.5</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApZjZ0Jb7QvnVv1_BMAkUUAf47Fbvm0kHYcnsJjzl3NslJmRh5tUrOCCR0PJH63nyvvQ3pGcrdB0uf33bfvXTT1ERubJShnCdBsWJL6U_P_zKezu2gGeyOTdxm97yxZGUlicVO4EAdEc/s1600/348.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgApZjZ0Jb7QvnVv1_BMAkUUAf47Fbvm0kHYcnsJjzl3NslJmRh5tUrOCCR0PJH63nyvvQ3pGcrdB0uf33bfvXTT1ERubJShnCdBsWJL6U_P_zKezu2gGeyOTdxm97yxZGUlicVO4EAdEc/s1600/348.jpeg" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Full of Guy Ritchie's style and charm, this is one classy spy movie. It has sexy people, suave dialogue, and is equipped and loaded with fashionable music ad nauseum. Being a cold-war spy setting, it may not have the greatest plot or story that we haven't seen twenty times before (here come the double & triple crosses), but the dialogue and editing keep it fresh. Ultimately, you'll have the fun of a low-brow blockbuster, without feeling like you're stooping down to such fare. This is a much more complete realization of Ritchie's vision; harkening back to the quality his first two films. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>The Visit</u></b></span><br />
<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">3</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzmTzKCyXWo9nTCRIbJOm-aRGWPQjVt2SpMZTZK3IyJXNZJR9r0E5FVOhH90mu9MvHVY9PntgmQT7DQsgzTIOIavwCZMUIXJovEkrKL-QyDk3pEAwNLa16v8OG_nE3KgpYfKRwZ-ejOo4/s1600/The-Visit-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzmTzKCyXWo9nTCRIbJOm-aRGWPQjVt2SpMZTZK3IyJXNZJR9r0E5FVOhH90mu9MvHVY9PntgmQT7DQsgzTIOIavwCZMUIXJovEkrKL-QyDk3pEAwNLa16v8OG_nE3KgpYfKRwZ-ejOo4/s640/The-Visit-4.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Two kids are sent to their grandparents house for the first time, and bring a camera to document the trip. Although the kids soon discover that being old comes with its share of 'the crazies'. Not a bad script from Shyamalan, and thankfully has a fair amount of humour to keep it light. However, since it is a found-footage scenario, there's not much of a chance to get his (used to be) patient direction and framing. What transpires is a fun yet slight movie with jump scares and typical handheld camera horror tropes. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Everest(in IMAX 3D!)</u></b></span><br />
<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">2.5</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlKIpH_Yy204bU4GGT8zIK4Gt-eB4_JkgqQb9topdiKhbjcsgB4EEDbLSVAJQfg_2rO2Xv1f1rNr8af3xBYbQ2zyDq86ZcBIHtgtrm6gCDo2G3Oh9p_HQgYme-xFSqkQDpqAU_OSpkjS8/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlKIpH_Yy204bU4GGT8zIK4Gt-eB4_JkgqQb9topdiKhbjcsgB4EEDbLSVAJQfg_2rO2Xv1f1rNr8af3xBYbQ2zyDq86ZcBIHtgtrm6gCDo2G3Oh9p_HQgYme-xFSqkQDpqAU_OSpkjS8/s640/maxresdefault.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">What starts as a procedural for the true story of a Team Ascent of Everest in the 90s, turns out to be just that. The leader trains the climbers, the team begins their climb, they climb to the top, a storm comes, then they have a tricky descent resulting in a handful of deaths. Not to be insensitive of those that died, but the film projects little to no real emotions. There are moments of false sentiments, when the writer attempts to layer sympathy and pathos on characters when it is completely unearned. Nevertheless, all of the 'character actors' (from Brolin and Hawkes, to Gyllenhaal and Watson) do their best with what little parts they have. The movie is still engaging from a procedural angle, but never as thrilling or gripping when compared to similar 'journey-thrillers' like <i>Gravity</i>. The IMAX experience certainly delivered on the sound, yet the visuals (save for a few shots) are pale and plain in comparison to the vistas in <i>Lord of the Rings</i> or even <i>Planet Earth</i> episodes.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Black Mass</u></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: yellow; font-size: x-large;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: large;">Classic biopic syndrome. A Wikipedia summation of a specific part of gangster Whitey Bulger's life. It has nothing else to say or comment on. Movies should bring out intellectual or emotional engagement with its audience. This film goes from A to B with nothing to comment on. Documentaries (ironically like the recent Bulger doc "Whitey") have </span></span><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">more refreshing perspectives and information than <i>Black Mass</i>. Despite the loads of make-up, performances from Johnny Depp and Peter Sarsgaard keep it from being totally forgettable. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;"><b><u>Backcountry</u></b></span></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">1</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Terror in Northern Ontario! A couple decide to go off the trails and go backpacking in the woods, only to get lost and become the prey of a territorial grizzly bear. Such amateur filmmaking. Just because good looking cameras are easily accessible and you can snag some Canadian funding, doesn't mean that you are now a director. I guess I'm just sick of this aesthetic among 'mumblecore indie' films. The frames are constantly out of focus and falling behind what it desires to be in focus. Clearly the director wanted this feeling of being 'out of control', but it is tiresome and overdone. Notably however, the inevitable bear attack scene is visceral and gripping. I certainly left feeling that 'death by bear' has to be one of the worst ways to go.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Whirlpool (1949) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Guys and Dolls (1955) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Lord of the Rings (1978) <span style="color: yellow;">1.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Crossroads (1986) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">All the Right Moves (1983</span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Hannah and Her Sisters (1986) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Notorious (2009) <span style="color: yellow;">3</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">42 (2013) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Exodus (2014) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Max (2015) <span style="color: yellow;">3</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Turbo Kid (2015) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Shaun the Sheep (2015) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Me and Earl and the Dying Girl (2015)<span style="color: yellow;"> 4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Overnight (2015) <span style="color: yellow;">4.5</span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-61736550042273316362015-09-03T09:24:00.001-07:002015-09-03T09:24:35.348-07:00August 2015 Update<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Sorry I missed posting for July, I saw too many movies, and as a result was too busy to post anything. The main highlights however were <i>Spy</i> and finally getting around to watching the complete and awesome <i>Rambo </i>films. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Below are my movie watchings for August. I have supplied bite-sized reviews for new films, and quick ratings for older ones. The ratings are based on a <span style="color: yellow;">5-Star</span> system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4.5</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Oddly paced for the last act, but it pays off in a stealthier and classier way than the previous films. This fifth entry piggybacks off of the cartoony fun of the fourth, but injects more mystery and a strong female character who adds a nice balance of gravitas. We still get the Tom Cruise stunts, the nearly impossibly planned out missions, the cool spy gadgets, and still stays true to its spy genre origins (like the first film). To keep you on the edge of your seat, the action is visceral and varied throughout. The opening Evel Knievel stunt, a physically impressive brawl, the cat & mouse opera scene, an ugly yet intense underwater heist, an outstanding extended vehicular chase, and a stealthy and shadowy final chase. </span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4.5</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Sublimely entertaining for the first 2 acts, but it tends to drag on in Biopic Boredom Land for the last set. A half-hour's worth of 'beefs' could have been tightened up, and would result in a more even and well-rounded story. Nevertheless, there is no denying the power of this film and the freshness it gives to the 'artists rising and falling from fame' stories. The depiction of NWA's upwards climb and their success is a fantastic whirlwind of energy present in every scene, every dialogue quip, and in the editing (again, for the first 2 thirds). Taking advantage of glorifying each integral step in their career, the director even delivers 'hero shots' when they are in the recording studio. A must see if you can handle the language, and a film made with true love and care for its subject.</span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">1</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A pretty normal and on-par origin story for the first hour and 20 mins, and then you realize there's only 15 mins left and nothing has happened but ponderous intrigue. There had been so much bad buzz around the production of this movie over the past year, and aside from some silly writing, I saw nothing worse than any other conventional superhero movie. With the notable exception that there had been ZERO action. Then in the final section of the movie, it seems as though the studio hacked apart what would've been a 2nd hour, into a 15 minute haberdashery. Everything and nothing happens. It's as if the studio wanted to cut making the film altogether and slapped together a lame first & final confrontation fight with some terrible denouement dialogue to put a cork in it. A complete failure that is a fascinating example of how a studio production can fall apart.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Tarzan, the Ape Man (1932) <span style="color: yellow;">2</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Lolita (1962)<span style="color: yellow;"> 3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">What's Up Doc? (1972) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Maze Runner (2014) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Dead Lands (2014) <span style="color: yellow;">3</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Two Days, One Night (2014) <span style="color: yellow;">4.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Creep (2015) <span style="color: yellow;">3</span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-53488724309642405512015-06-30T06:50:00.001-07:002015-06-30T06:50:04.646-07:00June 2015 Update<div style="text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Below are my movie watchings for June. </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">I have supplied bite-sized reviews for new films, and quick ratings for older ones.The ratings are based on a</span><span style="font-size: large;"><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">5-Star</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span></span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Jurassic World</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>5</u></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This movie is chocked-full with enough 'Disney-esque' theme park flourishes, dinosaur mayhem, and <i>Jurassic Park</i> homages to satisfy me as a fan. And yet, it is also equipped with fluid snowball pacing, non-annoying kid actors, thrilling action, and an ever-present allegory of marketing vs. nature to satisfy me as a film fan. It may lack the dignity and awe of the original, but this movie makes it up with glee and earnestness. <i>World</i> gets right down to business and embraces its <i>King Kong</i> monster movie origins. There are script misfires, but they aren't enough to deter me from having a blast at the cinema!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Inside Out</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">5</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Here's yet another home run for Pixar. From the director of <i style="line-height: normal;">Monster's Inc. </i>and <i style="line-height: normal;">Up</i>, comes a perfect hybrid: using the emotional heft of the latter, packaged into an imaginative new world like the former. Personifying the feelings inside ourselves is not a new idea, but in classic Pixar style, it's all about the details in their vision. The world mechanics that they have conceived and designed are an absolute joy to experience. Each scene peels back a new layer as you delve deeper into the depths of the mind. Although the visuals are fairly simple and not as notable as the kinetic action of <i>Cars 2</i><u>,</u> or the beauty of <i>Brave</i>, this is nevertheless a significantly higher quality film than than those recent failures. Pixar is back!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Love & Mercy</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4.5</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This is the life story of Brian Wilson of the Beach Boys; and like the oddball himself, this film is formatted in a way that separates it from the more conventional biopics. Divided yet complimentary halves are juxtaposed to show his musically prodigious beginnings against his years under 'house arrest' as a paranoid schizophrenic. Both sets are equally fascinating thanks to Paul Dano's spacey portrayal of a musical genius in his prime, and John Cusack's neurotic performance in the later years. We wind up with a perfect mix of sad and unfortunate, yet decidedly celebratory moments. The highlights are the personal scenes with Dano in the music studio as we intimately watch Wilson's musical creations come to life; thanks in large part to some nostalgic photography and outstanding (ought to be award-winning) sound design throughout. Minus <span style="color: yellow;">0.5</span> for being a biopic though.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>McFarland</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Exactly what it needs to be: an honest and endearing sports movie. Complete with the necessary tear-shedding inspirational ending. Kevin Costner embodies the perfect down on his luck fatherly figure who can inspire anyone to get to their full potential. Quack! Quack! Quack! Quack!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Fifty Shades of Grey</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">2.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJBPt-YDOnv2YBIy_-b_YfdwR2x_wNKoph6n1hrNeX9_rviXPfBXVDHyF37Dq9PAC0WQmmmePwrOxOOjbucnAj6B0EdQ4MYP1qd4_8Ban5PvaCmuG0TC1tYQ6xdL5G7n3IHfFAw0d_mw/s1600/fiftyshadesofgrey01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPJBPt-YDOnv2YBIy_-b_YfdwR2x_wNKoph6n1hrNeX9_rviXPfBXVDHyF37Dq9PAC0WQmmmePwrOxOOjbucnAj6B0EdQ4MYP1qd4_8Ban5PvaCmuG0TC1tYQ6xdL5G7n3IHfFAw0d_mw/s640/fiftyshadesofgrey01.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A moderately compelling romance of 'hard to get' and 'give and take' flirtations. It has moments that are cheesy enough to snicker at, but too serious to be a good lark. The actor in portrayal of Mr. Grey is one of the weaker points, with his quasi brooding/creeping moods. He never quite becomes a believable human character. Another mis-step is the cinematography and camera work. We start off with a beautifully shot opening credits, but that type of care and framing is rarely seen again. The image above demonstrates an interesting shot with muted colours, but this isn't even from the movie, it's a fan photo. Instead, we get soap opera type indoor lighting and unbearable slo-mo shots. The pop soundtrack is quality though!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Jupiter Ascending</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">1</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieH9YTtm4Y9Oe4zw68K2SPpDKBfuphu73R8P4T6f5X8K1p4jFJ2RkRrNA-MzJNk8rZnDyODgRvHtELf9WmkzKvpbTEGrlZxmnB6c_iPV4rmsVxeSxWENFUhviIZQLHKu-Kle1x14yplCM/s1600/jupiter-ascending-channing-mila-xlarge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieH9YTtm4Y9Oe4zw68K2SPpDKBfuphu73R8P4T6f5X8K1p4jFJ2RkRrNA-MzJNk8rZnDyODgRvHtELf9WmkzKvpbTEGrlZxmnB6c_iPV4rmsVxeSxWENFUhviIZQLHKu-Kle1x14yplCM/s640/jupiter-ascending-channing-mila-xlarge.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Silly. There may be a full mythology built up, but just because it is thorough doesn't mean that it is engrossing. Movies like <i>Star Wars, District 9, Minority Report</i> and even the new <i>Mad Max</i> created such interesting worlds, but they also ensured that their films have characters that have inhabited said worlds for a long time. <i>Jupiter</i> feels like the characters were just, well...'characters' plucked out of thin air for the purpose of perpetuating events in this mythology. Perhaps it lies in the fault of the horrible performances of the three main actors. Good title and art direction throughout saves this from being a total disaster though.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Magnificent Ambersons (1942) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">A Night to Remember (1958) <span style="color: yellow;">5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Killer (1989) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Glory (1989) <span style="color: yellow;">4.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Proposal (2009) <span style="color: yellow;">0.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Magic in the Moonlight (2014) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Spring (2015) <span style="color: yellow;">3</span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-55752220080165380872015-06-01T09:28:00.000-07:002015-06-01T10:25:18.126-07:00May 2015 Update<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Below are my movie watchings for May. </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">I have supplied bite-sized reviews for new films, and quick ratings for older ones.The ratings are based on a</span><span style="font-size: large;"><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">5-Star</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span></span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span><br />
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">5</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">An aggressively entertaining bonkers of a movie. We follow our hero and his vehicular chase for freedom across a desolate post-apocalyptic world. Yet despite this landscape, this is a film brimming with life. A film like no other. It reminded of the feeling when I first saw <i>Sin City</i> or <i>300</i>, and how they are truly unique cinematic beasts; scintillating visual experiences (yes, despite the fact that these are all remakes or comic-book adaptations). <i>Fury Road</i> is a movie filled on adrenaline and full of macabre humour, imaginative visuals and RedBull infused pulse pounding action. The trailer is a perfect microcosm: just picture that for nearly 2 hours! A must see for film fans and a breath of fresh air for the cinematic landscape.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Ex Machina</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Intellectual but not overly entertaining or thrilling. Instead, this film chooses to probe the depths of science-fiction in its truest form: hypothesizing about advanced science and its relation to humanity. The lack of thrill or gripping storytelling isn't a problem, but it doesn't lead to very satisfying arc in 'movie terms'. It would make for a better essay or short-story than a film. However, I still highly recommend <i>Ex Machina</i>. It has impressive low budget effects, solid acting, enough 'thinking' material and a fantastic time playing with perception.</span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">2.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyRQ3LkhoipMFu5dqJrTK4t9VsuC-6h9MIntWuksLkLCS3UBe0SKzewXsDOyUOTAS6EsH0fheOxPZnSpeMQtVgpTnBoDVDSxJKlJ36fMPwDXqDF6u2XMs5BprWjfhbpn8Lb7LinU-0Mt8/s1600/J1H1G.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyRQ3LkhoipMFu5dqJrTK4t9VsuC-6h9MIntWuksLkLCS3UBe0SKzewXsDOyUOTAS6EsH0fheOxPZnSpeMQtVgpTnBoDVDSxJKlJ36fMPwDXqDF6u2XMs5BprWjfhbpn8Lb7LinU-0Mt8/s640/J1H1G.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">It's about great ideas and themes, but it talks at you instead of using the medium of film to show. Brad Bird has been a master visual storyteller, and can tell you tons through his action. But the script for this movie isn't very subtle and removes Bird's voice, making way for muddled tossed-off speeches and childlike banter. He at least gets in a couple of great action scenes as well as a miraculous and impressive single-take exploration of the titular land. Yet the uneven script leads to the issue of who this movie is for? The themes and explanations are too dry and complicated for kids and much of the banter and 'adventures' are for a younger crowd. At least there are plenty of retro Disneyland references as fan-service for me.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Black Hat</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">1.5</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">(Yawn) What is Michael Mann doing? He used to bring us some of the best and most exciting mature thrillers. Now this Cyber-hacker convoluted 'thriller' that seems like it was written in the 90s. Films like this are a plague on the cinemas: the adult crime thriller that has no ambition or any intention of being anything but capable or adequate. Never aspiring to be anything outstanding. A story that is hardly gripping and an incredibly dull lead from Chris Hemsworth. Just a few Michael Mann moments in the climax that help save this from being a total dud.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Mortdecai</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">0.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpEFnAuEVIufS10oFnGG7nHGJuY9XNizLOAJMYWLz1ths5bPJB8cd1IArI0e89KuOKeiae1FhA80_0yuzWieVhxbQc-VAj9-oPVzQjcymAWtTyK94EZFHk60ygZtk30wbGYKa-mag7Ff0/s1600/Mortdecai-Movie-Picture-2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpEFnAuEVIufS10oFnGG7nHGJuY9XNizLOAJMYWLz1ths5bPJB8cd1IArI0e89KuOKeiae1FhA80_0yuzWieVhxbQc-VAj9-oPVzQjcymAWtTyK94EZFHk60ygZtk30wbGYKa-mag7Ff0/s640/Mortdecai-Movie-Picture-2015.jpg" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Alright, one positive assessment: Paul Bettany is fun. Other than that, these are the thoughts that bored through my mind while watching this. Who is this movie intended for? Have they seen <i>The Pink Panther</i>? Poor Peter Sellers. This makes Steve Martin's <i>Panther</i> look good. Are these jokes? What is going on? What's with these location title cards? Why is this scene necessary? Why is THIS scene necessary? Oh hey, it's Jeff Goldblum! Yay! Are these supposed to be jokes? I think I'm watching inside jokes - Is the whole movie an inside joke that we just don't get?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Yankee Doodle Dandy (1942) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Detour (1945) <span style="color: yellow;">2</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Pillow Talk (1959) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Children of the Damned (1964) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Umbrellas of Cherbourg (1964) <span style="color: yellow;">5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Five Million Years to Earth (1967) <span style="color: yellow;">3</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Great Train Robbery (1978) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Jaws 2 (1978) <span style="color: yellow;">2</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The China Syndrome (1979) <span style="color: yellow;">4.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Footloose (1984) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Big Eyes (2014) <span style="color: yellow;">3.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">The Gambler (2014) <span style="color: yellow;">2.5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Life Itself (2014) <span style="color: yellow;">5</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Teenage Mutant Ninja Turtles (2014) <span style="color: yellow;">3</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Wild (2014) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">'71 (2015) <span style="color: yellow;">4</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;">Black Sea (2015) <span style="color: yellow;">3</span></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com1tag:blogger.com,1999:blog-3944054689011308619.post-15447804678631702312015-04-29T09:36:00.000-07:002015-04-30T21:09:09.543-07:00April 2015 Update<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">April was a slow month for new releases, but I certainly got a lot of older films under my belt. </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">I have supplied bite-sized reviews for new films, and quick ratings for older ones.The ratings are based on a</span><span style="font-size: large;"><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">5-Star</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span></span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>It Follows</u></b></span><br />
<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">5</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_DiQzE_CtiBEKSLKgeeYUnD6MoAw3TcNUiOQaic38-3YSmDmFVJKAAlM6pJkkRuovKtAajWq0QUKuYQMSbvZltJ5KzjJRXPHURdXRgos3xDg3ybRsWraLP65ZaVBECAZImEDlfAcWk0/s1600/it-follows-movie-reviews-maika-monroe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_DiQzE_CtiBEKSLKgeeYUnD6MoAw3TcNUiOQaic38-3YSmDmFVJKAAlM6pJkkRuovKtAajWq0QUKuYQMSbvZltJ5KzjJRXPHURdXRgos3xDg3ybRsWraLP65ZaVBECAZImEDlfAcWk0/s1600/it-follows-movie-reviews-maika-monroe.jpg" height="320" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Done with just enough stylistic hints to emulate an 80s horror film, this is a gripping tale of the classic "monster-goes-after-promiscuous-teens" movie. Based on a not-so-subtle metaphor for STDs, this is about a demon that will hunt down a victim once they have sex with the 'wrong' person. There are only a handful of true scares; instead, this is a film built on tension and impending dread. The crafty camerawork and the director's playful use of perspective helps elevate this above other similar fare. A simple and memorable film.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Get Hard</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">4</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiul-HQlZi7lnR73vAvV4TlDk2dcsr5BPAWgkcZ7XZBta-lZV2No5t-431PVhURogVwvW-56iUwVKc9uWFwTz82e23oGJY69wjMgRaPnH5dhxlc9ZOCQt8HceEbbQtpaOPruhCamEG8KI/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiul-HQlZi7lnR73vAvV4TlDk2dcsr5BPAWgkcZ7XZBta-lZV2No5t-431PVhURogVwvW-56iUwVKc9uWFwTz82e23oGJY69wjMgRaPnH5dhxlc9ZOCQt8HceEbbQtpaOPruhCamEG8KI/s1600/maxresdefault.jpg" height="360" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A buddy comedy that is full of racially charged situations and is uncomfortable in the best of ways. Both comedians do what they do best and thankfully, they seemingly stick to the script. This is not another tiresome 80% improvised comedy. The film is anchored by the performances within a well-crafted comedy script that actually combines structure and plot with hilarity. The comedy styles and jokes remain varied and the movie never feels repetitive or overlong.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Avengers: Age of Ultron</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">3.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbw8rUMhScKwe3M1KMRfzSynOdKB9QIJiaZ8739KsWvwpvpUKVTZEjU5A5fCLY707nY6bv2m7s8xSvEeNya3BchpgyhzUTqoESWqnS6veJ96RKIV6X2RGhFd0ShzBsUzuZgDxb4O8lZck/s1600/avengers-age-of-ultron-marvel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbw8rUMhScKwe3M1KMRfzSynOdKB9QIJiaZ8739KsWvwpvpUKVTZEjU5A5fCLY707nY6bv2m7s8xSvEeNya3BchpgyhzUTqoESWqnS6veJ96RKIV6X2RGhFd0ShzBsUzuZgDxb4O8lZck/s1600/avengers-age-of-ultron-marvel.jpg" height="366" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A standard sequel that brings the heroes you love, back for more action. It's fun to watch these guys back at it, but that's just it: they're 'back at it'. We've seen it before, namely in the previous instalment that was full of more glee and witty banter. This time around we have a muddled plot and odd back-stories to help make the film more mature, yet that's not why we're here. This results in a saggy middle section. After the great '<i>Captain America 2</i>' and '<i>Guardians</i>' two-punch last year, this is a step back to the standard Marvel fare we started out with. At least this one still delivers with varied action scenes and a great villain in Ultron himself.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Parallels</u></b></span></div>
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<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">0.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A0huzMReiIvqvSa2_DOn4nTDoLaCRjJsnBtNtmeIKvHL2nzQ3K8x0TYLZC5pdV8ZQypSzeVLOC9GXBwK-g2nfeSlzTEPu3ItouGrpYyU6sNUMVFqOg3SqkgdcbzCijgc-Q_UQOYeRCM/s1600/Parallels-2015-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A0huzMReiIvqvSa2_DOn4nTDoLaCRjJsnBtNtmeIKvHL2nzQ3K8x0TYLZC5pdV8ZQypSzeVLOC9GXBwK-g2nfeSlzTEPu3ItouGrpYyU6sNUMVFqOg3SqkgdcbzCijgc-Q_UQOYeRCM/s1600/Parallels-2015-poster.jpg" height="358" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A cheap movie that would be at home on the Syfy channel. I couldn't even find a proper image for this review. It tries to slink by on having a cool Sci-fi premise, but the idea of parallel worlds is barely explored. This has all the hallmarks of a made for TV movie: lousy acting, terrible lighting, go-pro shaky-cam and a cliche ridden script. A waste of time.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Abbott and Costello in Hollywood (1945): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Born Yesterday (1950): <span style="color: yellow;">4</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Gentlemen Prefer Blondes (1953): <span style="color: yellow;">5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>High Society (1956): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Attack of the 50 Foot Woman (1958): <span style="color: yellow;">2</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Attack of the Puppet People (1958): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Oliver! (1968): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Gimme Shelter (1970): <span style="color: yellow;">5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Victor/Victoria (1982): <span style="color: yellow;">3.5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Teen Wolf (1985): <span style="color: yellow;">2.5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Born on the Fourth of July (1989): <span style="color: yellow;">4.5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Kiki's Delivery Service (1989): <span style="color: yellow;">4.5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Princess Mononoke (1997): <span style="color: yellow;">5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Lake Placid (1999): <span style="color: yellow;">1</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Kicking & Screaming (2005): <span style="color: yellow;">2</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Sahara (2005): <span style="color: yellow;">1</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Barney's Version (2010): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>A Most Violent Year (2014): <span style="color: yellow;">4</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>The Voices (2014): <span style="color: yellow;">3</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>Atari: Game Over (2014): <span style="color: yellow;">2.5</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>The Immigrant (2014): <span style="color: yellow;">4</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>The Book of Life (2014): <span style="color: yellow;">4</span></b></span></div>
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Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-7025110080709840892015-03-30T09:48:00.001-07:002015-03-30T10:15:25.906-07:00March 2015 Update<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">For my new format, I will be doing monthly reviews. The following are all the films that I saw in the month of March. These are only the films that I had never seen before. I have supplied bite-sized reviews for new films, and quick ratings for older ones.The ratings are based on a <span style="color: yellow;">5-Star</span> system.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I hope you enjoy!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Chappie</u></b></span><br />
<span style="color: yellow; font-family: Trebuchet MS, sans-serif; font-size: x-large;">2.5</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2mg3uh9RGtAYni-gehR22Tt4sUzi7pxVF6Q3PhNtBElZmKc38150r_eZoXNpgbAkd5HtrPdY23kSt-zHqYLIu457WavsjZ1E2nrECF1KGJWnMXAKOLMvYp037eciqCzmd_lB9Cuz5Mf4/s1600/thumbnail_20069.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2mg3uh9RGtAYni-gehR22Tt4sUzi7pxVF6Q3PhNtBElZmKc38150r_eZoXNpgbAkd5HtrPdY23kSt-zHqYLIu457WavsjZ1E2nrECF1KGJWnMXAKOLMvYp037eciqCzmd_lB9Cuz5Mf4/s1600/thumbnail_20069.jpg" height="360" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Nowhere near as good as <i>District 9</i>, and not even as pretty or entertaining as <i>Elysium</i>. Just a dull and listless film. However, it still has a great performance and rendering from Chappie himself. He provides enough interest to remain invested. I just wish that Neil Blomkamp would stop writing his own films. A great imaginative director who writes poorly and consistently and ineffectually miscasts.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Predestination</u></b></span><br />
<span style="color: yellow; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">4</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqvmA3Xg2Pv3ahVM2IHpcE0pyw1-u_5T-ZouIQGFStwFyt3v-6oDksiK47z1y-1f7ZmHAxz1SJcIEq3Agg7vGR7Tvh2oWMXPee1W00VvkJJCdvKC5mRlGKR5jDttkt1RklW-pEXo7-vV8/s1600/75.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqvmA3Xg2Pv3ahVM2IHpcE0pyw1-u_5T-ZouIQGFStwFyt3v-6oDksiK47z1y-1f7ZmHAxz1SJcIEq3Agg7vGR7Tvh2oWMXPee1W00VvkJJCdvKC5mRlGKR5jDttkt1RklW-pEXo7-vV8/s1600/75.jpeg" height="448" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A time traveller hunts down a notorious bomber through various decades. An excellent character study that keeps unfolding with good-ol' time travelling twists which give way to effectual character reveals. Quiet and efficient story-telling with two strong performances not unlike a small stage-play. Perhaps too complex for its own good.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Cinderella</u></b></span></div>
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<span style="color: yellow; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">4</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9GDDFLUouhLZCwff4HXrw4osDMa9Za1dCRGGNDTL1XZVR2iDPNIdnkNYM5zkbKSBMV_y7YBBM-i4lsrQjvECtGJF2yLTEmyhay3VWq72TZ6iC-0efgH-1a9KjNKebNpZWY2Z1H6OxzwA/s1600/Cinderella-New-Amazing-Stills-cinderella-2015-38073528-604-453.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9GDDFLUouhLZCwff4HXrw4osDMa9Za1dCRGGNDTL1XZVR2iDPNIdnkNYM5zkbKSBMV_y7YBBM-i4lsrQjvECtGJF2yLTEmyhay3VWq72TZ6iC-0efgH-1a9KjNKebNpZWY2Z1H6OxzwA/s1600/Cinderella-New-Amazing-Stills-cinderella-2015-38073528-604-453.jpg" height="480" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Perhaps I'm 100% Disney biased, but this is a lovely little film. Certainly better than the original. (wasn't too hard to top) This remake doesn't strive for much more; it chooses to be a safe and calculated remake. The winning factor here is the tone. It is simply pure cornball fairytale cheesy Disney entertainment. It puts the terrible and recent <i>Maleficent</i> to shame.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Focus</u></b></span></div>
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<span style="color: yellow; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">2.5</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiUKfWHZzVGdIEr9pPqMgBu9DO4rQtY075I2taSxCjtdY-mGaSORR8dHktxWHCXZ5DGL1WMvWsPq9ys3Z6YV4zX1ynCqlvZD4Yb378UMSQSaXpzLqXwKJ5L3MmicGRLI5TqYDE4CjK0o/s1600/Focus-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAiUKfWHZzVGdIEr9pPqMgBu9DO4rQtY075I2taSxCjtdY-mGaSORR8dHktxWHCXZ5DGL1WMvWsPq9ys3Z6YV4zX1ynCqlvZD4Yb378UMSQSaXpzLqXwKJ5L3MmicGRLI5TqYDE4CjK0o/s1600/Focus-2.jpg" height="426" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">An odd choice for Will Smith. He could do anything, but he settles for a standard con-artist flick. This one starts off very strong with the usual fun heists and cons, plus the charismatic flirtations of Smith and Robie. Then it devolves into a serious less-engaging second half about ridiculous long-cons and betrayals. Yawn...</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>What We Do in the Shadows</u></b></span></div>
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<span style="color: yellow; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">4.5</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yZgAaIWuQTfj_AKk1AlvrlUjFrgm9zKFDUqpcgm6Xrn1nBAirpyeEAoF0M-yIwPM17lGbPiyq-6U8klM-8xSkCnpjeWr3C0YiVMGhm6-C5L0Ni1oXGO1QqR5gSZpp48XsFe0Ne1MUwo/s1600/WhatWeDoShadows6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yZgAaIWuQTfj_AKk1AlvrlUjFrgm9zKFDUqpcgm6Xrn1nBAirpyeEAoF0M-yIwPM17lGbPiyq-6U8klM-8xSkCnpjeWr3C0YiVMGhm6-C5L0Ni1oXGO1QqR5gSZpp48XsFe0Ne1MUwo/s1600/WhatWeDoShadows6.jpg" height="426" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Not unlike the classic <i>This is Spinal Tap</i>, this is a hilarious mockumentary about a niche group of people. However this one is about a set of flatmates in New Zealand who happen to be century-old vampires. It seems like a played-out idea (vampire movies), but it still feels fresh. Like <i>Tap</i>, the comedians make fun of their subjects, while wholly embracing the culture and lovingly inhabiting their characters. Funny and original</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><u>Paddington</u></b></span></div>
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<span style="color: yellow; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">4.5</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJJfDifLN3u0Hgp3Jc8Gs4Fo6Oii1UXD2kVyOoiy_aWUQJFHXgDEtOj2FY-Y25pEBpJyj2b0j9UONyNseZUbIeYFF_kj5gSNRPMDqbAvbzuvPiq02PgdOET8YF_lTldQoRhBC9ngzEyU/s1600/timthumb.php.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLJJfDifLN3u0Hgp3Jc8Gs4Fo6Oii1UXD2kVyOoiy_aWUQJFHXgDEtOj2FY-Y25pEBpJyj2b0j9UONyNseZUbIeYFF_kj5gSNRPMDqbAvbzuvPiq02PgdOET8YF_lTldQoRhBC9ngzEyU/s1600/timthumb.php.jpeg" height="358" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Just what a family film ought to be. Not too long, not too cheesy, funny for everyone, full of life and happiness, colourful, a happy ending and a simple after-school-special moral. This is an adorable film with a surprising amount of comedy and heart. Whimsically put to screen with the care and craft of a Wes Anderson film.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>The Hunchback of Notre Dame (1939): </b><span style="color: yellow;">4</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">The Thief of Baghdad (1940): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">3.5</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">A Matter of Life and Death (1946): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">5</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Macabre (1958):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">1.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Inherit the Wind (1960): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">5</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Judgement at Nuremburg (1961): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">4</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">The Brain That Wouldn't Die (1962):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">2.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Point Blank (1967):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">3.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">The Thomas Crown Affair (1968): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">4</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Cujo (1983): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">2</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Out of Africa (1985):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">2.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">The Queen (2006): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">4.5</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">I Declare War (2012):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">0.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">The Homesman (2014):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">3.5</span></span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Top Five (2014): </b><span style="color: yellow; font-family: 'Trebuchet MS', sans-serif;">4</span></span></div>
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<span style="font-size: x-large;"><b style="font-family: 'Trebuchet MS', sans-serif;">Transformers: Age of Extinction (2014):</b><span style="font-family: 'Trebuchet MS', sans-serif;"> <span style="color: yellow;">1.5</span></span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-85810175285153910602015-01-15T11:11:00.003-08:002015-01-15T11:11:44.226-08:00Top 20 of 2014<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This year I only saw 92 films. An abysmal effort on my part compared to previous years. I suppose it's difficult to keep up when getting married and buying a house! Nevertheless, there were still a good bunch of movies that I highly recommend. As always, note that these are MY favourites, not the "un-questioned formal masterpieces of the year", but rather, the ones I personally enjoyed the most and look forward to rewatching for years to come. Lastly, the qualifier for this list is the year in which it was widely available for me to view the film. i.e.: Under the Skin and Tim's Vermeer count, but Selma and Inherent Vice do not. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><i>Mockingjay: Part 1, The Hobbit 3, Alan Partidge: Alpha Papa</i></span></div>
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<span style="font-kerning: none; text-decoration: underline;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Did not see:</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><i>Life Itself, Wild, Big Eyes</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><i>Transcendence, Video Games: The Movie</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>20. The Theory of Everything</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIn9nlwz1WKX0To_WMak6DdEAhEGFkh2nhqzcdMLq1X5yD5nuPJWRWhBu3CJj0NQGiBXZG0h5wRzyoevFWvmHl_jXYOZW1KJIBiUbrlVMVJiivNjk-Xh2p1zFU21vxWBQm3B3LN6J2bI/s1600/theory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIn9nlwz1WKX0To_WMak6DdEAhEGFkh2nhqzcdMLq1X5yD5nuPJWRWhBu3CJj0NQGiBXZG0h5wRzyoevFWvmHl_jXYOZW1KJIBiUbrlVMVJiivNjk-Xh2p1zFU21vxWBQm3B3LN6J2bI/s1600/theory.jpg" height="426" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A different movie than I was expecting for good and for bad. A biopic (which I am typically adverse to) about the life of Stephen Hawking that isn't about his studies and breakthrough discoveries, but rather, his personal life. It's a shame we don't get much insight into his research and ground-breaking ideas, but instead, we get a fascinating look at his life and relationship with Jane. This is in fact, her film. Her struggles and trials in living with such an intelligent mind and his physical obstacles are grounded in a loving performance. Mirrored against a pretty score by Johann Johannsson (which might as well have been Desplat or Glass), and gorgeous cinematography full of dazzling colour and lighting.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>19. Captain America 2: The Winter Soldier</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPM_M5_2DzBNyk0Fvx2lzQ1QCwRYDIhDqWoHgxXmG_J390bVCPTHe1Pj_BN_3_J0yY4sEvlv17Hx-9ZtgJBCKTcAVfpkVcZYFMEbHki3DcyLGLkjNOZkT7e4JzJkrd-zxqTx-__1l96D0/s1600/captain-america-2-images-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPM_M5_2DzBNyk0Fvx2lzQ1QCwRYDIhDqWoHgxXmG_J390bVCPTHe1Pj_BN_3_J0yY4sEvlv17Hx-9ZtgJBCKTcAVfpkVcZYFMEbHki3DcyLGLkjNOZkT7e4JzJkrd-zxqTx-__1l96D0/s1600/captain-america-2-images-2.jpg" height="268" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">The two best ever Marvel films were released this year. They are still doing essentially the same movies, but at least they are stylistically different now. The Winter Soldier is the sequel to my previous favourite Marvel entry. Yet it takes a completely different tone. This plays out like a conspiracy thriller (complete with a Robert Redford character). It's a more mature film and avoids the cornball comedy tangents that you'd find in the Iron Man and Thor movies. But the main asset here is the action. Having watched this a few times now, the action continues to glue me to the screen. From the opening black-ops stealth mission to the highway shootout, this is a great thriller full of strong kinetic punches. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>18. Noah</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYN_nF7d17qSwOxfPl7bErKBr1WzmVtAFW7vTuRoyN3rUtw8egfkiNQtQrWonVMW0dRwfRShpl4E28HHjyKbaaJOREmrQHiJ3_1GHo7O0xMZ-Yt2GsAQmGfhCkyXk4HgFAAwztbLmI9FQ/s1600/noah-silhouette-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYN_nF7d17qSwOxfPl7bErKBr1WzmVtAFW7vTuRoyN3rUtw8egfkiNQtQrWonVMW0dRwfRShpl4E28HHjyKbaaJOREmrQHiJ3_1GHo7O0xMZ-Yt2GsAQmGfhCkyXk4HgFAAwztbLmI9FQ/s1600/noah-silhouette-4.jpg" height="348" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">One of the controversial choices on this list, Noah is a beautiful and sweeping tale of a man losing his mind. Sorry to everyone who thought it was going to be a simple biblical and spiritual affirmation. It treats the bible and this story not so much as a religious parable, but instead as a fantasy epic. One of my favourite directors, Aronofsky, is not interested in focusing on the Christian morals and traditions of Noah and his ark; nor is he denying these themes. He is piecing together elements of the bible, fantasy epics, and melodramas. He is interested in posing the question: if these events did take place (in a fantastical or spiritual sense), what effect would it have on humanity, namely the one man with all this weight on his shoulders? It does delve into the melodrama a bit too much, but it remains powerful and grandiose. The score is great, the cinematography is lovely, the visuals are unique and there is a montage about the evolution of mankind that is the greatest scene of the year. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>17. How to Train Your Dragon 2</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3yAsaSXlXLYJfQnawsyRD-L7gZl4bsFPdStFdwDh231KOLJEJXT5p1vOt4edMGkArEHOEad7aLuQg4tl3HE7uMU3t2Joa_kVEL8-KPOO29QhkcgahR_Mn0aHPwLcrWb62nGs_mZTeg8/s1600/how+to+train.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP3yAsaSXlXLYJfQnawsyRD-L7gZl4bsFPdStFdwDh231KOLJEJXT5p1vOt4edMGkArEHOEad7aLuQg4tl3HE7uMU3t2Joa_kVEL8-KPOO29QhkcgahR_Mn0aHPwLcrWb62nGs_mZTeg8/s1600/how+to+train.jpg" height="360" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This is the year for great sequels (for once). Everything that was great about the first movie is great here. A sweeping score, majestic aerial thrills, visually pleasing designs and heartfelt friendships. The animation is top-notch and the level of tangible detail in the dragon designs is sumptuous. The colours are vivid and you understand so much about each of these creatures just in the way they look. They have managed to build an epic scope and scale that rivals the finale of the previous film. Alpha dragons are their newest creation, and they are a marvel on the big screen. Most importantly though, the story is perfect. They expand the characters to their logical next step, explore their world further and pull off some hard hitting tear-jerking moments.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>16. The Grand Budapest Hotel</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQG2xXLhTi2-VlsGUZ2Kqg0gYD9L2vBraDheTr-fV-rrRBOPmA6VJ7lzZdb0TLCTM-plEpoNqbuyUsEWMKCHRDtwsQRtn4spIksDsCQD1ITi-mWq-breSRR9lPUdwu67xBxX1kkLEaMk/s1600/ralph-fiennes-in-GRAND-BUDAPEST-HOTEL.jpg" imageanchor="1" style="font-family: 'Trebuchet MS', sans-serif; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnQG2xXLhTi2-VlsGUZ2Kqg0gYD9L2vBraDheTr-fV-rrRBOPmA6VJ7lzZdb0TLCTM-plEpoNqbuyUsEWMKCHRDtwsQRtn4spIksDsCQD1ITi-mWq-breSRR9lPUdwu67xBxX1kkLEaMk/s1600/ralph-fiennes-in-GRAND-BUDAPEST-HOTEL.jpg" height="426" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Wes Anderson films aren't for everyone. Or if they are, they take a while to warm up to. Initially, I wasn't a fan of them, but after second viewings, they become charming storybooks worthy of comfort food. In this, his latest, we get a peek at the service industry of a fancy hotel. The head bellhop, Gustave, gets caught up in a murder mystery and hijinks ensue. Although I find it to be uneven and not as concentrated as Anderson's previous works, it is one of his funniest. Ralph Feinnes gives a wonderful and comedic performance as the stiff-upper-lip Gustave who occasionally lets his language divert itself from his gentleman-like appearance. And as per usual, Anderson creates wonderful mise-en-scenes composed of symmetry and infinite attention to detail, all wrapped up in an endearing score.</span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">David Fincher's latest cynical thriller is a vicious portrayal of the fraudulent personas we put on in relationships. Namely in marriages. It is also blatantly about the power of media and the ways it can spin the meanings of certain events. Who are we when we meet with our friends? our family? in the public's eye? How are we perceived? But it's the thriller mystery aspect that draws you in close to this 'romance'. The selling point of the film is of course Fincher's cold and calculated direction, paired with his recent editor Kirk Baxter. The way that they weave in and out of different perspectives and play with how we perceive the characters is a beautiful reflection of the themes mentioned above.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>14. The One I Love</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjER4ORkMEKg4pMKwc0dyRT0cuw07BC2TCvYMMoVzJVsIzUI4HEG8SZ-dV6yle8oi3qTrdoKiKbSV6zi5x3hsqbTwNqoIyLmHxMo1emUVLh7edOPlSG0LQpq9giaE-45B-0lWsAYu_P92I/s1600/THE-ONE-I-LOVE-2014-directed-by-Charlie-McDowell.jpg" imageanchor="1" style="font-family: 'Trebuchet MS', sans-serif; margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjER4ORkMEKg4pMKwc0dyRT0cuw07BC2TCvYMMoVzJVsIzUI4HEG8SZ-dV6yle8oi3qTrdoKiKbSV6zi5x3hsqbTwNqoIyLmHxMo1emUVLh7edOPlSG0LQpq9giaE-45B-0lWsAYu_P92I/s1600/THE-ONE-I-LOVE-2014-directed-by-Charlie-McDowell.jpg" height="360" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">There have been a slew of recent low-budget indie films with Sci-Fi premises to hook in viewers, but most of them wind up being too blasé or hipster-ish (melancholic) to take seriously (Safety Not Guaranteed, Bellflower). This one is different because it truly cares about its gimmick and uses it as a metaphor for relationships. I'd rather not spoil even the plot of the film, so I'll just say that a couple who are stuck in a rut, seek therapy and relaxation at a getaway cabin. From there, odd things begin to transpire, and they discover that their relationship is more on the line than they thought. The film is an excellent examination of our identities in relationships (very similar to Gone Girl) and explores the story to its fullest extent. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>13. Guardians of the Galaxy</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTDozwZrC2zx0tddgNrOE-vcuf-YEcE4_GcqAjTF57TDUIj1VcOJBtnVbFvxwGSV23Ql-7Nly0gmG2PRxzmyMGycDxRLDWvYQcVdJZ1Q389WMotBCWiZieMOT4VX-2SIJsF60kc9fW4E/s1600/Guardians_Of_The_Galaxy_NBJ0600_comp_v033_grade.1203.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTDozwZrC2zx0tddgNrOE-vcuf-YEcE4_GcqAjTF57TDUIj1VcOJBtnVbFvxwGSV23Ql-7Nly0gmG2PRxzmyMGycDxRLDWvYQcVdJZ1Q389WMotBCWiZieMOT4VX-2SIJsF60kc9fW4E/s1600/Guardians_Of_The_Galaxy_NBJ0600_comp_v033_grade.1203.jpg" height="322" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">A much needed 'fresh' Marvel movie that stands out from their catalogue for the better. Equipped with amazing antiheroes, a spicy sense of humour, imaginative designs and creative colour schemes to dazzle the eye. This is the fun and imagination that should have been present in the Star Wars prequels. A space adventure worthy of being a cousin to the original Star Wars trilogy. The characters and </span>performances<span style="-webkit-text-stroke-width: initial;"> of Starlord, Drax, Rocket and Groot (sorry, not so much Gamora) are endearing and are much needed additions to the now over-saturated pantheon of movie superheroes.</span></span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Its a shame though that this movie still has most of the trappings of the Marvel Movie system: uninteresting villains, a generic score, and a derivative climax. Nevertheless, it's a fun ride!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>12. The Imitation Game</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisopaBFY37BK-QJq71Slfvmf1lb9fZ0FviGoeXOQv53AiYdFFfsL8VwvXIfyTK-68eNHulGW0NzMoUe8qEqrN7cC55bf0K6HFvM2iQqqSV64ASFwUbgEayYl8hCwmUU1kLFuqcO_W6cxk/s1600/imitation.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisopaBFY37BK-QJq71Slfvmf1lb9fZ0FviGoeXOQv53AiYdFFfsL8VwvXIfyTK-68eNHulGW0NzMoUe8qEqrN7cC55bf0K6HFvM2iQqqSV64ASFwUbgEayYl8hCwmUU1kLFuqcO_W6cxk/s1600/imitation.jpeg" height="426" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">I've said several times before, I'll say it again. I'm not a fan of biopics (likely at the fault of Eastwood and Howard), but it makes it all the more pleasing when a good one is made. Benedict Cumberbatch plays a more fragile version of his Sherlock character, and yet more complex. Like many true geniuses, he is an introvert who struggles socially (not unlike Zuckerberg from The Social Network). At its core, The Imitation Game, is a simple character study about a man trying prove his worth, make friends and solve a problem. The stand out of this film is the screenplay. It delivers the crackling snarky dialogue of Mr Turing, the engrossing drama, and the wonderful parallels between his personal life and his job along with the past and present narratives. A perfect balance of character with plot.</span></div>
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<span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Building on the success of the first one, this Indonesian martial arts film goes full sequel. It expands everything to its full potential.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">The fights are bigger, more violent and more innovative.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">This movie is full of jaw-dropping moments, including a muddy brawl, a baseball bat & hammer fight, a final blade showdown, and one of the greatest car chases I've seen.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">So of course, the actors and stunts are phenomenal, but it is the direction that is the biggest improvement from the original. The sequel looks better and more mature and the director shows off almost as much as his fighters. He pulls off some innovative shots (numerous long takes, cameras weaving in and out of car windows on a highway, through invisible stall walls in a washroom) and he honours the fights by keeping at a distance and showing all of the action.</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> You are never disoriented and he lets you see every kick, punch and breaking bone. The film does add an hour to the original and is certainly less efficient, but the addition of an actual plot and compelling story of the infiltration and takedown of a mafia is a thankful step towards maturity.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>10. Tim’s Vermeer</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUovSIEq9PymVc7_sCU72Dw71phKL9km_sn7dJqFUe8vG-wCUE2Tox8SRSvA23oOH94bfStKiS0QQIhyphenhyphenVorU7Finm5X9p1UF9k9XscV6BcDgtnQ334qxvC8Me5McLS1lGEegMGhrtYbN0/s1600/timsvermeer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUovSIEq9PymVc7_sCU72Dw71phKL9km_sn7dJqFUe8vG-wCUE2Tox8SRSvA23oOH94bfStKiS0QQIhyphenhyphenVorU7Finm5X9p1UF9k9XscV6BcDgtnQ334qxvC8Me5McLS1lGEegMGhrtYbN0/s1600/timsvermeer.jpg" height="360" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Any great documentary takes a subject that you have no interest in or no knowledge on, and makes you 100% invested in it. This doc invites you into the life of a man who seeks to recreate a famous painting by Vermeer. He (The eponymous Tim) is a historian, not an artist. Tim is under the impression that Vermeer's paintings were made using an ancient camera/mirror technique. So he creates this tool and (having never painted in his life) starts to replicate a Vermeer painting. We follow his process through every step and every painstaking attention to detail and minutiae.</span><span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span><span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Whether he succeeds or not, you will have to decide for yourself. For this is a true assessment of what qualifies someone or something as an artist or art respectively. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>9. Fury</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEAkP22wTGcxGvObuQQvny3m8v3SUrWcHekrzztTq2wIuZeJGy9KcstE_WY5chUUF3n0YWq0oyHJKaWfGhVNw1RIsbuhqm_xXaXBLncP2Or0HoEPuoAQhVEg4y1AW0JfScff8bzVVsczU/s1600/brad-pitt-fury-movie-wallpaper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEAkP22wTGcxGvObuQQvny3m8v3SUrWcHekrzztTq2wIuZeJGy9KcstE_WY5chUUF3n0YWq0oyHJKaWfGhVNw1RIsbuhqm_xXaXBLncP2Or0HoEPuoAQhVEg4y1AW0JfScff8bzVVsczU/s1600/brad-pitt-fury-movie-wallpaper.jpg" height="360" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">I like Brad Pitt WWII movies. This journey of a tank crew ploughing and surviving through the war is an intense yet beautiful action film. It may be blunt and not have much to say on war (war is hell and will warp young minds), but it is a thrill ride full of shocking moments and memorable scenes. The chilling score undercuts hellish scenes of war and violence, while the director and cinematographer give us visuals and stylizations that makes this feel different than other war films. The film is full of unforgettable set-pieces that drag our characters from one horrific battle to the next: a chilling quick opening scene, an unbearably intense dinner scene, a kinetic tank battle, and an "all for glory" shootout. And for once, I enjoy a Shia LeBeouf performance. </span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">A film that is getting too much flack for not being 'good enough', is simply a great and powerful film with flaws. As always, I will embrace ambition and artistic visions over perfection any day (hence why this is ranked higher than The Imitation Game). This SciFi film is a large-scale tale about the exploration of the universe in search of a new home for the doomed inhabitants of Earth. Script-wise, it's not Nolan's strongest film, but it is his most beautiful. There are exquisite shots of wonder and awe, paired with the permeating (albeit overplayed) theme of love. Perhaps after all of the great yet cynical films this year, I am pleased to support an ambitious work of beauty and optimism. Speaking of which, Hans Zimmer (the film's true star) delivered another fantastic score full of blastissimos and ethereal majesty.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>7. Under the Skin</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9m3GwQtzOnHgImCt_FVFa7PMhCCjUvcx-2RrNkcD5zyqseb856NjhaUxY76aENev13QBZ2zbo8NtClcP1CGgEYj5q65_Ln8xqskhkNAWrANqsKQ13NK-5rlutoDZ-6atYyJCP7IVsdw/s1600/scarlett-johansson-under-the-skin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9m3GwQtzOnHgImCt_FVFa7PMhCCjUvcx-2RrNkcD5zyqseb856NjhaUxY76aENev13QBZ2zbo8NtClcP1CGgEYj5q65_Ln8xqskhkNAWrANqsKQ13NK-5rlutoDZ-6atYyJCP7IVsdw/s1600/scarlett-johansson-under-the-skin.jpg" height="376" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">A creepy film. An odd film.</span><span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span><span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">A challenge to its audience. A beautiful piece of art. A film Stanley Kubrick would have made were he still alive today. With very little dialogue, this is a film told (as it always should be) through images. An alien comes to earth (supposedly) and takes the form of a beautiful woman (Scarlett Johansson of course). She may or may not have sinister plans to seduce and destroy men, but then she has a change of mind and seeks to live her life as a normal human. Only to discover that our species is no better than hers. This is a powerful film with unforgettable images. Once you see them you can't unsee them! Built upon strong direction and a commanding tone, <i>Under the Skin</i> is a meaningful parable on the savagery in this world and a powerful exploration of feminism. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>6. Birdman</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4fO6O_-jPpXNoGeyrrsoRebmHG0HB0RpKnoJ4lMCU-lQUtaMLa3sD891j0gwQnnTX5i_7Sd9uWt0VMIQDiuNOOh5L5fbdkIKf51II6BXhjnBNH_uBk5cAfll3Yck_c6hqwpcvqVE9DFw/s1600/birdman-early-reviews-venice-film-fest-20140827.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4fO6O_-jPpXNoGeyrrsoRebmHG0HB0RpKnoJ4lMCU-lQUtaMLa3sD891j0gwQnnTX5i_7Sd9uWt0VMIQDiuNOOh5L5fbdkIKf51II6BXhjnBNH_uBk5cAfll3Yck_c6hqwpcvqVE9DFw/s1600/birdman-early-reviews-venice-film-fest-20140827.jpeg" height="426" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Michael Keaton plays an actor (not unlike Michael Keaton) who is famous for a set of superhero 'Birdman' movies he did a long time ago (not unlike Keaton's Batman movies), who doesn't get any respect as serious actor (maybe like Keaton). So he sets out to direct and star in his own play on Broadway in a calculated move to raise his level of 'artistic integrity' and prove everyone wrong. The story itself, with its biting commentary on art vs fame is reason enough to enjoy this film. But the thrill and enjoyability for me is the direction. The entire film is shot in one continuous take. Sort of. There are going to be cuts here and there for logistic reasons, but the director and editor hide them away so as not to attract attention to them. The actors all do a magnificent job at performing these long and complex scenes. Thankfully, this gimmick serves an actual purpose: to help put us in the shoes of a live performance of his play, while simultaneously delivering a hybrid statement on the 'plays' vs 'movies' motive throughout. This could easily be higher on my list were it not for a few 'odd' scenes near the end involving Birdman himself and the final scene. Perhaps a rewatch will sort that out for me.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>5. Boyhood</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBanXkqgL6e_I4ueNZQo8aO9iBj07yUvktXw-LNQsbwdNPW-dezw3FFyVAAue-1bzZLPeJp2oZB7zajkxJmJTouK4-G5KM0pfpIw4mJJda_WsKpMopgEcKesQVVXahA-LC9h4ODukKsQk/s1600/boyhood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBanXkqgL6e_I4ueNZQo8aO9iBj07yUvktXw-LNQsbwdNPW-dezw3FFyVAAue-1bzZLPeJp2oZB7zajkxJmJTouK4-G5KM0pfpIw4mJJda_WsKpMopgEcKesQVVXahA-LC9h4ODukKsQk/s1600/boyhood.jpg" height="426" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Similar to <i>Birdman</i>, this is a film wholly structured on top of a filmmaking gimmick, but in the end, it amounts to much more. In this case, novel director Richard Linklater filmed Boyhood over the course of 13 years. This is nothing new for the documentary world (as seen in films like <i>Hoop Dreams</i> and the <i>Up Series</i>), but this is a long-term first for fiction movies. The story follows a young boy as he grows up from age 5 to 18 using the same actor and supporting actors. Never drawing too much attention to what time period we are at, Linklater threads his narrative in a smooth fashion which creates a lifetime diary of events that can affect our upbringing. For me, I don’t find the boy’s story to be very strong (particularly in comparison to the somewhat similar <i>Tree of Life</i>), but that’s life: a simple series of moments that may or may not mean much to us while they happen, but they certainly shape who we are. More compelling is the growth and story his parents. As the film chronicles his maturity to age 18, we simultaneously experience his their growth, allowing for more depth and a complete lifetime tale to be told within the film. Each of them mature to a next logical step. One can’t help but think of the cyclical nature of life, in that once the boy grows up, he will experience a path not unlike his father and have to churn out his own direction.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>4. Enemy</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGAqS5LoK1-Ra1GpiTw0YFy8430evQ3VcTGcJywWqplNGbq5IIoUqq3Zptuxq6ozAbaZ8qf5I9S09V8qMkUpvbO1RC2RD46tuvQVvmPtfhQnjJy_afSbYTdBD8vTI9Rjo7Ku9_f_oA_s/s1600/enemy-movie-review-09102013-185137.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGAqS5LoK1-Ra1GpiTw0YFy8430evQ3VcTGcJywWqplNGbq5IIoUqq3Zptuxq6ozAbaZ8qf5I9S09V8qMkUpvbO1RC2RD46tuvQVvmPtfhQnjJy_afSbYTdBD8vTI9Rjo7Ku9_f_oA_s/s1600/enemy-movie-review-09102013-185137.jpg" height="314" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">While making his great film <i>Prisoners</i> last year, Quebec director Denis Villeneuve simultaneously made this exquisite doppelganger film. My man Jake Gyllenhaal plays a History professor who leads an ordinary and boring life. Then, after watching a movie, he discovers an actor who looks exactly like him. The film progresses with a slow burn from there as we follow Jake tracking Jake in a cat & mouse game of obsession. Gyllenhaal is extremely careful and subtle playing two separate roles. The score is beautifully twisted with a unique orchestration. And the director films Toronto like I’ve never seen before, thus creating a character out the city itself. It is a perfect puzzle film wherein you always understand what is going on, but are never quite sure what each detail signifies. [What are those spiders doing?!] Yet it creates tension and drives curiosity; putting you in the shoes of the main character. The ending certainly leaves you questioning what truly happened. There are a handful of possibilities and dozens of online essays and articles on the speculation thereof. I have my own thoughts, but I’ll leave it to you to decide. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>3. Dawn of the Planet of the Apes</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsDZDHu02pDCwO6mI7a7CoHmcodwM8SzdI4EP2_JfAE3JewGQyUh96EaYDTJRoinvKL2oXLM9MVCTX7Uzd1859rPPa1NfdcpNmZkRGX921EhO4Ef2hLcnQNX81q5Vz0yGqDpj1pRxMabg/s1600/dawn-of-the-planet-of-the-apes-pics-9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsDZDHu02pDCwO6mI7a7CoHmcodwM8SzdI4EP2_JfAE3JewGQyUh96EaYDTJRoinvKL2oXLM9MVCTX7Uzd1859rPPa1NfdcpNmZkRGX921EhO4Ef2hLcnQNX81q5Vz0yGqDpj1pRxMabg/s1600/dawn-of-the-planet-of-the-apes-pics-9.jpg" height="338" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">I think this is the first year where the overwhelming releases of sequels actually pays off to have most of them be great (</span></span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Dragon 2, Muppets 2, Raid 2, 22 Jump Street</i><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">) or even better than their originals (</span></span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Apes, Mockingjay, Hobbit, Captain America, Xmen). Apes 2</i><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;"> (for brevity’s sake) is just fantastic. The faults of the first film are eliminated (Malfoy and Franco), and the humans are </span>dialled<span style="-webkit-text-stroke-width: initial;"> back to secondary characters instead of 50/50. This is the apes’ story, most notably Caesar. It is a tale of the fragility of peace, difficulties of leadership, inevitability of conflicts between factions, and the necessity of being a flexible civilization. Admirably performed by the great Andy Serkis and animated to an uncanny perfection, Caesar’s character arc is a strong one and has become one of my favourite characters in recent years. This is a good looking film that shows even the technological advances over the past few years for motion-capture and computer imagery. They no longer need to film mo-cap in a studio, they can do it on real locations and it pays off. The score is also an improvement, bringing on Giacchino to emulate the classic Goldsmith music. A live-action film which barely has any humans, and has us watching apes doing sign language for the first 15 minutes. This is comforting to know that the big blockbuster system supports this type of ‘originality’ (yes, I'm aware it’s a sequel & reboot).</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>2. Nightcrawler</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN80gieyLatT_QyjJ67VTp7J4l50VH1Czr-89NIN2VhKbCbfxX4p8MT2i4S145DooHLeKeE96xfj9vSsPqGEKyXjtjkBA4-rdrbQ_jTJk5UAxgGun1cS_iPQ5en_DWdZkP2GAHMyEgISM/s1600/fnd_mc_nightcrawler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN80gieyLatT_QyjJ67VTp7J4l50VH1Czr-89NIN2VhKbCbfxX4p8MT2i4S145DooHLeKeE96xfj9vSsPqGEKyXjtjkBA4-rdrbQ_jTJk5UAxgGun1cS_iPQ5en_DWdZkP2GAHMyEgISM/s1600/fnd_mc_nightcrawler.jpg" height="518" width="640" /></span></a></div>
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<span style="-webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: large;">With his hot streak of performances of late, Jake Gyllenhaal delivers his best in <i>Nightcrawler</i>. His Lou Bloom is a monster, a self-made capitalist, master manipulator, smooth-talking negotiator, awkward, sociopathic, polite, wide-eyed, thriving creation of the world he lives in. He is a result of the inundating media and corporate greed that surrounds us. A performance and character not unlike and on-par with DeNiro’s Travis Bickle (<i>Taxi Driver)</i>. <i>Nightcrawler</i> is the story of how Lou (aimless yet determined) decides to start a career in late-night guerrilla news camerawork. Filming accidents, scenes of distress, and crimes, he treats it like his art and elevates his footage and himself up the corporate ladder in search of being the best. The film is a critique on our news media and of capitalist attitudes. The direction is beautiful and bold (the final chase sequence is remarkable) and the film lights up nighttime Los Angeles in a way that rivals Michael Mann’s <i>Collateral</i>. This is an engaging film anchored by a stellar performance and I can’t wait to watch again. If it leads, it bleeds.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>1. Whiplash</b></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYG3ydbN2XFx1z7plaf03MY6SfbmEJm3HmGCCuYEMNzti6Cp5fsxWGbFqtFSA8N6dL8r82_9zbZhZKkBgDrJEnPYJpaUUfkQfm3BJgjbgIAOqO8oOMZ8iTLtNBt6M1hHNstEvdyFlDY3I/s1600/whiplash-review-kaelan-unrau-850x636.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYG3ydbN2XFx1z7plaf03MY6SfbmEJm3HmGCCuYEMNzti6Cp5fsxWGbFqtFSA8N6dL8r82_9zbZhZKkBgDrJEnPYJpaUUfkQfm3BJgjbgIAOqO8oOMZ8iTLtNBt6M1hHNstEvdyFlDY3I/s1600/whiplash-review-kaelan-unrau-850x636.jpg" height="478" width="640" /></span></a></div>
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<i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Nightcrawler</i><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;"> is a true masterpiece, so what could top it? How about a film tailor-made for me, and not nearly as cynical. </span></span><i style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">Whiplash</i><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;"> is the story, quite simply, of a jazz drummer in music school who seeks to be the best. No conflict there, except that his teacher and mentor is (for lack of a better term) a prick. A conductor who wants nothing more than to push his students to their extreme so that they can become the very best. A conductor who knows no other way of doing this, than to lash out at the musicians verbally and sometimes violently, but mostly mentally. It may sound depressing and unbearable to watch, but this in fact, is absolutely exhilarating </span>and a<span style="-webkit-text-stroke-width: initial;"> joy to watch. It’s a character study of two ego-centric musical geniuses who battle against each other. Not because they hate one another (perhaps initially), but because they understand each other too well. They both want the same results and both are willing to go extra mile to get there. Both leads turn in stellar performances: the victimized yet determined Miles Teller who actually does a lot of his own drumming, and J.K. Simmons who chews the scenery and demands your attention at every moment. Much of the actual performing and musicianship is accurate for once in a film about music. And of course the music soundtrack itself is </span>sweet.<span style="-webkit-text-stroke-width: initial;"> The director grips you all the way through this tight and efficient film and doesn’t let you go until the final snare hit. The final concert in the movie is a masterclass in music video editing and shot so kinetically, you’d think you were watching the final game in a sports film. I’m going to keep an eye on this writer/director who clearly loves music. His previous film <i>Grand Piano</i>, is a fun thriller not unlike <i>Phonebooth</i> (but on a piano), and his next film is supposedly about a jazz pianist!</span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-59223522257574865272014-01-16T10:58:00.006-08:002014-01-16T14:47:35.917-08:00Top 20 of 2013<div style="text-align: center;">
<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Another year, another ‘Best of’ list. I’ve found there’s a common phrase that turns up each year which is: “This was the worst year for movies in recent memory.” To each their own, and I’ve personally never agreed...until now. Not that there was more junk than there usually is, but there wasn’t as many amazing films for me in 2013. Especially since 8 of my films only came out in the last month and a bit: I was scared there for a while. I certainly love and stand by the films listed below, but outside of these, there was little for me to look forward to re-watching.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>As per usual, these 20 films represent my favourites and not necessarily the best. I saw 105 movies this year, and this is the cream of the crop (yes, I stand by <i>Pain & Gain</i> and <i>Man of Steel</i>). There were only 2 that I never got to see which I regret: <i>The Grandmaster </i>and<i> Philomena</i>. </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Honourable Mentions: <i>Saving Mr. Banks, Side Effects, Short Term 12, Elysuim </i>and<i> The Conjuring</i>.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">20. The Bay</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">Randomly, from the director of </span><i style="letter-spacing: 0px;">Rain Man</i><span style="letter-spacing: 0px;">, comes this found-footage horror flick.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">An infection in the water breaks out in a small town in Maryland.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">Anyone exposed to the water for long enough develops rashes and other gruesome symptoms; not to mention an outbreak of larvae and parasites. A standard horror premise, but executed with a fantastic atmosphere by a professional director who takes his first plunge into horror.</span><span style="letter-spacing: 0px;"> It also takes a refreshing approach to the found-footage genre and explores the story from all angles by using every single type of ‘recording’ of the event; much like a research journalist would.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>19. The Secret Life of Walter Mitty</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A charming little film about a daydreamer who finally gets the courage to go out and have an adventure. It is certainly a film with flaws as it struggles to find a tone for the first 20 minutes, but after the gimmicky ‘daydream’ sequences are done with, and our character finds his footing in reality, so does the film. From there on out we explore a lovingly appreciation of the world and life around us. Stiller masterfully composes beautiful shots and genuinely sweet moments that amount to an ode to exploration. Also, the first time I’ve ever liked Sean Penn.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>18. Before Midnight</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfFAfAMss0FERgFBOvBPeLGYuOebesg8jm6CNLMTk13z6sIm-DPTYYZ65ZHWhWwPKkmhEXJmOAVsMCZcRCX8fMPnTOkCerCYi65FL8kpbry6ZTKG-m5kfvXnYK29D9-iqeAKdyN3WQiQ/s1600/before8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSfFAfAMss0FERgFBOvBPeLGYuOebesg8jm6CNLMTk13z6sIm-DPTYYZ65ZHWhWwPKkmhEXJmOAVsMCZcRCX8fMPnTOkCerCYi65FL8kpbry6ZTKG-m5kfvXnYK29D9-iqeAKdyN3WQiQ/s1600/before8.jpg" height="426" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">The third entry in the ‘Before’ series (<i>Before Sunrise, Before Sunset</i>) and definitely the best. The first installment follows a couple who meet one night in Vienna and discuss everything from philosophy to love. When I say ‘discuss’, that is literally all that happens. It is a talky beautifully poetic and intelligent film about connections and discussions. The second film, finds the two randomly meeting up again 9 years later in Paris and more engrossing talking ensues; ending with a ‘will they / won’t they’ get back together scenario. In <i>Midnight</i>, it is now 9 years later and we discover that they have since gotten married and are on a vacation in Greece. Here we get more of their delicious banter and musings on life and love, but what’s different here is the baggage of emotions and weight carried over from the previous films. Being older and married poses new questions in their lives and once again, we watch intently as they express their feelings and worry what the future has in store</span>…</span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>17. Side by Side</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMU-xcaX_mNuKo3b2iCXob7MgcBKX9QGvF2JdiK_LMxshPgiR7XOUn4dNzg7-T80Q6Ml_Kp3A0dyUOcaVnZmV94gHbUb7rZmuwlN8E7SzyyXpHWMLxqnF2x48jq0nO2sLliIiz3w3gGk/s1600/side_by_side-21-660x371.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwMU-xcaX_mNuKo3b2iCXob7MgcBKX9QGvF2JdiK_LMxshPgiR7XOUn4dNzg7-T80Q6Ml_Kp3A0dyUOcaVnZmV94gHbUb7rZmuwlN8E7SzyyXpHWMLxqnF2x48jq0nO2sLliIiz3w3gGk/s1600/side_by_side-21-660x371.jpg" height="358" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A documentary aimed very squarely at film nerds, and no one else. Keanu Reeves interviews numerous filmmakers about the use of traditional celluloid film versus the use of digital cameras in today’s film world. The debate rages on as both sides provide numerous pros & cons. As with any good documentary, Reeves gives us equal treatment of both sides of the argument. It is also certainly enlightening of an issue which is as much aesthetically relevant as it is financially. The icing on top though, is watching loads of filmmakers (Boyle, Cameron, Chapman, Fincher, Linklater, Lucas, Lynch, Nolan, Pftister, Rodriguez, Scorsese, Soderbergh Trier, Wachowskis) arguing very frankly over what’s best.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>16. Pain & Gain</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghgEesYq0UbEi0jqxB6bo01JOVbcyhLAAOEqppJtNU102QhDxk3_UTqOI63mpMeqQKpRHXDrktIXHCQ8LvOuOKuNOWhTAz4ruQIF3EUL8QZmS32YDkooJErCFU3-qsxB9Mt-PFN57FA3M/s1600/Pain-and-Gain-review1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghgEesYq0UbEi0jqxB6bo01JOVbcyhLAAOEqppJtNU102QhDxk3_UTqOI63mpMeqQKpRHXDrktIXHCQ8LvOuOKuNOWhTAz4ruQIF3EUL8QZmS32YDkooJErCFU3-qsxB9Mt-PFN57FA3M/s1600/Pain-and-Gain-review1.jpg" height="270" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I’m not sure if this is a guilty pleasure, or it truly is great. Regardless, Michael Bay is known for making terrible movies and terrible filmmaking decisions. But in his latest work, we find him making fun of his own style...albeit ironically since I’m sure he doesn’t mean to. This movie chronicles the true story of a trio of body builders in the early 90s who thought they were clever enough to get away with kidnapping fraud. This is a comedic look at these unfortunate events, and is fascinating in that it outright mocks these buffoons. In previous and surely all future Bay films, he relishes in making his characters perfect specimens of testosterone, masochism, homophobia and general ‘coolness’. What makes this one film different is that all this is still present, yet instead of glorifying this style of life, he condemns it. It is incredibly satisfying to watch these characters get their comeuppance. Plus, an added bonus is that this the The Rock’s finest and most comedic performance to date!</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>15. The Act of Killing</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM0CiUyxYjl-tmMnQWWmufL3uil5cYEOQ5wsI4BI5ZRR6ftapFEwSBou5pP7e2aA46hNyfz697KLj6FgSRr7bb97-vCQZIms4H3wSY6E_SbhgsVYzYZ7c7v0cPqAyalfZvZEh6dH0LRM/s1600/TAOK_AnwarBehindCamera_large_verge_super_wide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM0CiUyxYjl-tmMnQWWmufL3uil5cYEOQ5wsI4BI5ZRR6ftapFEwSBou5pP7e2aA46hNyfz697KLj6FgSRr7bb97-vCQZIms4H3wSY6E_SbhgsVYzYZ7c7v0cPqAyalfZvZEh6dH0LRM/s1600/TAOK_AnwarBehindCamera_large_verge_super_wide.jpg" height="360" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">One of the most ingenious documentaries ever conceived, it’s a shame it is so depressing and chilling. The Indonesian government was overthrown in the 60s by a military group which enlisted Death Squads to quell the citizens. Today, the leaders of these squads are much older and are free to walk about without persecution for their crimes in the past. This documentary follows a handful of these mass murderers and gives us an insight into their minds. How is it that they can still walk about with a clear conscience and in doing so, mildly influence the youngsters around them? What makes them tick? The filmmaker decides to approach this by asking these leaders to reenact their past atrocities in various mini-skits. Some choose to perform a musical, some choose a gangster film, some choose improv in the streets. But whatever means they choose, we get a clear, disturbing window into their minds. Some even come to realize their horrible past only just now in doing this. We essentially watch them condemn themselves in the performance, like a self-guillotine. A shocking and disturbing film that will bring you as close to a serial killer as you’ll ever want to be.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>14. Monster's University / Frozen</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHguhnTZXdTal8xqn2YAitpQ8XIKBGLtYeVGO5mhHxPJ5hHkZP9MLno7b7zisjtN0RB-uKQB1hmZLKOKaALOUGR7kg1JFz4mse_R6KlBgXdKyZH75mOROJTkUhvOwVsrKR218Ni4fIcyw/s1600/tumblr_myhcs1AKuN1rsmxqlo1_1280.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHguhnTZXdTal8xqn2YAitpQ8XIKBGLtYeVGO5mhHxPJ5hHkZP9MLno7b7zisjtN0RB-uKQB1hmZLKOKaALOUGR7kg1JFz4mse_R6KlBgXdKyZH75mOROJTkUhvOwVsrKR218Ni4fIcyw/s1600/tumblr_myhcs1AKuN1rsmxqlo1_1280.png" height="358" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOga-dRz2DZZ5mXHBGLQmAZ3cX5N2hchAsTRcPx82J9ugqiCkAKgIoMP_SWwe1SWuvrnjO_46ZO4a40l09K4OcEU6O-Ebr4ylcR025GlqBofFznaSWZjvch7Ml6i2l_8Hg4my3Y0zJ7-Q/s1600/Kristoff-image-kristoff-36212638-1024-421.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOga-dRz2DZZ5mXHBGLQmAZ3cX5N2hchAsTRcPx82J9ugqiCkAKgIoMP_SWwe1SWuvrnjO_46ZO4a40l09K4OcEU6O-Ebr4ylcR025GlqBofFznaSWZjvch7Ml6i2l_8Hg4my3Y0zJ7-Q/s1600/Kristoff-image-kristoff-36212638-1024-421.jpg" height="258" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">On the bright side, there were also delightful children’s movies released this year! Both with beautiful animation as expected. Both with amazing shorts before the movie (<i>The Blue Umbrella</i> & <i>Get a Horse</i>); I’d argue each is better than the films. Both have great music. Both honour their past films: <i>Monster’s Inc.</i> and the 90s Disney musicals. And both are just a lot of fun. They’re also complimentary because I feel <i>Frozen </i>falters a little in it’s third act, whereas <i>Monster’s</i> steps it up a few notches in it’s last act (it stands strong as one of Pixar’s finest 15 minutes). Together they could have made an amazing film!</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>13. Man of Steel / Pacific Rim</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9z_DsZ_o91QFAze5KuOKSfFoiKrnhl6yhfqhEqI8kNhlpYmN3ec-XS1hBBTnW51GKOINNqbZtDP8nxmdfxYCs8Zv2DeU921_ZEUyy2FtEtlA5hrT-YRmTIVCTd_U3vQTwc7W_9_dbLYE/s1600/Man-Of-Steel-Henry-Cavill-Kal_El-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9z_DsZ_o91QFAze5KuOKSfFoiKrnhl6yhfqhEqI8kNhlpYmN3ec-XS1hBBTnW51GKOINNqbZtDP8nxmdfxYCs8Zv2DeU921_ZEUyy2FtEtlA5hrT-YRmTIVCTd_U3vQTwc7W_9_dbLYE/s1600/Man-Of-Steel-Henry-Cavill-Kal_El-3.jpg" height="422" width="640" /></span></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbG8eg0Df6rH8kR9R-VciEt0yufaTqUiqgR7S4e5ONBWL37BVBLwy3o6fTCGzSc2ljxUXBAM7VUUwQ7TWygMWTAKnNtqsLWyRAva9Kj69ExWxbOA-eLfo_lFVJAjbe6SOFfJvZLAhXXk/s1600/KAIJU.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbG8eg0Df6rH8kR9R-VciEt0yufaTqUiqgR7S4e5ONBWL37BVBLwy3o6fTCGzSc2ljxUXBAM7VUUwQ7TWygMWTAKnNtqsLWyRAva9Kj69ExWxbOA-eLfo_lFVJAjbe6SOFfJvZLAhXXk/s1600/KAIJU.jpg" height="358" width="640" /></span></a><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">This tie is apt due to the qualities and faults that these two heavy-hitters share. I realize I’m one of the few remaining defenders of <i>Man of Steel</i>, but I don’t care. I love these type of popcorn movies. Or at least the 12-year old blockbuster fan in me loves these. Both of these epic movies are just that: Epic. There’s huge spectacle, big explosions, kinetic action, a hero to save the day and a great sense of scope. Yes, the script for <i>Man of Steel</i> is bloated and tries too hard to sound smart, and the script <i>Pacific Rim</i> boasts almost no character development, but that’s not why I watch these. Both of these get action right. The cinematography is breathtakingly glossy in <i>MOS</i>, and refreshingly pristine in <i>PR</i>. Zimmer has produced one of my favourite scores of his for <i>MOS</i>, and <i>PR</i> boasts an actual rocking main theme that you just don’t hear anymore these days. Each film also has some of my favourite action sequences in recent memory: the Smallville brawl and the Tokyo showdown. I don’t care if these movies are ‘dumb’, I’m here to be entertained and watch supergods, giant robots and godzilla-esque monsters do battle!</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>12. Inside Llewyn Davis</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3vBTZB4Laq8an_fZYbtM0U8aCR4L_fXhRxXiPksOTVnEpuU-AA2cUZRPgCAZK7Oy6g7eIdntreA0D8lW2OKDkdGDPv7x9dbVkCdkAvKdMXfu9SKdgzQgxXL-QlCCxr26z9PWVCxbE9YM/s1600/inside-llewyn-davis-oscar-isaac-justin-timberlake.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3vBTZB4Laq8an_fZYbtM0U8aCR4L_fXhRxXiPksOTVnEpuU-AA2cUZRPgCAZK7Oy6g7eIdntreA0D8lW2OKDkdGDPv7x9dbVkCdkAvKdMXfu9SKdgzQgxXL-QlCCxr26z9PWVCxbE9YM/s1600/inside-llewyn-davis-oscar-isaac-justin-timberlake.jpg" height="426" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">The Coen brothers can (mostly) do no wrong. Their latest outing still has their trademark oddball characters, some dry humour, an everyman’s hero-journey and beautiful attention to detail. But this is also a tragic tale for any artist or aspiring musician. Llewyn Davis is a folk musician in the New York 60s folk scene and this film chronicles a week in his life as he pursues his creative endeavours. Amidst a dreamily-lit washed-out world, Oscar Isaac’s performance as Llewyn is both heartfelt and heartbreaking. His character is constantly in search of a musical goal, but it is never defined for himself. This, coupled with his refusal to conform and being an overall jerk results in a tragic journey. A little too depressing for me to love, but this is a finely crafted film about being an artist who’s held back by your own undoings.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>11. Twenty Feet From Stardom</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">That’s right a third documentary on my list. This is the story of the largely unknown, but largely heard backup singers of the 60s and 70s. These were the women who helped design and perform hundreds of unforgettable harmonies and counter-melodies for countless Motown, blues, rock and pop hits. Yet, either through copyright issues, greedy musicians and producers or over-saturation of the market, virtually none of the ladies we follow in this documentary managed to succeed on their own right. The unseen stars of the era. There are certainly heartbreaking moments as we follow some of their trajectories, but it is also very informative and certainly passionate. Watching Merry Clayton listen to her original recordings on the Rolling Stones’ ‘Gimme Shelter’ is one of the most hauntingly magical scenes I’ve seen this year. A great double feature with <i>Inside Llewyn Davis</i> about musicians who are relegated out of the spotlight. Albeit this one is much more hopeful and reaffirming. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>10. Blue Jasmine</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Woody Allen makes a lot of movies. The ones I actually like, form only a small percentage. Thanks to a great cast and a fun script, this one makes the cut. Essentially a remake of <i>A Streetcar Named Desire</i> with a little more psychoanalysis, we witness the downfall and clashing of the rich New York well-to-do Jasmine with her lower class sister during a mid-life crisis. The beauty of this film is in its range of emotions. In one scene we can experience the fun classic Woody Allen chit-chat and then quickly dip into psychotic moments of all too real arguments. Allen films the San Francisco setting serenely, much in the way he did with Paris in <i>Midnight in Paris</i>. But this is Cate Blanchett’s show. She is mesmerizing as this wreck of a life, but never over done. Every other single character is fully realized and each brings a load of pathos as a result of Jasmine’s torrid path of destruction. This is a tragic comedy about the exploration of regret, yet still very fun!</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXSQOcmpA1cwfn9MBBHbnv6HCI2Q-JEz16SIBqR3JtUBNx0qhz1gZZmwGJByMruRhYCrU661Ho9142IfN79dQn70zFQVHyb-RD0YIU2EaHnDK-_VMQr4jp662RSCWKPFVzUP-Pn3LbqVw/s1600/4072-D001-00078-R-CROP-jpg-001838-jpg_213056.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXSQOcmpA1cwfn9MBBHbnv6HCI2Q-JEz16SIBqR3JtUBNx0qhz1gZZmwGJByMruRhYCrU661Ho9142IfN79dQn70zFQVHyb-RD0YIU2EaHnDK-_VMQr4jp662RSCWKPFVzUP-Pn3LbqVw/s1600/4072-D001-00078-R-CROP-jpg-001838-jpg_213056.jpg" height="358" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">If you ride like lightning, you’ll crash like thunder. Kicking off with an amazing long take, we enter an epic sprawling tale of men trying to do the right thing. The film covers four interconnected lives in a linear yet clearly separated 3-Act structure. It may feel long, but it’s necessary to give each character his own time to germinate. A wonderful ponderous tone helps keep the film consistent from start to end. We watch as the choices they make, trickle down through time as a result of family and circumstance. This is an engaging drama on morality and family, but it never feels preachy. In fact, the direction does most of the talking with the aforementioned long takes and sparse but thrilling action sequences.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>8. Prisoners</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLM93-vFAAblcICYXo4QQ-fViAKOOEojr7bVD1joM6HC1yrniPDUshdsEQ01en7xm1tAobgS9P3Hq1D1oxzn_qxyvcfB_V8d4TQ_g4mltF77gCeEBzi1gL1FLm3Y3id1UHkpvk3fivMfw/s1600/prisoners-movie-review-powerful-and-intense-thriller-header-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLM93-vFAAblcICYXo4QQ-fViAKOOEojr7bVD1joM6HC1yrniPDUshdsEQ01en7xm1tAobgS9P3Hq1D1oxzn_qxyvcfB_V8d4TQ_g4mltF77gCeEBzi1gL1FLm3Y3id1UHkpvk3fivMfw/s1600/prisoners-movie-review-powerful-and-intense-thriller-header-1.jpg" height="434" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Quebec director Villeneuve’s first foray into Hollywood is a ‘cops & robbers thriller’ much like an episode of Law & Order; but obvsiouly much better and more competent. When a man’s daughter goes missing and believed to be abducted, the police follow a surefire lead, but it goes nowhere. Jackman, our distraught father, isn't convinced and decides to pursue the case on his own. The first clue that I knew I’d love this film is the pedigree. Villeneuve certainly is good, but 3 of my favourite actors are involved and giving it their all. Hugh the JackMan puts up his best work in a very atypical role for himself. Jake Gyllenhaal continues to prove his versatility with his jaded and beleaguered detective. And good ol’ Paul Dano once again, gets beat up in another movie, but he’s still creepily awesome. Another key player is the great cinematographer Roger Deakins who brings his unique sensibilities to a dark story, and sheds light in unique and fascinating ways. This is a twisting story drenched in darkness that plays and warps our perceptions of morality; continuously blending lines between victims and offenders.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>7. Anchorman 2: The Legend Continues</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdrNIo7d88uFl0ZvY1Pft0qeFYoem7aZJSeinI2-n4lLzcwOY2oVzTNCZuQLV3RDTVwwwKE2rT2I2hwLIoluibC3_b9_fMVo006gOOAN4FJL_5C9aRVJSqfitft13PnZFy4UhgwIAF3IU/s1600/will-ferrell-jazz-flute-anchorman-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdrNIo7d88uFl0ZvY1Pft0qeFYoem7aZJSeinI2-n4lLzcwOY2oVzTNCZuQLV3RDTVwwwKE2rT2I2hwLIoluibC3_b9_fMVo006gOOAN4FJL_5C9aRVJSqfitft13PnZFy4UhgwIAF3IU/s1600/will-ferrell-jazz-flute-anchorman-2.jpg" height="320" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A sequel 9 years after the comedy classic (and my #4 all-time) was always wanted, but never thought to work; especially with this much distance between the two. But as far as I’m concerned, this is the best result we could have gotten. Sure, like most sequels, it takes things too far, but at least it maintains plenty of its own originality and generates equal amounts of laughs comparable to its predecessor. Taking a very loose plot with which to hang its gags on, we follow the Channel 4 News team as they join up again to...oh it doesn’t matter. All that matters is that we spend time and laughs with these goofballs. It’s a blast that is worthy of the original, and even though it suffers from overblown sequelitis, at least it is committed a full 150% to the outlandishness.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>6. 12 Years a Slave</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjTZbb_q9hyphenhyphenOqaJLyYVRdjcbv9DS9cQI-_YcBuY_n75AT6XsVn_yjTy4gN7yedt6l4VQxbIVcwtfuMBNs4N4dM1p2n8uDnOHeb8zkdPDi9oidew2pEvAKHjH-LmDTSDrb3hHlZRcOdybE/s1600/1373963487_twelve_years_a_slave-oo4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjTZbb_q9hyphenhyphenOqaJLyYVRdjcbv9DS9cQI-_YcBuY_n75AT6XsVn_yjTy4gN7yedt6l4VQxbIVcwtfuMBNs4N4dM1p2n8uDnOHeb8zkdPDi9oidew2pEvAKHjH-LmDTSDrb3hHlZRcOdybE/s1600/1373963487_twelve_years_a_slave-oo4.jpg" height="264" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Tragedy seems to be the theme this year with 7 of the previous films I mentioned being fairly depressing stories. This film is certainly no exception. One the highest quality films of the year and covering a very important topic, this is a shoe-in to take home the Best Picture Oscar. This is the true story of Solomon Northup, a family man living in New York who becomes abducted and sold into slavery in the southern US. A devastating story set against a harrowingly devastating time, this does venture into disturbing territory for Solomon; played by Chiwetel Ejiofor who puts his entire soul on screen. All of the actors deliver their best, Zimmer rings in another winning score, cinematographer Sean Bobbitt (also of <i>Place Beyond the Pines</i> fame) has fantastic outdoor imagery and director McQueen finally feels reeled in (I’m not a fan of his previous direction). But depression and brutality is not my style, and that is why this is only number 6. I’m not sure I can picture myself ever watching this again, yet it is definitely worth everyone’s time to watch.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>5. Nebraska</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDbZ_JdnayHc9kMseCWFCI2K0e5GUcB0MhT6vttH2igufLhyLfZxGTY0_qbFgndUv_G56VzQp9LFsqG_ebmoBD3ZWONAYzWS8eR8YCLAeKVwoI6I_rMjVGgp2cseW7yY9DMFUWx-b2BM0/s1600/nebraska-movie-bruce-dern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDbZ_JdnayHc9kMseCWFCI2K0e5GUcB0MhT6vttH2igufLhyLfZxGTY0_qbFgndUv_G56VzQp9LFsqG_ebmoBD3ZWONAYzWS8eR8YCLAeKVwoI6I_rMjVGgp2cseW7yY9DMFUWx-b2BM0/s1600/nebraska-movie-bruce-dern.jpg" height="360" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">And...that concludes all of the depressing movies on this list. Directed by award season favourite Alexander Payne, <i>Nebraska</i> is another one of his quaint family stories infused with the perfect balance of light comedy and pathos. The film is shot in a blissful black & white to turn the mid-west into an even more serene landscape. And it is across this landscape that we follow octogenarian Woody Grant and his reluctant son on a road trip to claim a fake Million-Dollar Sweepstakes prize. Woody is convinced the prize is real and his son is convinced the only way for his father to find purpose in life is to go out and chase this dream. Along the way, they encounter old family ties as well as old ‘friends’ out to claim some of Woody’s ‘fake million dollars’. Bruce Dern as Woody is outstanding while balancing hints of Alzheimer's and stubbornness with senility, but never cloying. This is a sweet little film about family and it charmed the socks right off of me. I never thought a black & white film about a grandfather traveling across the bleakest US States could be so entertaining.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWZ4XfJZXvbdWyL7p6u2fKkkEowc7aw2nYCrbGaQ3BBXmsN9Im6C5xVr7gr-XKacRNrYUEZOx1pD86erD-cUJsPGX3CwoJi4s8pB1xjIg4NfpK10NgQQBJ74xGKTzJ4YYBCJTQt-Et0E8/s1600/y9pkDqYOI1gvqxPqWktTUCFwrNj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWZ4XfJZXvbdWyL7p6u2fKkkEowc7aw2nYCrbGaQ3BBXmsN9Im6C5xVr7gr-XKacRNrYUEZOx1pD86erD-cUJsPGX3CwoJi4s8pB1xjIg4NfpK10NgQQBJ74xGKTzJ4YYBCJTQt-Et0E8/s1600/y9pkDqYOI1gvqxPqWktTUCFwrNj.jpg" height="360" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Director Paul Greengrass is the master of his own genre: Hand-Held Intense Action Realism. His entries into the Bourne series and <i>United 93</i> are some of my favourite films. He has now made another masterpiece I can consider to have that honour. This is the true story of a US cargo ship that was hijacked by a group of Somali pirates and defended by the titular captain. Thanks to Greengrass’ in-your-face direction and his quick-cut editing, this is certainly the most intense film of the year. From the get-go, it never lets up. This is a relentless 2 1/2 hours hostage situation. The final act can be compared to the final act in last year’s <i>Zero Dark Thirty</i>, but I think this is a much better realized and purposely more emotional version. Grounding that emotion is my buddy Tom Hanks who delivers his career best moments in the final 10 minutes. The rest of the cast is populated by small character actors, but mostly non-actors for a true sense of realism. Most notably impressive is first-timer Barkhad Abdi as the main pirate whom we actually feel for. Just like <i>United 93</i>, we already know the outcome of the story, but Greengrass crafts a gripping procedural through this heinous event and you’ll be enthralled as you grip your armrests the whole way through.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>3. The Wolf of Wall Street</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXPIPPjuNFO2lzucBA4eVCq15ILWG1_67EUXMyk6G6OZehH62ZpBeKrN6F9hGMKqQfgit9qv57ZY_0fDMU0F9BiBQmV1eBBayAZVv2mOL3S_toLQL5Neh_VIbK2wOVIpCPQQnP5cW190/s1600/wolf-of-wall-street-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXPIPPjuNFO2lzucBA4eVCq15ILWG1_67EUXMyk6G6OZehH62ZpBeKrN6F9hGMKqQfgit9qv57ZY_0fDMU0F9BiBQmV1eBBayAZVv2mOL3S_toLQL5Neh_VIbK2wOVIpCPQQnP5cW190/s1600/wolf-of-wall-street-02.jpg" height="332" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Morally, this is essentially the same film as <i>Pain & Gain</i>, but much more mature and exhilarating. Leonardo DiCaprio stars in his greatest role and best performance to date as Jordan Belfort, a real man’s man who grew to be one of the richest and most corrupt stockbrokers in the late 80s/early 90s. There have been numerous silly articles about how this film is worshipping Belfort’s despicable behaviour, but those journalists are missing the point. Like it’s twin cousin <i>GoodFellas</i>, this is a film about morally duplicitous criminals who cheat to get ahead in life, only to have everything go wrong. After all, this film is based on real life, and if you have a complaint about how he gets his comeuppance, then you have only to blame the American government/judicial system; of which this film is a satire of. There’s a stand-out scene three-quarters through the film where Leo performs unexpectedly, the finest physical comedy in years, and if someone watches that and says, “I want to get rich and be just like Belfort!”, then they have their own problems. Aside from the useless controversy, this is one of the most energetic films of the year. Scorsese still has it in him, and directs ‘the heck’ out a 3 hour film that feels like a roller-coaster hour and a half. Yes, it is a very very strong 18A film that is not for the faint hearted, but it is also hilarious. I can not overstate how amazing DiCaprio is as a testosterone-infused, morally loose, confidence guru, and I look forward to watching this angry-comedy for years to come!</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>2. Gravity</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">If you missed this in theatres, that’s your loss and you better hope for a re-release; and it’s not even necessarily for the 3D like <i>Avatar</i>. This is a beautiful IMAX-esque film that WILL transport you to another world, or rather above our world. The simple story follows two astronauts who get caught in a storm of debris that destroys their shuttle. They then have to rely on their brains and courage to find their way home. Many people are complaining about the lack of development or progression in the story, but I find it refreshing and streamlined to better serve the thrilling action. In an action movie sense, we just want these guys to get from point A to point B. Several years in the making, this is Alfonso Cuaron’s (of <i>Children of Men </i>fame) outstanding masterpiece and science project. He spent years perfecting the technology to make this film and it shows. The visuals are spectacular, and I can’t wait to see the ‘making-ofs’ on the Blu-Ray. I honestly have no clue how some of these shots were made. Like <i>Children of Men</i>, this is chock full of long takes where the camera never cuts. Although it’s a little easier because special effects cover much of it up, the effect of being continually drawn in and never letting go is achieved. The opening shot itself (which is gorgeous) is a 17 minute continuous take. The editing, visual effects, cinematography and most definitely direction deserve every accolade it can get. Visually, this is my <i>Life of Pi</i> of this year. For me, the score takes this year’s <i>Social Network/Drive</i> award, for the coolest new-wave score. Clooney does a great job at trying to make you feel at ease and Bullock does a very good performance of being in peril the entire time, but I feel as though I’d be swearing a whole lot more! This is a must-see film and a technical break through that puts your stress levels to max and results in an incredibly satisfying trip into cinema magic.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>1. Breaking Bad</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Just kidding. TV doesn’t count. But honestly, this 5-season show is one of the best movies of all time, it just happened to exist in TV format. Thank you <i>Breaking Bad</i> for being the greatest TV drama ever.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBEw9UYU8dOSderQc9445PYQanO-Rhzdl3goAU2ESpsy1_0HozIOrxLrCbaaQbXtvTO7jfbSDrJxko2u9PtF6pzDekkPZpynBniDSs7CxjxcObEN2QnsiXFWSGliIC-e5NdqBMBeI1u1Y/s1600/i.2.s-joaquin-phoenix-her.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBEw9UYU8dOSderQc9445PYQanO-Rhzdl3goAU2ESpsy1_0HozIOrxLrCbaaQbXtvTO7jfbSDrJxko2u9PtF6pzDekkPZpynBniDSs7CxjxcObEN2QnsiXFWSGliIC-e5NdqBMBeI1u1Y/s1600/i.2.s-joaquin-phoenix-her.jpg" height="434" width="640" /></span></a></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">I’ve switched these top 3 magnificent films back and forth, but I landed here very confidently now. Especially after recently posting my All-Time Top 100 films on this blog, the film I can most compare <i>Her</i> to is my #1: <i>Eternal Sunshine of the Spotless Mind.</i> It is very similar in tone and shares many of the same qualities. Also, this has what most other great films this year didn’t have: Heart. Written and directed by the always interesting Spike Jonze, this is a beautiful film about love and our desire for connection. More specifically, this is oddly about a lonely man in the near future who falls in love with his computer operating system once he discovers it has an advanced Artificial Intelligence. It sounds silly and the trailer wasn’t good, but Jonze and the wonderfully emotional performances by Phoenix and Johansson anchor this tale in your heart and fill it up to the brim. Yes, it does have things to say about our relationship with technology, but that’s only a side note. Jonze is more interested in creating a tone poem (like his <i>Where the Wild Things Are</i>) about love and everything that comes with it: companionship, camaraderie, marriage, divorce, the puppy-love phase, the arguments and the sexual moments. The latter of which, is why this is a 14A movie and it has resulted in many of the older crowd walking out within the first 15 minutes. But this is a gorgeously shot and realized film with beautiful set design in a fully realized world where every frame has meaning, even when he lingers on beautiful nothingness. He brings out many emotions and ideas that will stay with you long after. It’s food for thought about what a relationship means to you. It also fits perfectly into Jonze’s other works: <i>Being John Malkovich</i> covered everything about Identity, <i>Adaptation</i> covered everything about having a meaningful Life, <i>Where the Wild Things Are</i> was an exploration of youth and innocence and now he’s covering the human heart. A man of big ideas who likes to have us involved in his most personal thoughts. If this doesn’t take the Best Screenplay Oscar, I’ll eat my foot. This is also great date movie! A film I’ll return to again and again to get something different out of each time.</span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-50198757520043118402013-11-14T17:30:00.002-08:002013-11-14T18:29:34.149-08:00My 100 Favourite Films<div style="text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">After recently watching my 2000th movie, I felt the need to mark this landmark occasion. I therefore have taken the time to list and briefly explain my favourite 100 movies. These are MY favourites films, not the best, but the ones I most enjoy. Ideally, I like to think that my tastes in entertainment coincide with quality regardless. You may disagree with some/most of the choices, but we all have different tastes. Although I took time to arrange the order, it is not set in stone. Just because something is ranked #35, does not make it definitively better than #36. It was just a way for me to generally organize my feelings. Besides, this top 100 only represents 5% of the films I've seen. There are hundreds of other classics you should see. For instance just outside of these 100 are other favourites of mine like <i>Fargo</i>, <i>Pulp Fiction</i>, <i>Dumb and Dumber</i> and <i>Shaun of the Dead</i>. Enjoy!</span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>50. Apocalypto (2006)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlh59JXM8sf1vlq5MVx6cMjYuiXJbhEdLMrkhtY356dDONIBFqXljy1nyC24CfAmfq59wabSfiJWERG7kbGJYekkFMH-gmztg9z5NL9HkvVhwpBNryRghGL9cHannf5hK9DbZOBb4j4I/s1600/screenshot-med-26.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimlh59JXM8sf1vlq5MVx6cMjYuiXJbhEdLMrkhtY356dDONIBFqXljy1nyC24CfAmfq59wabSfiJWERG7kbGJYekkFMH-gmztg9z5NL9HkvVhwpBNryRghGL9cHannf5hK9DbZOBb4j4I/s640/screenshot-med-26.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"A great civilization is not conquered from without until it has destroyed itself from within."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Born out of the depths mad man Mel Gibson’s mind, comes this largely under-seen gem. Regardless of who he is as a person, he can make one heck of a film. Filmed in the various jungles of Central America, with non-actors of the region, Gibson takes us on one tribesman’s journey from husband, to slave, to sacrificial prop, to fugitive and finally to foretelling an omen of things to come. Spoken entirely in the Yucatec Mayan language, and portrayed as accurate as possible, this truly is an adventure unlike no other. A straight-up action movie with a fair share of gore and excitement, this is an absolute thrill-ride. Also gorgeously shot amongst the luscious jungles, this film tends be my go to for showing off a blu ray.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>49. Good Will Hunting (1997)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXSVKFO-y-j9EL0sZs9n26gLr7Sup1a8ozl_EZjMlyI726fp7n2sQkyX7gG1W7bT0qp_8YjyJBWF9bH1ytcg75yx51rDWWHKXPJPHyhh9rIsqYoXv0IW5w4krvEl1uSrqk1BOLidKbWsk/s1600/good-will-hunting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXSVKFO-y-j9EL0sZs9n26gLr7Sup1a8ozl_EZjMlyI726fp7n2sQkyX7gG1W7bT0qp_8YjyJBWF9bH1ytcg75yx51rDWWHKXPJPHyhh9rIsqYoXv0IW5w4krvEl1uSrqk1BOLidKbWsk/s640/good-will-hunting.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Real loss is only possibly when you love something more than you love yourself."</span></b></span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b style="letter-spacing: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></b><span style="letter-spacing: 0px;">The story of a delinquent teenager who chooses to squander his true potential and genius in favour of an ‘easy’ life as a janitor could easily turn out to be sappy. Thanks to Damon and Affleck’s mature script and the director’s subtle touch, this never reaches an after-school special mentality.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">Instead, we have an honest, touching story about maturity. The </span>loveable<span style="letter-spacing: 0px;"> heart-warming center of it all is of course Robin Williams’ Oscar winning performance. The park bench scene alone, ought to go into the all-time best moments put to screen.</span> </span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>48. Children of Men (2006)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tc5YXtB2NUCqO8_cSNNL3HXnnofla0NnU-xYhzt_-uLDqJucX_eFl9RijXrAKHUUDMZVkzLWQk_c5ZxTSuKE2wiu1LvoPsC27bTm2IzHWyqDsxjDDuEK0q6drOn3o7C2yXEwHTB2hmM/s1600/children-of-men-2006-clive-owen-clare-hope-ashitey-pic-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tc5YXtB2NUCqO8_cSNNL3HXnnofla0NnU-xYhzt_-uLDqJucX_eFl9RijXrAKHUUDMZVkzLWQk_c5ZxTSuKE2wiu1LvoPsC27bTm2IzHWyqDsxjDDuEK0q6drOn3o7C2yXEwHTB2hmM/s640/children-of-men-2006-clive-owen-clare-hope-ashitey-pic-6.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Very odd, what happens in a world without children’s voices."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>World building is always something you can marvel at in films. In this dystopian future where children are no longer born, seconds may fly by containing dozens of details that visually tell you about the world they are inhabiting. This is a richly crafted film, that shows you (doesn’t tell you) what’s happening. What’s more, is the director seals you in this world using unedited long takes. Most of the action scenes are presented in real time by not cutting the camera from beginning to end. We watch a group of escapees flee in a broken down car, while being pursued by motorcyclists, and fighting them off all in one take. Later on, we follow our hero through a war-zone, brimming with tension, and since it is all in a single shot, we are forced to experience this intensity. An amazing, impressively detailed film full of symbolism and intensity that astounds me every time I watch it.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>47. Inception (2010)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTmwSOCB8f01Hv7trvpKma_J9Bcm5cBxFt0_bHWsl_0S7ASgVCds350uNNFmDh3x2keI996R_T3jC2MxLNFdCW9vMJEp6dYjTjFK0aj85gVXVVnbq2Lah55lGn_8iWjTmuxGPaIec_aM/s1600/inception-leonardo-dicaprio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTmwSOCB8f01Hv7trvpKma_J9Bcm5cBxFt0_bHWsl_0S7ASgVCds350uNNFmDh3x2keI996R_T3jC2MxLNFdCW9vMJEp6dYjTjFK0aj85gVXVVnbq2Lah55lGn_8iWjTmuxGPaIec_aM/s640/inception-leonardo-dicaprio.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Do you know what it is to be a lover? Half of a whole?"</span></b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Overrated? Nope. Sure, it does the opposite of the aforementioned <i>Children of Men</i>. It </span><span style="letter-spacing: 0.0px; text-decoration: underline;">tells</span><span style="letter-spacing: 0.0px;"> us how the world functions, instead of letting us experience it for ourselves. Yet that isn’t to say that it doesn’t visually please as well. It is that oh so rare film in Hollywood that is an original idea presented as a big budget blockbuster. Aside from the concept of ‘dream inception’, the film’s true genius is in the editing and directing. By the end, we simultaneously experience up to four different story layers at once and it is so well put together and laid out that we are never lost. Nolan’s direction is also key to crafting an unforgettable experience with gorgeous visuals. And I must not forget Zimmer’s epic game-changing score that ties it all together thematically. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: large;"> </span><b><span style="font-size: x-large;">46. It's a Wonderful Life (1946)</span></b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHkXr6CqrzM72w6mkyRvYQ3n0icMcPZg6XJXjFDx8R8lSGnzSaI0fAFRRCY3EDRhtb8Grk688MdMR6BnlfO5ZB8rO-sO55PdLUfh7-P4KGEfFcTwtLI8OBzpdFGjUhoqIXAACpKue6hs/s1600/itsawonderful_life_rect.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHkXr6CqrzM72w6mkyRvYQ3n0icMcPZg6XJXjFDx8R8lSGnzSaI0fAFRRCY3EDRhtb8Grk688MdMR6BnlfO5ZB8rO-sO55PdLUfh7-P4KGEfFcTwtLI8OBzpdFGjUhoqIXAACpKue6hs/s640/itsawonderful_life_rect.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Each man’s life touches so many other lives. When he isn’t around he leaves an awful hole."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Notable for not being successful upon release, and then finding it’s audience on cable every Christmas, <i>It’s a Wonderful Life</i> has become one of the most endearing cult-classics. The always delightful Frank Capra directs the always delightful Jimmy Stewart in this quaint small-town film about an everyman coming to terms with how precious life can be. Just like life, the film flows in and out of happy and sad moments. We learn in a Dickensian <i>Christmas Carol</i>-type of fantasy that we all serve an important role in the lives of others. Such a humanistic film. This is such an uplifting film with so many joyous moments that always brings a smile to my face.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>45. Black Swan (2010)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlZc5jrdJPphfwvzIL2lOmOxjGgEe7Y2c28vctCEeBJAghegB89bRQZbvWoi_d_DEfAoBYi5UmKVty5OhqC-VhmKn5bNDOTwHLiHVVjw0dQwITtj4x1t1uzJesKhFwZy3MV8c3oWDvJ7A/s1600/black-swan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlZc5jrdJPphfwvzIL2lOmOxjGgEe7Y2c28vctCEeBJAghegB89bRQZbvWoi_d_DEfAoBYi5UmKVty5OhqC-VhmKn5bNDOTwHLiHVVjw0dQwITtj4x1t1uzJesKhFwZy3MV8c3oWDvJ7A/s640/black-swan.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I just want to be perfect."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A disturbingly fun psycho-thriller about a ballerina striving for perfection (loosely based on the classic 1948 film <i>The Red Shoes</i>). Creatively directed by Darren Aronofsky, who takes pleasure in loading most every scene with both subtle details and not-so-subtle symbolism. He relishes in the shocks and turns, making the film tread just lightly enough into 70s B-movie Horror film territory. Portman does a great job in balancing both the delicate and confident sides of her character. The kicker for me though, is the theme of devoting oneself to your art. How much would you sacrifice to be the best at your craft?</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>44. The Truman Show (1998)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqMirtN-UHvTX_tB8zVSMG9DotaUUPW4y1J4QBUAQjmx-wuMUwHgVKl5eUl95-U4cHRmhVMlVYbhTN6FDMFLTFhgb9rjoMYyKcI379Q7M9lzz1-aqRQx4yNOpobMZSOBCdRaAz94rYK4M/s1600/1353349494-the-truman-show.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqMirtN-UHvTX_tB8zVSMG9DotaUUPW4y1J4QBUAQjmx-wuMUwHgVKl5eUl95-U4cHRmhVMlVYbhTN6FDMFLTFhgb9rjoMYyKcI379Q7M9lzz1-aqRQx4yNOpobMZSOBCdRaAz94rYK4M/s640/1353349494-the-truman-show.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"We accept the reality of the world with which we are presented."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>An underrated film that always gets passed off as ‘that serious Jim Carrey movie that’s always on TBS.’ A fictional town, loaded with hidden cameras is molded around our main character from birth, so that viewers around the world can watch entire his life as a reality show. First off, this film is a wonderful criticism of television and privacy boundaries; which are even more relevant today. Secondly, the movie is a canvas filled with philosophical and existential ideas that will make you ponder. Much like <i>Groundhog Day</i> and <i>Pleasantville</i>, this is a light-hearted fun movie with surprisingly large-scale aspirations.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>43. Ratatouille (2007)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVV-NDq1uEaMh4KQhACtDRk_0kPRERyBrsR8kSAOaDod4ki8MtHQ7hIMKKcpm70sq9VhvtQ2SHcCivs47y5QTqAL6_-DspthrhyKgjHOG5hvwwiv6MEqdSlIuw7m-xcNNf7XZEI6fifE/s1600/ratat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVV-NDq1uEaMh4KQhACtDRk_0kPRERyBrsR8kSAOaDod4ki8MtHQ7hIMKKcpm70sq9VhvtQ2SHcCivs47y5QTqAL6_-DspthrhyKgjHOG5hvwwiv6MEqdSlIuw7m-xcNNf7XZEI6fifE/s640/ratat.jpg" width="640" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">Surprise me!"</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Let’s just sit back and marvel at one of my all-time favourite monologues about creativity and artists, said near the end of the film by the food critic, Anton Ego:</span></span><br />
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<span style="font-family: Verdana, sans-serif; letter-spacing: 0.0px;"><b>“In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the ‘new’. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new: an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, ‘Anyone can cook.’ But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist ‘can’ come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.”</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>42. Austin Powers (1997)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOh2_PrLocHlYrz7aduWdW6YfPwyYfoABOJ4oG_twyQr4ieM1GEUJRWWqGBT4F9k7uF_amQQTQ79P0mjg9m1jZeQ9FQzi-BZT4rIyS88pW3TQgqeAfwTHia1yKloAC8UbDt6j_nuwZzQs/s1600/austin-powers-international-man-of-mystery-1997.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOh2_PrLocHlYrz7aduWdW6YfPwyYfoABOJ4oG_twyQr4ieM1GEUJRWWqGBT4F9k7uF_amQQTQ79P0mjg9m1jZeQ9FQzi-BZT4rIyS88pW3TQgqeAfwTHia1yKloAC8UbDt6j_nuwZzQs/s640/austin-powers-international-man-of-mystery-1997.png" width="640" /></span></a></div>
<b><span style="font-family: Courier New, Courier, monospace; font-size: large;"><span style="letter-spacing: 0px;">"My childhood was typical: summers in Rangoon, luge lessons</span>…<span style="letter-spacing: 0px;">"</span></span></b><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Before the gross-out, not-as-funny sequels came out, there was this original comedic masterpiece. Not that spy movies hadn’t been spoofed before (<i>Casino Royale, Top Secret!)</i>, but this riff on the older James Bond movies is the best. It simultaneously lampoons and reveres 007, while creating it’s own identity and voice. For me, the comedy has not gotten stale, and I guffaw continually while watching the movie. Everything makes me giggle: the bombastic Bond-ian soundtrack, the puns, the deliberately cheap action, all of the villains and most notably Dr. Evil’s backstory monologue in the self-help parenting group.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>41. Casino Royale (2006)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrJkUBibJlvsFCae1V6DxK__YIyUQB-JTkkyj1yTPL-NTwJD2vru5E85vcWoWvqHxIMP6sTBN6_yeIDx6SGs8K_CEklINzkwxFEpwIp3kWWDOtn-qYNGwnmpLaxZ-R7PBpVSDndywncY/s1600/casino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrJkUBibJlvsFCae1V6DxK__YIyUQB-JTkkyj1yTPL-NTwJD2vru5E85vcWoWvqHxIMP6sTBN6_yeIDx6SGs8K_CEklINzkwxFEpwIp3kWWDOtn-qYNGwnmpLaxZ-R7PBpVSDndywncY/s640/casino.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I need you to take your ego out of the equation."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>James Bond had come a long way to get to this point. Essentially the 3rd or 4th reboot of the series, this is when they managed to take on an entirely new style and honour everything they had done before. Taking a cue from the serious Dalton films of the 80s, the charm of the first Connery films and the style of the recent Bourne films, 007 was ready for a new generation. Essentially it has many of the fun Bond-ian throwbacks, but is an incredibly mature film. Daniel Craig changes Bond from a surface-deep caricature into a real presence. Add in another great song-title sequence and some of the best action sequences of the decade and you have a perfect action film.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>40. The Fountain (2006)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmLSydIdxbKoVD5GQdIKU0lfakUIz_80roMH-d4YJfky9mKqnUlgTWTo0EImWaq9WAl233dytrcb2SA0gHBdJZio_y8nMD6mg6659WisRerUQjNd1XpV89fq8ggZCeGbMtPs1gDGWeSk/s1600/fountain3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmLSydIdxbKoVD5GQdIKU0lfakUIz_80roMH-d4YJfky9mKqnUlgTWTo0EImWaq9WAl233dytrcb2SA0gHBdJZio_y8nMD6mg6659WisRerUQjNd1XpV89fq8ggZCeGbMtPs1gDGWeSk/s640/fountain3.jpg" width="640" /></span></a></div>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"> "<b style="letter-spacing: 0px;">Death is the road to awe."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A very polarizing film: most people either find it pretentious and over-complicated or beautiful and inspiring. Hugh Jackman and Rachel Weisz play star-crossed lovers over three different centuries and settings: as Spanish explorers, present-day doctors and future Zen space travelers. It sounds messed up and confusing, but it’s linked together using cleverly smooth transitions, gorgeous music by the Kronos Quartet and career-best performances by both actors. There are astonishingly no computer graphics involved. Instead, the director Aronofsky, used microscopic shots of chemical reactions to achieve the unique visuals of this film. This is also a beautifully emotional film about love and loss. A one of a kind, meditative piece of art that continually lulls me into it’s spell. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>39. Jaws (1975)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEuA8JkDmgfjO6zG10e2POsWSV1QObvv7DhkCV19GoZ2jy69Fu-Rm9bDZ3xQ7khnr9EyVe5LxYR3vUqTW-T0COBmBBHlgeBwTi-B4H0zYS12tDHl3DZIozoqABcyH5hIxA-pNM5LyRbI/s1600/jaws_356190b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsEuA8JkDmgfjO6zG10e2POsWSV1QObvv7DhkCV19GoZ2jy69Fu-Rm9bDZ3xQ7khnr9EyVe5LxYR3vUqTW-T0COBmBBHlgeBwTi-B4H0zYS12tDHl3DZIozoqABcyH5hIxA-pNM5LyRbI/s640/jaws_356190b.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"You’re gonna need a bigger boat."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Classic music. Classic characters. Classic lines and monologues. Classic story. Classic direction. Classic scares. Classic scenes and shots. One could call this a Classic Film. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>38. A History of Violence (2005)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6LV7J2c_C1hPCNkrfU26uiBvxK3WYbTjMAgK3db442laAoPJNeaa4WX9so-AcG7urVMhF_lIylQcd4K1O8lsJy59h2aB0aB23nWvtGCFT5HC6REQTIFTa5jigvn-GN87j5jFEUX6_qo/s1600/history-of-violence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6LV7J2c_C1hPCNkrfU26uiBvxK3WYbTjMAgK3db442laAoPJNeaa4WX9so-AcG7urVMhF_lIylQcd4K1O8lsJy59h2aB0aB23nWvtGCFT5HC6REQTIFTa5jigvn-GN87j5jFEUX6_qo/s640/history-of-violence.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"My husband does not know you. He wouldn’t know you, somebody like you."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A small-town coffee shop owner stops some burglars and becomes a local hero. His violence inspires his son in school and attracts the attention of some out-of-town mobsters. If you were ever wondering what a slow burn movie feels like, this is it. The pacing plods along so carefully throughout and it all leads to a perfect conclusion thematically. The story shows us the direct and indirect effects of violence. As humans, we get caught in a never-ending cycle of violence. It may be cynical, but this is an expertly crafted film, with some of Canadian Cronenberg’s best framework and composed shots. Not to mention Viggo Mortensen’s amazing work.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>37. Magnolia (1999)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_ZQjIp93Q85SuzYv8_54QaFTBZIqKRIdg8oR4LSTEIUr5AAVc71utYiVitVJ3kRHdo_ec4EZl2AgaxT5G8-vZXZ0v5yshxy-FP7P302SpusJabCGj_ksKGV0qdDIOMOPCV_hc2HiejI/s1600/magnolia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM_ZQjIp93Q85SuzYv8_54QaFTBZIqKRIdg8oR4LSTEIUr5AAVc71utYiVitVJ3kRHdo_ec4EZl2AgaxT5G8-vZXZ0v5yshxy-FP7P302SpusJabCGj_ksKGV0qdDIOMOPCV_hc2HiejI/s640/magnolia.jpg" width="640" /></span></a></div>
<span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">It’s not going to stop, ‘til you wise up."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Based on the films of Robert Altman, this is a 3 hour soap opera in the best way possible. An all-star cast of about 15 players share the spotlight in a series of inter-related scenes. This is a sprawling opus that can seem indulgent but I see it as an all-encompassing saga about coincidences, our connections and the effects of poor father-son relationships. Each actor puts in some of their best work and each character has a perfect storyline. We experience several character arcs reaching simultaneous highs and lows through masterful editing. Everything is ingeniously sown together and it sweeps you along this surprisingly breezy chronicle. The opening section foreshadows elements of suspended disbelief, therefore later when we experience flying amphibians and a breakout musical number, it oddly fits in and magically joins everything together.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>36. The Matrix (1999)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFIFQvnjzHjoEZ3CeeEmETYAU9zMGUOmPI9rsk5AmHCQqBCgErVuuyusOjtEHUHDP5nBzliL8SSymEGb-lg3guzXtLxoQBxCB7zS8is519uzOWdDwKXt3xCP2an0qfnl-dj3F0bSYsf4/s1600/matrix2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFIFQvnjzHjoEZ3CeeEmETYAU9zMGUOmPI9rsk5AmHCQqBCgErVuuyusOjtEHUHDP5nBzliL8SSymEGb-lg3guzXtLxoQBxCB7zS8is519uzOWdDwKXt3xCP2an0qfnl-dj3F0bSYsf4/s640/matrix2.jpg" width="640" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">What is real?"</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Often imitated, never duplicated. At the time, this film was innovative for the bullet time special effects, cool premise and staging top-notch martial arts sequences. Moreover, the reason this is still a favourite of mine, is how fully realized the lore of it’s universe is. The film is steeped in loads of philosophical ideas (just take a listen to the Philosopher’s feature commentary), based on the age-old Hero’s Journey (like <i>Star Wars</i> or even <i>Harry Potter</i>) and done in a stylish East meets West form of storytelling: Buddhist and Zen-like connotations mixed with modern Hollywood comic-book framed action. It’s a real cornucopia of ideas and styles told with beautiful and innovative direction. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>35. The Bourne Ultimatum (2007)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNPIXo4M8rxcpZfgaiSOWk3QS_ONKIb0HINvfn9xvNnA0YHwq8W4p_tWPDjG7cGCDWeSQKvaT7QKPWYY5d9biJ2ey4BOt0rWFqVNpPbs7jj0T8BHhVg-TzHV9qxs4Ma3m3csnK1dduQsQ/s1600/bourneMatt+Damon+at+Waterloo+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNPIXo4M8rxcpZfgaiSOWk3QS_ONKIb0HINvfn9xvNnA0YHwq8W4p_tWPDjG7cGCDWeSQKvaT7QKPWYY5d9biJ2ey4BOt0rWFqVNpPbs7jj0T8BHhVg-TzHV9qxs4Ma3m3csnK1dduQsQ/s640/bourneMatt+Damon+at+Waterloo+2.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Someone started all this, and I’m going to find them."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The Bourne trilogy was so fresh and stylish that they influenced nearly every action movie for the past decade. It’s a small contained story built upon little puzzle pieces coming into place. Our hero is fueled by a single purpose and his actions tell more than words. The most important part of these films however, is the action. Using a ‘never-better, handheld shaky camera’ technique we get forced into the fights. The tight close-up shots raise the intensity and reality, yet thanks to fantastic editing, we never lose our bearings. This third entry in particular, has the biggest and longest action sequences, the strongest score and obviously the satisfying conclusion to Jason Bourne’s quest for identity.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>34. The Departed (2006)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEc4dsGAYNg6qCKGx2MlD7JO7XSkcEnZ4jDjs9hVYs24LI4BpR9owgxoE-fp5Fcp35Rlcgi0Bg1iFvv-qDOC5bjqhE8emazGJmYkWsHcZrXIgkDpWfqgu9XSGXyLmhZUYdiG8vVDHjQFk/s1600/Departed_1774171b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEc4dsGAYNg6qCKGx2MlD7JO7XSkcEnZ4jDjs9hVYs24LI4BpR9owgxoE-fp5Fcp35Rlcgi0Bg1iFvv-qDOC5bjqhE8emazGJmYkWsHcZrXIgkDpWfqgu9XSGXyLmhZUYdiG8vVDHjQFk/s640/Departed_1774171b.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">"</span><span style="font-family: Courier New, Courier, monospace; font-size: large;">I don’t want to be a product of my environment. I want my environment to be a product of me."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Scorsese is at the helm, and he does a typically fantastic job; especially in propelling us through, maintaing intensity and some fancy quick editing. But the highlight for me here is the crackerjack script. It is essentially a cops & robbers story infused with numerous twists and turns. I don’t mean twists as in surprise plot twists, but rather twists in regards to the mechanics of character relations. The script starts by giving many of the characters plenty of screen time, and develops our main cop & robber (the always amazing DiCaprio and Damon) equally. Then throughout the film, there are constant power struggles and switches between who is in control. Even counting the minor characters, someone is always gaining power in any circumstance, only to have it taken away a few minutes later. It’s a genius game of cat & mouse...& rats.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>33. The Lord of the Rings Trilogy (2001-2003)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8Cm_o90sBRqXGR6AqP48ni-rvn18Ds4gyeurQKyXifchJUFwkwn-NI_PlaSlBajkC4_oJ4D_TDPq2sSXV5zDLLGjFm4JdfxDVi4wMEs57hB7fbmCRXmEpYTYdsinlGvxnZonYKKzIpo/s1600/returnlord-of-the-rings-the-return-of-the-king-728374-1366x768-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8Cm_o90sBRqXGR6AqP48ni-rvn18Ds4gyeurQKyXifchJUFwkwn-NI_PlaSlBajkC4_oJ4D_TDPq2sSXV5zDLLGjFm4JdfxDVi4wMEs57hB7fbmCRXmEpYTYdsinlGvxnZonYKKzIpo/s640/returnlord-of-the-rings-the-return-of-the-king-728374-1366x768-2.jpg" width="640" /></span></a></div>
<b style="letter-spacing: 0px;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Do you remember the Shire, Mr. Frodo?"</span></b><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Especially when watching the extended editions, it is best to book off an entire day and enjoy this trilogy as a single film. At it’s core, the story of little Hobbits making a journey across Middle Earth to destroy a ring is all that really happens. Along the way, we experience moments of hardships, friendships and battles. That’s all fine and dandy, but what makes these fantasy films important is the visual experience. I don’t marathon this adventure because I find it enlightening or intelligent. It’s the meticulous attention to every detail. Director Peter Jackson fully realizes Tolkien’s world with care and strong, consistent direction. Like any good fantasy, you don’t realize you are watching the film, you are just there. The beautiful locations, the intricate costumes and props, the grand scale and the consistency of dedication on all fronts makes for an unmistakably unique vision and experience.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>32. Raiders of the Lost Ark (1981)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Show a little backbone, will ya!"</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Taking it’s cue from <i>Star Wars</i>, this is could be classified as a Revisionist-Adventure-Serial. It follows an episodic approach, and links numerous action set-pieces together, essentially making the entire film into a never-ending crescendo. Steven Spielberg brings his all and never lets up. With so much action going on, and rarely any downtime where we’d normally get to know the characters, he instead infuses character moments within the action. We learn about them through their actions. Harrison Ford also makes more out of the hero by making him grizzled and weary, yet still competent to throw his way through the film. This is what every action movie should strive to be. Fun, fast-paced, efficient, exciting and memorable. </span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>31. The Original Star Wars Trilogy (1977-1983)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Never tell me the odds."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>There’s a reason most everyone has seen these movies. George Lucas created an entire universe, rich in mystical lore and creative in every sense. He made it work using fantastic groundbreaking effects and the age-old story of an underdog accepting his destiny and triumphing over evil. The gadgets are cool. The characters and creatures are fun. The lingo and jargon are everlasting. My favourite part about the trilogy, is the style. Lucas never presents it too seriously outside of its own space-opera melodrama. He keeps it fun, and in the style of old sci-fi serials like <i>Buck Rodgers</i>. And for the record, <i>Empire Strikes Back</i> is of course the best and <i>Return of the Jedi</i> is great.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>30. Monty Python and the Holy Grail (1975)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Let’s not bicker over who killed who."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>You may not like the Python sense of humour, but at the very least you have to appreciate their creativity. They take bold choices and run with it. Full commitment to singular ideas and jokes based on gimmicks. They give it all and take it to the limit with a fake opening, silly credits, exaggerated music cues, general yelling, musical numbers, a man running in the distance then stabbing everyone, fireball explosions and the audacity of ending the movie before it’s over. They don’t just tell jokes, they find creative ways to make you laugh. So yes, it formalistically creative, but as it so happens, I do also find it hilarious!</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>29. The Naked Gun (1988)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Hey Look! It’s Enrico Pallazzo!"</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Comedies are great. Everyone loves them. Not everyone loves the same ones because of our different senses of humour, but we all like to laugh. For me, I like to giggle, I like silliness. Not necessarily low-brow, but foolishness. In my comedies, I like buffoons and tomfoolery. Puns and sight-gags. Determinedly zany sound effects and music cues. Leslie Nielsen’s slapstick-yet-straight performance plus the script for <i>The Naked Gun</i> is all that. From beginning to end, our bumbling Detective Drebin un-be-knowingly stops an assassination plot in the style of Inspector Clouseau, but somehow: sillier. To this day, Frank Drebin is my 2nd favourite movie character.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="letter-spacing: 0px;"><b><span style="font-size: x-large;">28. The Dark Knight (2008)</span></b></span><span style="font-size: large;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyOb-WCQOZkoxBnXIs3QGVw7-jZHI1XIN85hKZLQHhc-Z0ECdo7bB3ym_HtJpwZ8SY6mYaE7iF2UPgMAVMbWpv07TqPWq_JKPBvfjIUgNsRjEI_CnAcTafUhN_S71VcrbjVUnmEDTIG-k/s1600/dark_knight_heath_ledger_the_joker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyOb-WCQOZkoxBnXIs3QGVw7-jZHI1XIN85hKZLQHhc-Z0ECdo7bB3ym_HtJpwZ8SY6mYaE7iF2UPgMAVMbWpv07TqPWq_JKPBvfjIUgNsRjEI_CnAcTafUhN_S71VcrbjVUnmEDTIG-k/s640/dark_knight_heath_ledger_the_joker.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Some men just want to watch the world burn."</span></b></span><br />
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b style="letter-spacing: 0px;"><span class="Apple-tab-span" style="white-space: pre;"> </span></b><span style="letter-spacing: 0px;">The reason they extended the number of nominees for Best Picture at the Oscars, this is a true modern masterpiece. Director/writer Christopher Nolan takes his typical gritty, noir-influenced, layered editing type of filmmaking and applies it to the comic-book genre; specifically the already moody and dark Batman universe.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">But this Universe has been successfully explored before (in the campy ’66 film, the gothic Burton film and the animated ‘90s TV show), so for Nolan to make this one stand out, he decides to make this universe part of our own and makes it as realistic as possible. And don’t worry, I’m not ignoring his first entry </span><i style="letter-spacing: 0px;">Batman Begins</i><span style="letter-spacing: 0px;">. That one was groundbreaking and amazing, but this one takes the cake. </span><i style="letter-spacing: 0px;">The Dark Knight</i><span style="letter-spacing: 0px;"> is tighter, has a grander scope, is loaded with layers of symbolism and allegories for the current political climate but most certainly important is the Joker. Heath Ledger’s performance electrifies the screen and takes an already beloved character (as portrayed in the films I mentioned above) and somehow makes this chaotic villain into something new and disturbingly perfect.</span> </span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>27. The Toy Story Trilogy (1995-2010)</b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Somebody’s poisoned the water-hole!"</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The <i>King’s Speech </i>was good, but was it better than <i>Black Swan, Inception</i> and most importantly<i> Toy Story 3? </i>I’m still bitter about that Oscar. This is the best trilogy ever because it is the most consistent in quality and each film got better. Sorry <i>Lord of the Rings</i>, you’re not as entertaining and sorry <i>Star Wars</i>, you’re not as evenly made in quality. Full of charming characters, Pixar wit, inspiring animation, genuine comedy, consistently great new characters and a creative little world, the <i>Toy Story</i> films are the perfect blend of entertainment and quality filmmaking. Even more impressive are the subtle ideas they bring up like existentialism, immortality, ownership of identities and of course friendship. A perfectly formed trilogy that can even bring me to tears in the later 2 films.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>26. Rear Window (1954)</b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">What people ought to do is get outside their own house and look in for a change."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Hitchcock was awesome. Like Tarantino these days, he knew that you don’t just make a film, rather you should make art disguised as entertainment for the audience. They both knew how to have fun with their viewers and play with expectations. In <i>Rear Window</i>, Hitchcock experiments with perspective. When a photographer (someone who hides behind a lens) suffers from a broken leg and forced to stay in his apartment, he has nothing to do but observe his neighbours across the street. Curiosity gets the better of him when he begins to suspect a fiendish plot across the way. The entire film takes place in our peeping-tom’s window room, and we are forced to watch him watch them. Hitchcock forces us into his shoes and we become the curious viewer in more than one way. The layers of perspective which the director creates are fascinating and it informs us about how we perceive life and movies.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>25. Back to the Future (1985) </b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"So why don’t you make like a tree and get outta here?"</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>This and <i>Raiders of the Lost Ark</i> are the two most efficient movies ever. They both sweep you from beginning to end, without pausing for useless scenes; the fat has been trimmed. The script for <i>Back to the Future </i>(written and directed by the once great Zemeckis) doesn’t waste time (pun intended). There are constant obstacles thrown at our heroes, and it’s a ton of fun to watch them narrowly get out of each pitfall. That being said, it wouldn’t be nearly as fun if every single character from top to bottom weren’t endearing. Marty, Doc, Einstein, Biff, George, Lorraine, even Principal Strickland are all some of the most lovable characters I know. Add to that the music, the novelty of time-travel, the tight editing that always reminds us of the ticking clock and you have one of the most perfectly made movies ever.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>24. Fantasia / Fantasia 2000 (1940-1999)</b></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Walt Disney described the art of animation as a voyage of discovery into the realms of colour, sound, and motion."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>I hope it’s clear from this list, that I tend to favour films that strive for creativity and something new. These two experiments in music and animation are perfect examples of such inventiveness. The fusion of classical music with inspired visuals is the perfect combination of what I value; essentially Classical Music Videos. The music performances themselves are top-tier recordings and the selections include many of my favourite pieces. The animation is kept fresh through numerous different styles and ideas. There are a couple that don’t work, but the rest are gold. My highlights are the classic ‘Sorceror’s Apprentice’, the satanic ‘Night on Bald Mountain’, the primordial lengthy ‘Rite of Spring’, the atmospheric ‘Nutcracker Suite’, the stylish ‘Rhapsody in Blue’, the delightful ‘Shostakovich Piano Concerto’ and of course the gorgeous ‘Firebird’ suite. These movies transport me to a realm of art akin to a moving art gallery. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>23. The Shining (1980)</b></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Some places are like people: some shine and some don’t."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>There are many horror movies out there, and the reason they never get any credit is because there are so many bad ones. Granted, some are bad on purpose. But sometimes it takes a well-known director with a strong pedigree to take them to the next level. Stanley Kubrick’s adaptation of Stephen King’s haunted house/murder story is a cut above the rest. He brings his bleak, cold vision to a chilling story. It is as artsy as a horror movie gets. There are curiously gripping long-takes that extend your sense of dread, and he frames every shot with precision and purpose. For such a creepy film, it is remarkably beautiful. The atmospheric score undercuts each scene with unnerving tones that evoke an extra creepy layer. The imagery and unmistakable Kubrickian atmosphere lingers with you long afterwards. The reason it works so well is that it does not rely on its scares to make it memorable, it uses fine craftsmanship to maintain creepiness and dread throughout.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="letter-spacing: 0px;"><span style="font-size: x-large;"><b>22. Indiana Jones and the Last Crusade (1989)</b></span></span><span style="font-size: large;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge4MT6o50nEIqT_gGZo9TzTCQxL_GWFXguG88VfN_IQsR2Sf9b-98bVNhv1mjpzKVcoJDIntq_89jA3qU__hkBobQCFH8j4LUsRDhPUvB3W9nHo1q8o2m8NfJ5tUF0VUfrCdcDayHRDoU/s1600/lastcrusade.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge4MT6o50nEIqT_gGZo9TzTCQxL_GWFXguG88VfN_IQsR2Sf9b-98bVNhv1mjpzKVcoJDIntq_89jA3qU__hkBobQCFH8j4LUsRDhPUvB3W9nHo1q8o2m8NfJ5tUF0VUfrCdcDayHRDoU/s640/lastcrusade.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"No ticket!"</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Some may call it blasphemy to rank <i>Crusade </i>above <i>Raiders</i>, but as fantastic as they both are, I have so much more fun with this entry. Everything that I mentioned for the first film, applies here. The great character moments that are revealed through action, the fun opening scenes and an equally amazing moving-vehicle action set-piece. Yet in true trilogy format, this has all that and more! For me, there are two main improvements. Firstly, even though the Ark revealing is memorable, the Holy Grail gauntlet is a much stronger climax. Everything prior had to lead to this and it resolves so much more with the characters. Secondly, we have the bonus of having Sean Connery portray Jones Senior. James Bond is Han Solo’s dad! The bickering between these two develops a memorable relationship that adds a layer of fun to an already outstanding action film. I will never get tired of watching this.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>21. Singin' in the Rain (1952)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fZfjwR9ySji4sJfxg3Shz4NbYDB-qsnYWY_IeAY6Nowx-pQuEOlGRpjhIMMVnAf_0Pq98Gfj1B6HE84aPKh5b1dssYEFiZ728n2YLspnQyTG9IvrD6R2ZWd3wBDebc2Et2E_9C5yuKs/s1600/singin-in-the-rain-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fZfjwR9ySji4sJfxg3Shz4NbYDB-qsnYWY_IeAY6Nowx-pQuEOlGRpjhIMMVnAf_0Pq98Gfj1B6HE84aPKh5b1dssYEFiZ728n2YLspnQyTG9IvrD6R2ZWd3wBDebc2Et2E_9C5yuKs/s640/singin-in-the-rain-1.jpg" width="640" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">Here’s one thing I learned from the movies!"</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Once sound was ushered into Hollywood in the late 1920s, musicals became the most popular form of entertainment. Thanks to huge production values, flamboyant camera moves, the world’s biggest stars and accessibility for all to see, people could experience and re-watch more than they could with the smaller live musical stages. After Fred Astaire and Ginger Rogers pioneered these spectacles, Gene Kelly perfected the musical with his <i>An American in Paris</i> and <i>Singin’ in the Rain</i>. Aside from being a talented director who knew how to dazzle your senses, he was also one heck of a dancer. The combination of the colours, orchestrations and vibrant sets with Donald O’Connor and Kelly’s fancy footwork is truly hypnotizing. They dance up a storm and never do the same thing twice. I don’t need to mention which musical numbers are the better ones, because they are all outstanding. And if you’re not into song & dance, it is also a fun story about the follies of the movie industry during the introduction of sound.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>20. Synecdoche, New York (2008)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWjQYqb-0a6jVRlayhKTjQqSS5dJcLiXkYUWSVfjHHcWChlsu8nzndjsf6g7bbJ_LK0QvgLeBp0E3GYUp3vqjoSeukJTHU0cwbS3ZVPMyY7Gv8k1gyj4MfJyWStl9HZCztB3hmiJUB4s/s1600/synec.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWjQYqb-0a6jVRlayhKTjQqSS5dJcLiXkYUWSVfjHHcWChlsu8nzndjsf6g7bbJ_LK0QvgLeBp0E3GYUp3vqjoSeukJTHU0cwbS3ZVPMyY7Gv8k1gyj4MfJyWStl9HZCztB3hmiJUB4s/s640/synec.jpg" width="640" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">There are nearly 13 million people in the world. None of those people is an extra. They’re all the leads of their own stories."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The third of 4 screenplays by Charlie Kauffman on my list, only this time he is directing too. This is a complicated movie, and I don’t fully understand it all yet. I suggest you check our Roger Ebert’s eloquent review of the film where he even states that multiple viewings are required: <a href="http://www.rogerebert.com/reviews/synecdoche-new-york-2008"><span style="color: #021eaa; letter-spacing: 0px;">http://www.rogerebert.com/reviews/synecdoche-new-york-2008 </span></a><b> </b>In the meantime, all I can say is that as we witness a man creating a world inside a world inside his world, it reveals a story of isolation and selfishness that is not often explored in film. The performances by a plethora of character actors are all fully-fleshed despite the short appearance time for some. Kauffman pulls off a very difficult melancholic tone with elements of dark comedy. But as always, his layered, creative script gives you a film like no other (with the exception of his own <i>Being John Malkovich)</i>. This is a film that I just NEED to experience again and again. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>19. Who Framed Roger Rabbit (1988)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOl9BPdQK1VzuY2TUd7vKUL5gMW01Twv2z8jL6eDuVXywyQS5GSh7XOtEpC7-d2E4GsilBi4tftJGGISGQ4qeHbS84lXdyOdZAtdoCq0kTt45QsEPDV-Bz90lQ6BWFOAAOXBECJkV2s0/s1600/whoframed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHOl9BPdQK1VzuY2TUd7vKUL5gMW01Twv2z8jL6eDuVXywyQS5GSh7XOtEpC7-d2E4GsilBi4tftJGGISGQ4qeHbS84lXdyOdZAtdoCq0kTt45QsEPDV-Bz90lQ6BWFOAAOXBECJkV2s0/s640/whoframed.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"A Toon killed his brother. Dropped a piano on his head."</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>From the IMDB plot description: A toon-hating detective is a cartoon rabbit’s only hope to prove his innocence when he is accused of murder. This is certainly a lofty conceptual goal. This is one of those films wherein its mere existence is impressive and important. Aside from the legal logistics of having Mickey Mouse and Bugs Bunny in the same frame, the accomplishments of the technical varieties are novel. The blending of animation with real life still looks pretty good these days, especially thanks to the convincing acting by both Bob Hoskins and Roger Rabbit. But technical achievements aren’t enough to make a great film (see the <i>Tron </i>movies). This is also an entertaining fusion of comedy with cartoons with film noir. The elements of the latter genre are all spot on and bring a level of sophistication to the whole film. Jessica Rabbit is a classic example of a femme fatale, the villain’s scheming plot is unnecessarily convoluted (just like a classic film noir), our detective’s reluctance reminds us of a Bogart anti-hero and the score is a wonderful homage to the genre.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>18. Se7en (1995)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoUGX9wmlH1Wpe6as9TW-XfVGuxI6Q1H2_RnQ1N5leq_opmJx6CI1XuasDdvTNLtvcjgnmPB8NOODIu8zEafpMo2TM1XL9n8l83kR-SfMpeYFRZNDLUqDKmXF4pmsjukBabDlj9L8QDg/s1600/se7en-movie-1280x800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQoUGX9wmlH1Wpe6as9TW-XfVGuxI6Q1H2_RnQ1N5leq_opmJx6CI1XuasDdvTNLtvcjgnmPB8NOODIu8zEafpMo2TM1XL9n8l83kR-SfMpeYFRZNDLUqDKmXF4pmsjukBabDlj9L8QDg/s640/se7en-movie-1280x800.jpg" width="640" /></span></a></div>
<span style="font-family: Courier New, Courier, monospace; font-size: large;">" <b style="letter-spacing: 0px;">Ernest Hemingway once wrote, 'The world is a fine place and worth fighting for.' I agree with the second part."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A police procedural that follows a serial killer who chooses his victims according to the seven deadly sins. This film is great because it’s not necessarily about the methods of catching the murderer; the cops essentially haphazardly stumble upon each clue. What is more important thematically is how the killer is a reflection of the world around them. This is a deeply cynical film, and very uncharacteristic of my tastes, but it’s just sooooo good. The city the film takes place in, is never specified and I take it to represent any city, or rather our urban society. And aside from the killer, the dark city which constantly rains, is always looming over our heroes. They always appear to be tired and burdened by their surroundings. Morgan Freeman’s constant tiredness and Brad Pitt’s frustration just go to show the different ways this disturbing world keeps us down. The aftermath of the grizzly murders nearly take the film into horror territory, with images that stay with you long afterwards. Essentially, this is an accomplished, beautiful film with dark imagery that is effectively cynical and impressive. <i>Se7en</i> is also the perfect example of a ‘twist ending’. The shocking turn at the end isn’t necessarily out of nowhere and it wraps everything up absolutely perfectly. </span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>17. Koyaanisqatsi / Baraka (1982/1992)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVd5YRFPe8y6BS5auOwBnFu6H38eJmQRbsvotZKiBN7Y3k-jrzz5UK593cbyJUWFkInys0fGAkGRjO269u01bAUuSgLkMw3LrzSNjhMsjbrOOFeSat-FJB1J8wHyRxadgWti_3sbRf6uM/s1600/baraka-blu-ray8.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVd5YRFPe8y6BS5auOwBnFu6H38eJmQRbsvotZKiBN7Y3k-jrzz5UK593cbyJUWFkInys0fGAkGRjO269u01bAUuSgLkMw3LrzSNjhMsjbrOOFeSat-FJB1J8wHyRxadgWti_3sbRf6uM/s640/baraka-blu-ray8.jpeg" width="640" /></span></a></div>
<span style="font-size: large;"><span style="font-family: Courier New, Courier, monospace;"> "</span><b style="letter-spacing: 0px;"><span style="font-family: Courier New, Courier, monospace;">Life out of balance."</span><span style="font-family: Trebuchet MS, sans-serif;"> </span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Not documentaries, not movies. These are pieces of art using moving images and music. There is no conventional narrative; rather a series of expertly filmed images. In <i>Koyaanisqatsi</i>, we experience shots of nature juxtaposed with scenes of man-made regions. In <i>Baraka</i>, we are presented with contrasting cultures from around the world. The purpose of both, is that you just sit, watch and meditate on the images. You develop your own thoughts on what is presented. The cherry on top is the music. One has a fascinating synth score by Philip Glass. The other has religious chants and music from around the world. Without words, this is all we have to go on, and it creates an austere and magical journey through our vast planet Earth.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>16. The Nightmare Before Christmas (1993)</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZFEhGzpldmu58jamItWyzawDBg-XFKG_lEAFUPg-pWKWUTTETVAyFHuLRs-tixCLgl_DDAY7lAQ7b2bXh44R38l8ZayzMqHNvNw9-RjtLU2c1XXLU25Dl8DG5B4v5QO023sBM9lNdkk/s1600/nightmarebeforechristmas_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHZFEhGzpldmu58jamItWyzawDBg-XFKG_lEAFUPg-pWKWUTTETVAyFHuLRs-tixCLgl_DDAY7lAQ7b2bXh44R38l8ZayzMqHNvNw9-RjtLU2c1XXLU25Dl8DG5B4v5QO023sBM9lNdkk/s640/nightmarebeforechristmas_02.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Just because I cannot see it, doesn’t mean I can’t believe it!"</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Not directed by Tim Burton, but it might as well have been. In the Hollywood studio system, whenever a director gets a big hit that makes loads of money, they can get away with making whatever they want after that. Complete creative control. When Burton made <i>Batman </i>and <i>Batman Returns</i>, he was given such freedom and he churned out his 3 best films: <i>Edward Scissorhands, Ed Wood </i>and <i>The Nightmare Before Christmas</i>. He would of course get bogged down by the studios in his later films, and struggle to retrieve his own genuine imagination. That being said, <i>Nightmare</i> is one of the most imaginative yet entertaining films I’ve come across. The lovingly hand-crafted stop-motion animation is a joy to watch. There’s always been something precious about stop-motion that provides a tangible and warm feel to the film stock. Burton’s visual style comes out in full force here to create so many wonderfully designed characters and a couple of worlds that ooze with detail and care. The story itself is remarkably simple yet innovative with its colliding of worlds. While the music is Danny Elfman’s best ever output; matching fun lyrical moments with his typical bombastic and eerie style. {We can ignore that goth fad that was randomly associated with the movie a few years ago}</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>15. This is Spinal Tap (1984)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSswmvGHM3w2zAHZdNMJNNpYySS_Tab3k1dUeBRd8kUTWTQTNuxCmgcsdD9z4BhW68rMnJc9siWbupxGxmYfvSjEsxCPlkoPOGFyHH_lQonXaBP91I9lvgbprA1d5jYwnQuEd5HghyphenhyphenBeI/s1600/Spinal+Tap+-+Nigel.jpg.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSswmvGHM3w2zAHZdNMJNNpYySS_Tab3k1dUeBRd8kUTWTQTNuxCmgcsdD9z4BhW68rMnJc9siWbupxGxmYfvSjEsxCPlkoPOGFyHH_lQonXaBP91I9lvgbprA1d5jYwnQuEd5HghyphenhyphenBeI/s640/Spinal+Tap+-+Nigel.jpg.png" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?"</span></b></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>When it comes to mostly improvised mockumentaries, this is the pioneer. Christopher Guest has gone on to make other amazing entries into this microcosmic genre like <i>Best in Show</i> and <i>Waiting for Guffman</i>, but <i>Tap </i>is still the tops. In this handheld, interview based comedy, we follow a once popular fictional metal band called Spinal Tap, who are now in denial of their floundering fame. The comedians who embody these rockers have created entire personas out of minute improvised lines, all while poking fun of rock stereotypes. It has been said that when the film was released, Aerosmith saw the film and didn’t laugh once because it was too close to reality. Just watching these sad-sacks of musicians deny their failures and quarrel over nothing of importance is perfect satire of the world of rockstars. These talented comedians also happen to be talented songwriters who write and perform hilarious music throughout. We learn so much about each character through their music and the improvising. And to a musician myself, this is perfect comedy that hits all the right notes.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>14. Das Boot (1982)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxOf0zJDS2GIVnGexAsYsiaTrqwp1kpJp6xFZh7u4bDcHdUB17CMAl6fp7KhEbo7FqesyPcE-nCXtHMDifXavBQO-BwGvbhddGtgd13_HzaqOoVv_pFgbYaXKUxPYk499IlRd8ZbgWNEM/s1600/dasboot03de.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxOf0zJDS2GIVnGexAsYsiaTrqwp1kpJp6xFZh7u4bDcHdUB17CMAl6fp7KhEbo7FqesyPcE-nCXtHMDifXavBQO-BwGvbhddGtgd13_HzaqOoVv_pFgbYaXKUxPYk499IlRd8ZbgWNEM/s640/dasboot03de.png" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"ALARRRRMMMM!!!!!"</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>After a raucous going away party we board a German U-Boat and set off to fight in WWII. This is an intense adventure in the belly of the beast. We are forced on board this cramped vessel and with a strong anti-war agenda, experience the losing war from this crew’s perspective. They dangerously dodge explosives and evade torpedoes only to be thrown into another battle. In-between these harrowing moments we are rarely given room to breathe as the sub is forced to stay below the surface and maintain silence. The performances are natural and you make many friends while on board. The terrific sound design and claustrophobic direction requires you to watch this on a big screen for an engrossing experience. Do yourself a favour and find 3.5 hours to transport yourself aboard an unforgettable journey into the depths of war.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="letter-spacing: 0px;"><b><span style="font-size: x-large;">13. Saving Private Ryan (1998)</span></b></span><span style="font-size: large;"> </span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Maybe if we do that, we all earn the right to go home."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b> A WWII movie presented as an action movie. It sounds disrespectful, but with Spielberg at the helm, you can bet that he never undercuts the characters and he honours those that underwent theses horrific events. It goes without saying that the opening 15 minutes are a part of film history. With some frenetic camerawork and the gritty cinematography by Kaminsky, we experience firsthand the horrors of the Omaha Beach invasion on D-Day. From there, Spielberg takes us on a mission with a band of men in search for Private Ryan who has gone missing and is ordered to return home. Led by Tom Hanks and followed by a platoon of great character actors, we enjoy our time spent with these men and feel safer with them around. Contrary to some critics, the action <i>does</i> keep up after the opening and it is all superb. The final tank battle in the city is just as intense, if not more, because we now have a handful of characters to root for. Overall, this is just solid filmmaking on every front. An action movie with heft and solemnity. Spielberg’s most epic film and thanks to the action, ultimately re-watchable despite the serious tone. </span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>12. The Thing (1982)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOwt6hb7WIUQTy9D-4mpLYbMny55t19vb2JQ8Z8vIe17WkcSIsRN8-7d8yUvGQO0hVJyZVFWMEPpldCDDLbsit866EOqrffdH300QlO-yeL1kDhA1OF1wnkUVMRGpeU-bQd8mZraHfBk/s1600/Thing-1982-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOOwt6hb7WIUQTy9D-4mpLYbMny55t19vb2JQ8Z8vIe17WkcSIsRN8-7d8yUvGQO0hVJyZVFWMEPpldCDDLbsit866EOqrffdH300QlO-yeL1kDhA1OF1wnkUVMRGpeU-bQd8mZraHfBk/s640/Thing-1982-image.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0px;"><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b>So, how do we know who’s human? If I was an imitation, how would you know if it was really me?"</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>As is evident from this list, not too many horror films earn my appreciation. They have to be something very special for me love them. John Carpenter’s <i>The Thing</i> achieves this speciality through spectacle and atmosphere. Half monster movie, half whodunnit thriller, this is a visually imaginative horror film. Set entirely in a lone Antarctic research lab, and opening on some eerie bass guitar riff while a helicopter frantically hunts down a Husky we know we’re in for something different. It turns out that something alien has been unearthed and is killing off the members of the base, one by one. But again, what makes this different from any other slasher movie, is that instead of finding a dead body, the creature is able to morph into humans, therefore disguising itself as its victims. This gives us a hybrid of an <i>Invasion of the Body Snatchers </i>movie meets Hitchcockian murder mystery. Intensity ramps up as we lose track of who is good and who is the creature and the characters lose trust in each other. Add to that, some astonishing nightmare-inducing practical effects. Since the creature is always morphing and changing, the make-up and physical models are extremely imaginative. This is a fascinating film to watch that is a lot of fun to experience and chilling in every way.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><span style="letter-spacing: 0px;">11. There Will Be Blood (2007)</span> </b></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I’m finished."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>This story of an ambitious oil prospector, Daniel Plainview, in the early 1900s is a marvelous film that draws numerous parallels to today’s energy markets and the capitalization thereof. The way that our main character (who, in a <i>Citizen Kane</i> type of homage, is a downward spiraling villain) undercuts his friends and his surroundings to monopolize an oil industry is a perfect tale of greed. Embodying this curious madman is Daniel Day-Lewis in my favourite performance of all time. A towering performance that demands your attention and is unlike any other film creation. Both him and director Paul Thomas Anderson manage to make you understand if not feel for this monster. Matching Daniel’s magnetic performance is Paul Dano as his antagonist and the local preacher who is in a constant power struggle with our oil tycoon. The direction and cinematography bring about an epic scale reminiscent of <i>Lawrence of Arabia, </i>and looming scenery which reflects the goals of Plainview. The score by the creative Johnny Greenwood (of Radiohead fame) is wholly unique and helps to give this film a singular voice of calculated chaos. There are many standout scenes in this nearly 3 hour epic, but hold on for the final 10 which concludes the insanity with bowling balls, false prophets and milkshakes.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>10. Memento (2000)</b></span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">If we can’t make memories, we can’t heal."</b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A good metaphor for this film is a jigsaw puzzle. If the puzzle had two sides that mirrored itself across opposite corners. In its simplest form, <i>Memento</i> is the story of a man who has no short-term memory and is trying to solve his own case of who murdered his wife. This leads to an interesting scenario where if he discovers a new clue, he will forget it if he doesn’t tattoo it to himself or write it down somewhere. This performance is charmingly done by Guy Pearce and he evokes both moments of gravitas and levity at the switch of a button, much like his illness. This would be a great film on its own, but puzzle-master Christopher Nolan adds another layer to the narrative to help put us in our hero’s shoes. The scenes are presented in reverse order and like his memories, each scene is only about 5 minutes long. We start with (presumably) the end and go in reverse order. What’s more, is in true film-noir style we get a form of voice-over narration that presents some flashbacks. These segments are in black & white and in forwards order, but spread out amongst the coloured reverse order scenes. It may all seem complicated but after the first few switch arounds, you get it. Nolan knows how to lay it out in a comprehensible manner, but just enough confusion to let you into the character’s head. </span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>9. Airplane! (1980)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"It’s an entirely different kind of flying, all together!"</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The term ‘laugh-a-minute’ is an understatement here. The writer/directors of this comedy classic decided that in order to get people to laugh, they would throw literally every joke they had at the screen in hopes that most of them stick. Which they all did, with the exception of a couple dated pop-culture references. The key is in the type of jokes. Comedy can be very subjective, but what tends to be universal, are the simple instant jokes. Not necessarily lowbrow, but ‘easy-to-get-silliness’. Puns, sounds effects, sight gags, word-play and non-sequitur randomness are all flying out every other few seconds. Another key to their formula is the hiring of serious actors to give deadpan performances. Due to the amount of zaniness on screen, it helps to have the characters not in on the jokes, which would otherwise result in overkill. The film is infinitely quotable and insanely re-watchable for all ages. Surely, over 30 years later, this is still one of the most beloved comedies of all-time. And I did mean to call you Shirley.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b><span style="letter-spacing: 0px;">8. Inglourious Basterds (2009)</span> </b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2BEhVzNCQ-o5pUBxhnOcOJCCZXmB2ewU9AjmfGazxbmFWEi-vYLMs2t-X1X_UvQIkT5XCGvr84p2emLoEGu38rAAlIk1_yeVu2OTKEW5319mBV3yPAZVjS5mxJfZMErVtnjyUtEo1Oc/s1600/inglourious-basterds-shosanna-film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2BEhVzNCQ-o5pUBxhnOcOJCCZXmB2ewU9AjmfGazxbmFWEi-vYLMs2t-X1X_UvQIkT5XCGvr84p2emLoEGu38rAAlIk1_yeVu2OTKEW5319mBV3yPAZVjS5mxJfZMErVtnjyUtEo1Oc/s640/inglourious-basterds-shosanna-film.jpg" width="640" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>"<span style="letter-spacing: 0px;">I love rumors! Facts can be so misleading, where rumors, true or false, are often revealing."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>An homage to the ‘men-on-a-mission’ WWII films from the 60s and it also has its own modern voice in Tarantino’s film language. This is a movie that hits all the right notes. Tarantino’s writing is crackling and never loses our interest. He writes each character out in full and still gives the impressive cast of actors room to do their own thing. Christoph Waltz in particular steals the show and chews the scenery as the multi-lingual villain. Tarantino’s direction manages to be both subtle and bombastic when it needs to. He knows how to gently ratchet up the tension in lengthy scenes until it becomes unbearable and he hits us hard with a payoff in each and every scene. As usual, his music choices are interesting yet complimentary, and his genre-blending is fresh. Once again, Tarantino’s love of film shines through. Several scenes including the climax revolve around a movie theatre. As it turns out the main weapon of a number of characters is Presentation: one of the main characters is an actress, the villain Landa portrays several false fronts, the Basterds disguise themselves, there is a film critic disguised as an officer, Fredrick Zoller struggles to be anything more than a famous war-hero and Shosanna uses a literal film presentation as a weapon. This is a wonderfully written film about actors with hidden identities and the power of cinematic persuasion.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>7. Schindler's List (1993)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYoUHucoIqwSyUt9DrepiKJdtXaG7qyRDhXY0ZUpgtnAkOXwz5iXr405dplcrMEdONVu0QvPNfQ9N16V11alsXnveiJ9N_TCD24KmrKQ34fh1gyR3o4oO3wN-5ICE0_wxyzt5Q9tiktTE/s1600/schindlers-list.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYoUHucoIqwSyUt9DrepiKJdtXaG7qyRDhXY0ZUpgtnAkOXwz5iXr405dplcrMEdONVu0QvPNfQ9N16V11alsXnveiJ9N_TCD24KmrKQ34fh1gyR3o4oO3wN-5ICE0_wxyzt5Q9tiktTE/s640/schindlers-list.jpeg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Whoever saves one life, saves the entire world."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A film about the Holocaust is no easy watch. Presented in effective black & white and handled with a ‘matter-of-fact’ approach, Spielberg makes a mature elegy that never feels over-sentimental nor is it a chore. What’s truly effective about the film which sets it apart from a History Channel documentary is the focus on the two main characters: Schindler and Goeth. The latter is presented solely as a cold-hearted villain and is meant to represent the face of the Nazis and their acts. Schindler on the other hand is much more complicated and delivers our humanistic drive through the film. It could have been too easy and ironically Spielbergian to have him be a hero from the start. But he is presented honestly at first as a level-headed war profiteer, until bit by bit he is transformed by humanity and becomes almost Saint-like by the end. Neeson’s performance as Oscar Schindler is beautifully nuanced and is utterly convincing in his change of heart. This character epitomizes the themes in a truly effective drama laced with facts and emotions. <i>Schindler’s List</i> teaches us to learn from the past in the hopes to never repeat such atrocities. </span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>6. The Prestige (2006)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcUT19IEedhVa0PpfxSPj-fGxAepqx-KnEejnDsu-YSoMe3ftAm4ZXz0SFNozAML9eNMLusYal0NgQ9u7QTp35qxtxwPmc28-mPmaza0sWhYZPkwW5QifJQJw2AZcgJZIYWh2hJhPHDpo/s1600/prestige-11537.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcUT19IEedhVa0PpfxSPj-fGxAepqx-KnEejnDsu-YSoMe3ftAm4ZXz0SFNozAML9eNMLusYal0NgQ9u7QTp35qxtxwPmc28-mPmaza0sWhYZPkwW5QifJQJw2AZcgJZIYWh2hJhPHDpo/s640/prestige-11537.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"The secret impresses no one. The trick you use it for is everything."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Like <i>Memento</i>, this is a structurally complex little mystery by the always fantastic Christopher Nolan. In this case we have a film laid out like its own subject matter: a magic trick. It lays out the premise of two rival magicians who set out to top the other one. Then bit by bit, through misdirection and slight of hand, we witness tricks in front of our eyes. Nolan uses his patented layered editing techniques to weave scenes from this riveting story out of order. We flash-forward, we flash-backwards, and it is all told in an order that makes sense for the character motivations. Then, in the end, a trick has been pulled on us and its players. This is a fascinatingly woven film that shows the possibilities of using editing to tell a story through its structure. Of course, the story itself is a great tale of rivalry, jealousy and dedication that delicately balances the power between our two magicians. One minute you are rooting for Hugh Jackman, the next you are rooting for Christian Bale. It flips and flops but never becomes disjunctive; the film remains a well-crafted homogenous mood piece. <i>The Prestige</i> commands my attention and I love re-watching it because I want to be fooled.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>5. 2001: A Space Odyssey (1968)</b></span></span><br />
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever hope to do."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>As per the majority of films on this list, for me, a general necessity for greatness is ‘entertaining.’ So why this purposely dull film? It depends on your definition of entertaining. Yes, it is slow and long, but <i>2001</i> is mesmerizing in a meditative way. I am always captivated while watching this film whether it’s because of the quality of technical filmmaking, the beautiful images and music or the general thoughts that float through my mind. Stanley Kubrick’s atmospheric direction lulls me into a sense of wonder and awe. The drawn out shots let me observe and reflect upon the minimalistic ideas that Arthur C. Clarke’s source material evokes. What role does technology play in our lives? How much have we actually evolved? What is our next logical leap in evolution? How long is the Blue Danube Waltz? Despite having so little happen plot-wise, there are nevertheless so many memorable scenes and images. The saying ‘An image is worth a thousand words’ definitely applies here. Kubrick is the master of perfectly framed shots and delivers countless images worthy of framing on my wall. On top of that, he adds a cornucopia of sounds and music. There is the elegant classical music to evoke a space ballet, the creepy contemporary music to create unease, the minimalistic sounds of machinery that amplify the sterile technology and the effective use of silence to grip your attention. This is a one-of-a-kind work of art that continues to inspire me.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>4. Anchorman (2004)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXftKyI0q48tUa-gG9Dlr-qb3yo88pvDr1HEYaV489NIFv97dnJiwT-ZGoS4TiCLDXqR6hpitliEdxYp-eyyOiNMI9VlEs3S2QqKUfCQ3JPE-jL9ycx_QoQ7fnaGRe-eA1MaevrtD-4g/s1600/Anchorman-movie-10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAXftKyI0q48tUa-gG9Dlr-qb3yo88pvDr1HEYaV489NIFv97dnJiwT-ZGoS4TiCLDXqR6hpitliEdxYp-eyyOiNMI9VlEs3S2QqKUfCQ3JPE-jL9ycx_QoQ7fnaGRe-eA1MaevrtD-4g/s640/Anchorman-movie-10.jpg" width="640" /></span></a></div>
<span style="letter-spacing: 0.0px;"><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>"The following is based on actual events. Only the names, locations and events have been changed."</b></span></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>And now for something completely different from <i>2001</i>. Let’s eschew masterful direction and ponderous images in favour of zany, energetic entertainment. There is absolutely nothing wrong with lowbrow ‘art.’ The comedy team of actors, writers and director of <i>Anchorman</i> achieved something very special. Like lightning in a bottle, they put together a heavily improvised comedy that does not get old and remains as infinitely quotable as <i>Airplane!</i> Every character is a funny buffoon, but still lovable. When I watch the movie, it’s just like hanging out with this fun bunch of guys. These guys who are loosely following some semblance of a storyline, and along the way are making up absurd lines to crack us up. Around the improvisation, they placed hilariously fun sketch-like scenes like the jazz flute performance, the <i>West Side Story</i> type brawl and the Afternoon Delight sing-along. If for no other reason, I love this movie because it always brings a smile to my face and the jokes don’t get old. They continue to work because it is not necessarily what the characters say, but how they say it. The deliveries are exaggerated, energetic and curiously odd. They could be saying anything, hence the improvising, and it would make me chuckle. <i>Anchorman</i> is the most I ever laughed with a movie, and it’s one that I continue to watch at least twice a year.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>3. WALL-E (2008)</b></span></span><br />
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<span style="font-size: large;"><span style="font-family: Trebuchet MS, sans-serif;"> </span><b><span style="font-family: Courier New, Courier, monospace;">"<span style="letter-spacing: 0px;">WOAH!"</span></span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A little character development goes a long way. And this charming little robot goes a long way to my heart! Taking a large reference point from Charlie Chaplin’s character The Tramp, Wall-e himself is a wonderfully developed creation in honour of the silent era. He is one of the most richly formed personalities put to screen. You get who he is just through his actions and maybe three words that he can say. We learn everything we need to know about this future world through images and sound effects. This is the power of film over other mediums like literature. Movies tell stories through moving imagery. The storytelling by the Masters at Pixar shines through and they deliver a cute story about environmentalism, but more importantly, this is a story about love! The nuances of Wall-e’s endearing affection towards EVE is adorable and melts my heart every time. The music, his ‘beeps‘ and ‘boops’, his ever focusing lenses and his quaint movements tell us how he feels despite being a little trash compactor. Not surprisingly, the animation is beautiful as well. A gorgeous Blu-Ray: the details in the arid Earth, the vast outer-space and the Apple-designed spaceship are meticulously imagined and realized. Plus, the director’s inclusion of minute hand-held tactics (in an animated film, no-less) creates the effect that we are a fly-on-the-wall observing this relationship as it unfolds. This film has it all for me, and it tells an adorable story through direction and animation: the definition of true film.</span></span><br />
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>2. Jurassic Park (1993)</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPYCnT1J0zkj9npnPSUi49NId9NUeCg0t67YHA74w-gBnbA_222c6unbtWx4YunKzJFC_qDiOpxuSHb1n5ntI3UUJFuX4uNyxkiXQxr30hRiFz_zprPuVoZBcqZhlCo2R_KZUyAhqEKL0/s1600/Jurassic-Park-4-cast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPYCnT1J0zkj9npnPSUi49NId9NUeCg0t67YHA74w-gBnbA_222c6unbtWx4YunKzJFC_qDiOpxuSHb1n5ntI3UUJFuX4uNyxkiXQxr30hRiFz_zprPuVoZBcqZhlCo2R_KZUyAhqEKL0/s640/Jurassic-Park-4-cast.jpg" width="640" /></span></a></div>
<span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>"<span style="letter-spacing: 0px;">Life finds a way."</span></b></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A film doesn’t have to be perfect for me to love it. There’s a reason big fun ‘popcorn movies’ keep coming out. They may not have the smartest points to make, or the most richly developed characters but they are a blast to watch. <i>Jurassic Park </i>is such a film that continues to entertain me on a bi-yearly basis. Even though it does have some interesting points to make on the dangers of meddling with nature and some character development with Dr. Grant and his parenting abilities, the draw here is the spectacle. Spielberg gives us the thrills, the growing tension and the miraculous moments, but he also makes a film that is fun despite it being a disaster movie. The characters may all be one-note, but they are all memorable and logical enough to exist in this film. I enjoy hanging out with them and find each and every person in this film to be a favourite of mine. In true Spielberg fashion, the film achieves a fantastic balance between fun and thrilling. John Williams’ music certainly helps, and Crichton’s story is inventive, but the direction lands a perfect tone to make this roller-coaster weave up and down. One minute we are relishing in the majesty of a triceratops up close, then in the next we are stuck in the middle of a whirlwind of events leading to my all-time favourite scene ever put to film: the T-Rex Attack. It is a perfect combination of ramping intensity, sound design, practical combined with computer effects and direction. This scene floors me every time. That is not to say that the rest of the film doesn’t deliver as well, this is a exhibition of perfect action and fun times! It is also interesting to note that Spielberg made this movie in the same year as <i>Schindler’s List</i> and they marked a huge comeback after his worst film <i>Hook</i>.</span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>1. Eternal Sunshine of the Spotless Mind (2004)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizi4Hk6kpGR2AgUbT58Wj5pGlBfFF-dihptFz0DVl5UXdbDMy3Y4sk3PnaP-7ifFXTrk_udlXmnnh7ntvfpEWjgcbtgeu_Oq42TqelWzz589amyNQzhWrOWTJamXB0gSNmUZLYr_-Drkg/s1600/eternal-sunshine-of-the-spotless-mind-screenshot.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizi4Hk6kpGR2AgUbT58Wj5pGlBfFF-dihptFz0DVl5UXdbDMy3Y4sk3PnaP-7ifFXTrk_udlXmnnh7ntvfpEWjgcbtgeu_Oq42TqelWzz589amyNQzhWrOWTJamXB0gSNmUZLYr_-Drkg/s640/eternal-sunshine-of-the-spotless-mind-screenshot.jpeg" width="640" /></span></a></div>
<span style="font-size: large;"><span style="font-family: Trebuchet MS, sans-serif;"> </span><span style="font-family: Courier New, Courier, monospace;"><b>"<span style="letter-spacing: 0px;">I can’t see anything I don’t like about you."</span></b></span></span><br />
<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Taking the opposite approach of <i>Jurassic Park</i>, this is a wholly original non-thrill-ride that aims for perfection on all other fronts. For me, this is great acting (particularly from a nuanced toned-down Jim Carrey), great music, great visual directing, great cinematography, great editing and a great screenplay. This is the fourth entry by screenwriter Charlie Kauffman on my list. He brings his unmatched level of creative genius of course, but here he also brings a warm heart which can be lacking in his other films. After a 20 minute prologue, this is the story of a man and woman who meet and have a cute little relationship for a bit, until they decide to breakup. However their method of breakup is to use a new technology that erases any memory of the other person from their mind. The film takes off as we go into Carrey’s mind during this process and experience his memories. Director Gondry projects unique images to evoke dreams and memory. His unique visual style captures what I believe our dreams look like. Steeped in realism, but fuzzy on the details. The editing and set design are miraculous as we are streamlined from one setting to another. The entire film creates a style all it’s own. The look encapsulates the themes of loss and nostalgia. For me, this is an emotional film that gets into my head and into my heart. Despite the amount of heartbreak, it has what can be interpreted as a very optimistic ending that touches on the inevitability of destined lovers. Overall, this film just hits all the right notes for me by being emotional and undeniably creative (on a visual and conceptual level). Every film should strive to be of this high quality and this creative. This is a film that strives for a higher level of art, which can only be experienced in this medium.</span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-16387033741664005942013-11-08T11:17:00.000-08:002013-11-14T17:31:37.198-08:00My 100 Favourite Films<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><u><b>Part 1 (#100-51)</b></u></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">After recently watching my 2000th movie, I felt the need to mark this landmark occasion. I therefore have taken the time to list and briefly explain my favourite 100 movies. These are MY favourites films, not the best, but the ones I most enjoy. Ideally, I like to think that my tastes in entertainment coincide with quality regardless. You may disagree with some/most of the choices, but we all have different tastes. Although I took time to arrange the order, it is not set in stone. Just because something is ranked #75, does not make it definitively better than #76. It was just a way for me to generally organize my feelings. Besides, this top 100 only represents 5% of the films I've seen. There are hundreds of other classics you should see. For instance just outside of these 100 are other favourites of mine like <i>Fargo</i>, <i>Pulp Fiction</i>, <i>Dumb and Dumber</i> and <i>Shaun of the Dead</i>. Enjoy!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>100. War of the Worlds (2005)</b></span></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Lightning never strikes the same place twice."</span></b></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">An underrated Spielberg film due to Tom Cruise's personal shenanigans. This is a nonstop set-piece after set-piece alien invasion that serves but one purpose: chaos. This film shows the mayhem and travesty that ensues when we are presented with a disaster; there are obvious 9/11 parallels to be drawn from this. Spielberg's frantic camerawork continuously amps up the energy, making this one of his greater recent works, despite the ending.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>99. Spider-man 2 (2004)</b></span></span></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I'm Peter Parker, and I too have a job."</span></b></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">A perfect comic book movie. Framed and shot just like a comic book, this film falls right into director Sam Raimi’s sensibilities. He brings his horror-comedy chops to a super-hero action movie and delivers some outstanding action scenes and really fun direction. The train set-piece is a sequence to marvel at. The story stays fun and never gets too dour. On the other hand, it never gets too cheesy like it’s predecessor and sequel. Like <i>Iron Man</i>, it also knows to make the main character interesting whether he is wearing the mask or not. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>98. Pleasantville (1998)</b></span></span></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"The first thing we have to do is separate out the things that are pleasant from the things that are unpleasant."</span></b></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>If ever I could edit a movie, I would trim off the nonsense about time-travel and Don Knotts that bookends this little film. Nevertheless, I still love this not-so-subtle movie about prejudice. Using black and white cinematography juxtaposed with colour may seem like a ploy or gimmick, but the point of the film is that sometimes to make a point, subtlety won’t cut it. It’s a charming movie and surprisingly light hearted given the subject matter.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>97. Raging Bull (1980)</b></span></span></div>
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<b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"You didn't get me down Ray!"</span></b></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">If you watch DeNiro’s current career, you may ask yourself how he was ever considered one of the greatest actors. <i>Raging Bull</i> is the only answer you’ll need. His transformative powerhouse performance as a boxer who’s ambition takes him to the top, only to have his rage and jealousy drag him right back down is magnificent. Couple that with director Scorsese and cinematographer Chapman’s gorgeous imagery shot in black and white, and you have a masterpiece. For a story about an animalistic brute of a character, this is a beautiful film to watch.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>96. Apocalypse Now (1979)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhtbU87ACz3XR_IxFbDes57l7_6vAiWT8OXOKhWsPpizdn75XqxumvI48H4XjCzsIizIlK-rsAPbfLwX9AaMHc2awaU-GBUzkIDh1EycgH7dNbTU0Mm0DUXMgMGvl-Nnw4ppL5LlXh9r0/s1600/apocalypse-now.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhtbU87ACz3XR_IxFbDes57l7_6vAiWT8OXOKhWsPpizdn75XqxumvI48H4XjCzsIizIlK-rsAPbfLwX9AaMHc2awaU-GBUzkIDh1EycgH7dNbTU0Mm0DUXMgMGvl-Nnw4ppL5LlXh9r0/s640/apocalypse-now.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I watched a snail crawl along the edge of a straight razor. That’s my dream; that’s my nightmare. Crawling, slithering, along the edge of a straight razor...and surviving."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A masterpiece about the madness of war that drags you down into the heart of darkness, and is depressingly memorable in every way. The equivalent of a lengthy Wagnerian tone poem; hence the use of his now famous ‘Ride of the Valkyries’.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>95. Reservoir Dogs (1992)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXqrLOCy7VOO8I3eufr-nWWFO1X9R6hK5O1d8cK-AQb-AFL-YYxWooqESeciaPL1maesoNTaobfn_B1X1_rn_esuquHxvcwa9ogrEMsoM1-xZ-SKC5xHcbiPm_aeAqpCeBfKrlzu96vsM/s1600/Reservoir-Dogs-Steve-Buscemi-Mr-Pink-500x250.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXqrLOCy7VOO8I3eufr-nWWFO1X9R6hK5O1d8cK-AQb-AFL-YYxWooqESeciaPL1maesoNTaobfn_B1X1_rn_esuquHxvcwa9ogrEMsoM1-xZ-SKC5xHcbiPm_aeAqpCeBfKrlzu96vsM/s640/Reservoir-Dogs-Steve-Buscemi-Mr-Pink-500x250.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"You don’t need proof when you have instinct."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A heist movie where you never see the heist. This film is novel for eschewing the climax of the overdone genre and instead, focussing on the lives of the criminals. Told out of order and loaded with profanity, we get to know these bad guys through interwoven flashbacks. Like a fun little R-rated jigsaw puzzle! Profanity notwithstanding, the main draw is the dialogue. This is the movie that introduced us Tarantino’s fun and crackling scripts. He has fun with these despicable characters and brings them down to Earth. Part of the anti-Hollywood 90s movement, this film never gets old; especially the ‘Stuck in the Middle with You’ scene.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>94. Titanic (1997)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBs24rUAkMRMGqeSn3MRYbht2zj_Ono2iDAih34E0z-5ZkW0CpAqwhjnVfy8HPhU68IwobFTmkNQtEFsqKtdtaYcY1FoQK9vWc1xKB5JmZhfInMy1ysyuQZVDpEOFvqGRZDRxSYuAWIwY/s1600/titanic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBs24rUAkMRMGqeSn3MRYbht2zj_Ono2iDAih34E0z-5ZkW0CpAqwhjnVfy8HPhU68IwobFTmkNQtEFsqKtdtaYcY1FoQK9vWc1xKB5JmZhfInMy1ysyuQZVDpEOFvqGRZDRxSYuAWIwY/s640/titanic.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Music to drown by. Now I know I’m in first class."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Many people choose not to acknowledge the greatness of this movie. They are afraid to embrace the old-school Hollywood feel, the egregious production values, the simple script and the swooning, classically cheesy romance. Yet, I find all these amount to a nostalgic, old-fashioned epic that sweeps me up every time I watch it. You can never go wrong with a James Cameron movie. His stories are refreshingly simple and undeniably entertaining.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>93. 12 Angry Men (1957)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh-VNMPwFvOh-yeQV2Ik3CzURdbsmUU5oA_376Bk7m_Rqc4tw-nWDXbriDC8syPnyjfxp6d1WlSlXMufeT1B9xm0AourANKJoKy0G2YpHrPU8aLJIjWtz3uQsByp2diKhygB4o8Gl9hns/s1600/12_angry_men_lone_holdout.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh-VNMPwFvOh-yeQV2Ik3CzURdbsmUU5oA_376Bk7m_Rqc4tw-nWDXbriDC8syPnyjfxp6d1WlSlXMufeT1B9xm0AourANKJoKy0G2YpHrPU8aLJIjWtz3uQsByp2diKhygB4o8Gl9hns/s640/12_angry_men_lone_holdout.png" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Prejudice always obscures the truth."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Like a fly on the wall, you observe how one man tries to persuade his fellow jurors to use logic over prejudice in this single room drama. A fantastic study of various personalities coming to different conclusions. This film is proof of the awesome potential and rights that we have as a cognitive species.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>92. Vertigo (1958)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TvLetlpEPJmYxcDfLsiFBg7M6Is14QvkwWoy_5rNYaRaE4OcOcKu7K6QpQqsJ5Z3GuLJ1A_VD56_BCanfHJl-Z_ErAz9qHGkX-EvMBMoZypjiKFieJAUejInjFujfeFYEbZeaaa07IM/s1600/veritgo3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TvLetlpEPJmYxcDfLsiFBg7M6Is14QvkwWoy_5rNYaRaE4OcOcKu7K6QpQqsJ5Z3GuLJ1A_VD56_BCanfHJl-Z_ErAz9qHGkX-EvMBMoZypjiKFieJAUejInjFujfeFYEbZeaaa07IM/s640/veritgo3.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Here I was born, and there I died. It was only a moment for you; you took no notice."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A film that deserves multiple viewings to appreciate all the layers woven together in this psychological mystery. <i>Vertigo </i>is immaculately yet subtly framed in terms of both story and cinematography. With one of the most hauntingly gorgeous scores that reflects this spiraling story of love and perception. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>91. King Kong (2005)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccjW7UhBPB6vhIrbcdkl7-do5utbuL4zMnWesf8yXMDZp_edOFJTHfZe_mr7iPOYzN8SiAITT1Hjxge5WqycyJIvj_Y9vAaGkNZq9Gg49n7Pbxr-8JO8K6aOXK001PaU82clI48O0-nA/s1600/kingkongpic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccjW7UhBPB6vhIrbcdkl7-do5utbuL4zMnWesf8yXMDZp_edOFJTHfZe_mr7iPOYzN8SiAITT1Hjxge5WqycyJIvj_Y9vAaGkNZq9Gg49n7Pbxr-8JO8K6aOXK001PaU82clI48O0-nA/s640/kingkongpic.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"And lo, the beast looked upon the face of beauty, and beauty stayed his hand. And from that day forward, he was as one dead."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Yes, that’s right, the 2005 version; even though I do love the original. It’s easy to discredit this film for being overlong and silly at points, but I love it. Particularly the Extended Edition at 3hrs & 20mins. With the exception of the brontosaurus stampede, every action set-piece is a triumph of direction. The CG is superbly done, namely in the Kong vs. 3 T-Rexes fight scene. But that’s not enough to make it an amazing movie, for me, it’s the quiet moments. The motion-capture and character work by Andy Serkis is top-notch, and I really feel for that big ol’ ape in every scene. Sure, I shed some tears every time I watch the ending.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>90. Seven Samurai (1954)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxurhKacHcAQkQ8r5nuhrvOWxXiMrRJUk3kfSqXdh3UWgWTYULPcIr4scH8BMlnO6mW2gEjGSJtof1ofhVk5SNoaUN23ytaI47b3zdIuEyUwsS3t2s4uiqlVXtct_7oi4spg9tvh2kXc/s1600/sevensamuraibowbaja.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWxurhKacHcAQkQ8r5nuhrvOWxXiMrRJUk3kfSqXdh3UWgWTYULPcIr4scH8BMlnO6mW2gEjGSJtof1ofhVk5SNoaUN23ytaI47b3zdIuEyUwsS3t2s4uiqlVXtct_7oi4spg9tvh2kXc/s640/sevensamuraibowbaja.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"This is the nature of war: by protecting others, you save yourselves."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Epic in every sense. This Japanese landmark is 3.5 hours long and is worth every minute. What I always find so remarkable is how well this holds up today. The dialogue is surprisingly fun and spry, the action is gritty and intense, and it never feels dated or corny like other ‘epics’ of its time (<i>Ben-Hur)</i>. Essentially the plot of <i>A Bug’s Life,</i> the story of seven unique samurai banding together to protect a defenseless village of peasants, has a lot to say about honour, redemption and purpose.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>89. Brazil (1985)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Mistakes? We don’t make mistakes."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A fantastical tale of a dystopian future, told by the visually imaginative Terry Gilliam. The set design and art production tells the story more than the dialogue. We follow one man’s fight for love and freedom against a tightly-wound bureaucratic city in this comical satire you will never forget.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>88. Unbreakable (2000)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"It’s hard for many people to believe that there are extraordinary things inside themselves, as well as others."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Back when Shyamalan made good films, he made this quietly subtle superhero film. Not based on any actual hero, the film asks the question: what would it be like if someone realized they had super strength? The film is a slow burn and takes a refreshingly realistic approach to it’s topic. This is first and foremost a Director’s film: every shot has a purpose and is obsessively framed and designed. There is very little dialogue and much is told through the lens. We can all just ignore the final minute that was tagged on by the studio.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>87. United 93 (2006)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"They are not gonna land this plane."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The events of September 11th told in handheld docudrama style. There have been many movies and documentaries made on this subject, but this one stands out because it does not glamorize anything. The film follows only the events of the one plane that was diverted towards Washington. Taking a procedural approach, the filmmaker knows to stay out of the story, and let the events guide us through. It uses no celebrities, and even has people like the traffic controllers play themselves. A devastating film that merely presents the facts and lets you bring your emotions and thoughts to it.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>86. Hot Fuzz (2007)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I’m a slasher!...A slasher of prices!"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The British comedy of a big-time cop who is forced out of London to a small hamlet because he makes the other officers look bad; only to find that there is a sinister plot being carried out in this sleepy village. I find this film hilarious since plenty of the jokes derive from small town idioms (it hits close to home for me...pun intended). The other half of this film’s genius is that it is a pitch perfect homage/spoof of 90s action movies. The director manages to achieve farce through his editing and you wind up thinking of how cheesy other action movies are, while at the same time appreciating how enjoyable they are. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>85. Being John Malkovich (1999)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Don’t stand in the way of my actualization as a man!"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The first of 4 screenplays on this list by my favourite writer, Charlie Kauffman. Once again paired with director Spike Jonze, this is a truly odd film. When a puppeteer takes a second job as a file organizer at a quirky little office, he discovers a portal hidden in one of the walls. As it turns out, this portal leads the traveller directly into the mind of actor John Malkovich (joyfully playing a warped version of himself). From here the film only begins taking weird turns (onto the New jersey turnpike for one), and becomes a darkly comic exploration of identity. Certainly the best movie Charlie Sheen was ever in.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>84. Cabin in the Woods (2012)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"If they don't transgress, they can't be punished."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The less you know about this comedy-horror gem, the better. Needless to say, it is a comedic version of a slasher in the woods horror movie. That is until when that plot ends, you realize you are only halfway through the running time. At which point, there is a twist that takes this witty movie in a completely new direction, not to discredit the first half, but to compliment it. Having watched it a handful of times in the last year or so, I can say that it definitely holds up even with knowledge of how it works out. A gleefully enjoyable and comical horror movie that turns the stale genre on its head.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>83. Gladiator (2000)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Are you not entertained?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A throwback to the old Hollywood epics and redone with a brooding tone. It was a huge hit 13 years ago, and is still fantastic now. Every aspect is top notch: the subtle visual effects, acting, gritty cinematography, direction and one of my favourite scores. Unlike most blockbusters that followed, it knew to keep it’s story very simple: a primal tale of revenge.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>82. The 40-Year Old Virgin (2005)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I have a very fulfilling life!"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>It was a long time coming to have a rude comedy that would be perfectly mixed with maturity and brains. This movie had all that, and the kicker was that it is truly funny. The perfect casting of Steve Carrell turned this pathetic character into a lovable schmuck. Plus, the improvised script is fun and not obnoxious like the films these guys would later make.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>81. Collateral (2004)</b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Take comfort in knowing you never had a choice."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The first film to be shot wholly on digital cameras, this is a visually unique experience. Taking place entirely at night in the streets of LA, the director and cinematographer bring out colours and landscapes that form an atmosphere all their own. Plus, it’s a blast to watch Tom Cruise play a villain in his best role.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>80. Psycho (1960)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"We all go a little mad sometimes. Haven’t you?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>It has the famous twists, turns and shocks. Stark black and white photography. Hitchcock's ever-present creeping camera. That memorable score. And one of cinema's most sinister yet captivating creation: Norman Bates.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>79. The Life Aquatic with Steve Zissou (2004)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Don’t point that gun at him, he’s an unpaid intern."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Wes Anderson's films aren't for everyone. His meticulous perfectionism in over-designing and staging his characters can be too much for some and it tends to lose grasp of reality and hard to take seriously. But I love it. This zany film is an absolute joy to watch, and Bill Murray's endearing performance holds it all together before it ever goes off the rails.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>78. The Thin Red Line (1998)</b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"War doesn’t ennoble men, it turns them into dogs."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Conceivably odd, this a slow meditative art film about war. Taking place in the South Pacific during WWII, we follow several different soldiers and their points of view on war and human nature. With constant philosophical voiceovers, a naturalistic floating camera and beautifully serene images, this is a wonderfully introspective film that has time to breathe and lets you soak in its beauty.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>77. Citizen Kane (1941)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I don’t think there’s one word that can describe a man’s life."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Often cited as the greatest film of all time, and rightfully so. I tend to find it more of a landmark than entertaining, hence why it’s not higher. It is a classic tale of a man getting caught up in power and losing sight of what should be important in his life. Every scene is carefully planned and shot, to the point that the staging itself tells a layer of the story. Also novel for it’s stark cinematography, inventive shots, unconventional structure and of course written, directed and starring the great Orson Welles.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>76. The Wages of Fear (1953)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG9_-HYlHN9Gf7M-r4jUZT0_t7UzQRgAwYnmHOvUEZC_dPvg_5U-RiTYOv1mHeChatkGidmauOZp-PuquM0zDxgk3niyvncxVHwHuKtnlsUVaOd2Ce39wDSkedIylU266kV3L49BVj5Ww/s1600/wages-of-fear.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG9_-HYlHN9Gf7M-r4jUZT0_t7UzQRgAwYnmHOvUEZC_dPvg_5U-RiTYOv1mHeChatkGidmauOZp-PuquM0zDxgk3niyvncxVHwHuKtnlsUVaOd2Ce39wDSkedIylU266kV3L49BVj5Ww/s640/wages-of-fear.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"When someone else is driving, I’m scared."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A classic French film about a group of poor men in a small South American village who have no option left to make money, except to drive two truck loads of nitro-glycerin across treacherous terrain to put out an oil fire by an American company (the irony is ever present). Putting their lives at risk, the trucks could explode at any second as obstacles are constantly thrown in their way. Once the voyage gets going, this in an incredibly intense film that has you questioning what greed can do to a man’s life.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>75. Men in Black (1997)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfsv0xdjVV4_tHGkbfgyu-5wsfHzjx3KKDK48v3OHIiH9MeSGkZOdacmQ9ddaPjGi4D_WiR4XGkLU-MPe9xRVgDi-fGFWu8sbZul3nTLKvxs2VPPeP9ygAkaVla8xu7Vg9dVG67DHUOc/s1600/men-in-black-1997-01-g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtfsv0xdjVV4_tHGkbfgyu-5wsfHzjx3KKDK48v3OHIiH9MeSGkZOdacmQ9ddaPjGi4D_WiR4XGkLU-MPe9xRVgDi-fGFWu8sbZul3nTLKvxs2VPPeP9ygAkaVla8xu7Vg9dVG67DHUOc/s640/men-in-black-1997-01-g.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Imagine what you’ll know tomorrow."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A creative story blended with fun visuals and charismatic leads. This is such a fun movie to watch and I feel confident placing it above <i>Citizen Kane.</i> It blends action with comedy against a sci-fi backdrop with ease. Smith has never been so much fun, and Jones anchors the whole film perfectly. It’s a movie to this day that I can always re-watch and it always feels so fresh (prince of bel-air).</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>74. Minority Report (2002)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRlvX8WJWjen17tV75E2ZomTSWSYV71pDvGFM7eIFXd8SLe2zxyJ13cgcSPQm9tw-edWeGS-A7eKT1G18XUlXbhGLEVxAHNU8FmuDe9HAyaDcYposQ149HbJ-jvB1TGjEvro2RZ-2rOvM/s1600/minority-report-ui.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRlvX8WJWjen17tV75E2ZomTSWSYV71pDvGFM7eIFXd8SLe2zxyJ13cgcSPQm9tw-edWeGS-A7eKT1G18XUlXbhGLEVxAHNU8FmuDe9HAyaDcYposQ149HbJ-jvB1TGjEvro2RZ-2rOvM/s640/minority-report-ui.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Is it now?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Based on the science fiction writing of the great Philip Dick, this is an superbly tightly-wound thriller that takes place in a future where murders can be predicted by the police. Like any great sci-fi story it deals with several moral issues pertaining to it’s concept and gives you many ideas to consider. But this film is also a fantastic action movie as well. Spielberg’s flair for memorable visuals is coupled with his great cinematographer Kaminsky, and these two turn in a great one-of-a-kind looking film. And don’t forget a great frantic score by Johnny Williams.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>73. Grizzly Man (2005)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT146y0pse9dI26ig6aDwo1kDy1MzLi0o6A3cE83gCVx_zrlod9W0iAMc58uS7j_GSk4rnLkdmjA8_ecJlSiA3bm62A1aRed1JAA71Ns1Euy069RHopDN1dxQRLzP6iqKk9Erj97Ihk6I/s1600/grizzly.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT146y0pse9dI26ig6aDwo1kDy1MzLi0o6A3cE83gCVx_zrlod9W0iAMc58uS7j_GSk4rnLkdmjA8_ecJlSiA3bm62A1aRed1JAA71Ns1Euy069RHopDN1dxQRLzP6iqKk9Erj97Ihk6I/s640/grizzly.png" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I will die for these animals. I will die for these animals."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Timothy Treadwell was a man who fled society every summer for a number of years to get away from humans and live with grizzly bears in the wild. Although he used ‘cautious’ methods and was fairly knowledgable about the dangers and lifestyles of the bears, it was inevitable that something would go wrong. This documentary uses his own footage, and interviews with those who were close to him, to not so much act as a depressing lament or eulogy, but to take a look at what made him tick. The always insightful filmmaker Werner Herzog manages to both respectfully scorn and appreciate his subject in this not-too depressing film.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>72. The Godfather (1972)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0IJYrojbztVVl66Kb62t4syHh61c9KB9WBTnb0lqXZi2I7u7IMPhui8mJ62GdDQj_YYXAdr-sgrHhgQLLi70TCdK1F5BlVshuYZ8gCiy7DfqdxKUEonMCsM9dyfkK762k33pCuq8v90/s1600/godfather_wedding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0IJYrojbztVVl66Kb62t4syHh61c9KB9WBTnb0lqXZi2I7u7IMPhui8mJ62GdDQj_YYXAdr-sgrHhgQLLi70TCdK1F5BlVshuYZ8gCiy7DfqdxKUEonMCsM9dyfkK762k33pCuq8v90/s640/godfather_wedding.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"That’s my family Kay, that’s not me."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A classic among every film fan. A grandiose story about family within the Italian mob. There are many great things about this film, but for me it’s the screenplay. The story is surprisingly epic and large scale while never losing sight of it’s core familial relationships. Michael Corleone’s character arc is astonishingly powerful and primal. Every scene and plot point is integral and in service of the characters. Each moment has become memorable in celluloid history and most especially for me, the last 10 minutes.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>71. Forrest Gump (1994)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAwGy3aNa99ITZqhei8u4oXgn81X15WaoU9Q8ITEXJBbbT-bINYVUdcy366vKzrAUFrQ0sxLxL8wvJpM0HPe_rfLSE7BR5oz8ijyBaUsBp8_XS1BqbKvIck1Kma58Soln9EQLhJomomQ/s1600/Forrest_Gump_1080p_www_YIFY_TORRENTS_com_3_large.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaAwGy3aNa99ITZqhei8u4oXgn81X15WaoU9Q8ITEXJBbbT-bINYVUdcy366vKzrAUFrQ0sxLxL8wvJpM0HPe_rfLSE7BR5oz8ijyBaUsBp8_XS1BqbKvIck1Kma58Soln9EQLhJomomQ/s640/Forrest_Gump_1080p_www_YIFY_TORRENTS_com_3_large.png" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"-Do you ever dream, Forrest, about who you’re gonna be?</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">-Aren’t I gonna be me?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>I’m one the few people these days who is glad this won Best Picture over <i>Pulp Fiction</i> and <i>Shawshank Redemption</i>. The unconventional story structure sprawls out like a series of tangents strung together. It could have been a set of disjunct sketches, but Master Hanks‘ charming Gump holds it all together. His honesty is so endearing and shows us how to be genuine. The film is also memorable for the great soundtrack and great score. This simple movie will always have a place in my heart. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>70. Alien / Aliens (1979 / 1986)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Did IQs just drop sharply while I was away?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The first is more atmospheric and spooky and the sequel is more fun and action based, but both of these films are top notch. The sets and aliens are meticulously designed, and hold up remarkably well. Both are fraught with tension and intensity all in service of delivering the thrills and escapism we seek when going to the movies. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>69. Adaptation (2002)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Any idiot can write a voice-over narration to explain the thoughts of a character! That’s flaccid, sloppy writing."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A difficult film to describe without confusion. A real-life author (Susan Orlean, played by Meryl Streep) writes an article about orchid smuggling. Then, real-life screenwriter Charlie Kauffman (who is the actual screenwriter of this film) is tasked with taking her article and turning it into a movie (essentially this movie, <i>Adaptation</i> - giving the title one of several meanings). The plot thereafter is him having writer’s block while his fictional twin (dual roles played magnificently by Cage) has success with a hackneyed Hollywood script. This is a look at Kauffman’s struggle to fit in and creatively survive in Hollywood, while we watch several layers of stories unfold at once. It’s a story about a lack of story, and is as ‘meta’ as a film can get.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>68. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ip7kOCKGchTOfSsX7yAlDy25jf8rbJrsunESCNNOpmaab55zHvl8G-DMPPLNZs6k0KsN-uDymbu4XoSWgjLrBv0H3aTCLfop6gj8TwLaNDlqGTQ0j95QYLmdCOo6GmLEttILl3Rzkjo/s1600/drstrange.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ip7kOCKGchTOfSsX7yAlDy25jf8rbJrsunESCNNOpmaab55zHvl8G-DMPPLNZs6k0KsN-uDymbu4XoSWgjLrBv0H3aTCLfop6gj8TwLaNDlqGTQ0j95QYLmdCOo6GmLEttILl3Rzkjo/s640/drstrange.png" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Gentleman, you can’t fight in here! This is the War Room."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>As the title may suggest, this is not a conventional film. Originally conceived as a serious warning of how the Cold War could escalate, genius filmmaker Stanley Kubrick grew cynical and after deciding how preposterous the human race can be, changed his film into a comical satire. This film comically yet scarily shows how easy it is for a nuclear holocaust to occur at that time. We are shown how our technologies, weapons and procedures are beyond us; even those in charge are powerless to do anything. That being said, there are fantastic moments of absurdity and comedy throughout with Peter Sellers playing 3 roles and George C. Scott’s bumbling Buck Turgidson.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>67. The Bridge on the River Kwai (1957)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"We’ll show them what the British solider is capable of doing!"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>I love all the classic WWII men-on-a-mission films (<i>The Great Escape, The Dirty Dozen, The Guns of Navarone). </i>However, aside from the homage <i>Inglourious Basterds</i> (which you will see near the top of this list), my favourite of these is easily <i>Kwai</i>. A group of prisoners in a Japanese POW camp decide to aid their captors in constructing a bridge out of spite and honour. A complex tale of dignity led by the great Sir Alec Guinness as Colonel Nicholson. The film goes from delightful moments of levity to dramatic morally pensive scenes. It all climaxes in one of the greatest build ups (and downs) in cinema history.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>66. The Jungle Book (1967)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQ8Ar59n7jYS9ra3hfpu3SMf8iIpMHfM6jXX6kIohpyS_vVEl7sPaj6bF_dMYPzNW1GXmnplS4EWVF0NGZRGy18kWn0lx4APO-YSR5B0OASW9umerLFYIthKmV6UG-dpt7JHCQ35-eGI/s1600/jungle-book-5852-hd-wallpapers.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQ8Ar59n7jYS9ra3hfpu3SMf8iIpMHfM6jXX6kIohpyS_vVEl7sPaj6bF_dMYPzNW1GXmnplS4EWVF0NGZRGy18kWn0lx4APO-YSR5B0OASW9umerLFYIthKmV6UG-dpt7JHCQ35-eGI/s640/jungle-book-5852-hd-wallpapers.jpeg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"This will take brains, not brawn."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Walt Disney’s final film is one of his most lovable. Based on the Rudyard Kipling novel, it perfectly combines the book’s mature tale of nature vs. nurture with the fun and musical Disney sensibilities. The lessons learnt about parenting and growing up are very simple yet effective. While the music (some of the Sherman Brothers’ best) is an absolute joy, and is perfectly delivered by a cast of the very best voice actors; including the show-stopping Louis Prima. What’s more is it was made in the era of the oddly appealing rough animation style which the studio went through in the 70s: wherein the final cells weren’t polished of the sketch marks, and the backgrounds are given extra detail. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>65. Speed (1994)</b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Pop quiz, hotshot."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>One of the best straight-up action movies. Not one of the best movies with character development or plot, but certainly one of the best action movies. It kicks off with a bomb on an elevator, then moves to a bomb on a bus, then a runaway subway. Action and intensity are continually ramped up in each scene as the stakes keep changing. This is a fast 2 hour ride and it certainly holds up almost 20 years later. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>64. The Incredibles (2004)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBh2JMR2mfDG9q2YU_o32yzQwSx9sE4q8ixH7DAhyphenhyphen2z8qW3zFJryxrOb_zjD3Je6InXD6HcveaLgOAQLL9vTR6huQT5TkxAq8uH6L3x0Rohh7vHEXEszo7pMgjwDEdxoxcF5ppsVtxJJM/s1600/Incredibles-Scene-wide-560x283.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBh2JMR2mfDG9q2YU_o32yzQwSx9sE4q8ixH7DAhyphenhyphen2z8qW3zFJryxrOb_zjD3Je6InXD6HcveaLgOAQLL9vTR6huQT5TkxAq8uH6L3x0Rohh7vHEXEszo7pMgjwDEdxoxcF5ppsVtxJJM/s640/Incredibles-Scene-wide-560x283.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"No matter how many times you save the world, it always manages to get back in jeopardy again." </span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Just incredible. Watch it. Enjoy it. Watch it several more times. An amazing action-adventure, family, super-hero film.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>63. No Country For Old Men (2007)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQMZ34TY21uTbUpAXlBtDqgOEcGK2phJKNU2cAOhvF189B8EYj6Xn72HISwBOOuHezs0VDyoglzU6MNhfnmkPVXAy73ZVcpgN9nzdXZVyJz02VLijChHcGFyFWoBRvv_CXe3PU5qt2PI/s1600/no+country.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQMZ34TY21uTbUpAXlBtDqgOEcGK2phJKNU2cAOhvF189B8EYj6Xn72HISwBOOuHezs0VDyoglzU6MNhfnmkPVXAy73ZVcpgN9nzdXZVyJz02VLijChHcGFyFWoBRvv_CXe3PU5qt2PI/s640/no+country.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"What’s the most you ever lost on a coin toss?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A gorgeously shot bleak film about fate, chance and every other determinant of your future. A man stumbles upon a load of cash from some criminals who then send a hit-man out to retrieve their money. Virtually devoid of music, the film creeps in and out of quietly burning intensity and ramped up chase scenes thanks to the always reliable Coen Brothers’ direction. Amongst the mayhem, we also have Tommy Lee Jones’ (Old Man) sheriff trying to piece it all together and acting as the sensible heart of the film.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>62. City Lights (1931)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp52dD1YcrgC9WxBXKCn6gofYiN0bJBx1Hwo4WnXPq73pNHlC4qmwDmKy42ngSLS0pnQb741dixSiVnh5SV-87rhBAYH-MbPpmVToy8z0xn682sqwGXxxRG0KzliVBkp5YOyZ_XJAGDYk/s1600/citylights.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp52dD1YcrgC9WxBXKCn6gofYiN0bJBx1Hwo4WnXPq73pNHlC4qmwDmKy42ngSLS0pnQb741dixSiVnh5SV-87rhBAYH-MbPpmVToy8z0xn682sqwGXxxRG0KzliVBkp5YOyZ_XJAGDYk/s640/citylights.jpeg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>There are many great silent movies (<i>Modern Times, The General, Sherlock Jr., Safety Last)</i> and you have no excuse not to have seen them; they are all in public domain and on YouTube. For me, my go to is always <i>City Lights. </i>Written, directed and starring the endearing Charlie Chaplin, this is the story of a poor man falling in love with a blind flower girl. Yes, it is romantic and sweet, and it also has some satire on the rich, but this is still a Chaplin film and you can certainly expect classic physical comedy and memorable stunts. If you’ve never seen a silent film, this is a great place to start. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>61. Close Encounters of the Third Kind (1977)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB7vbOMGWEDaNG3CKikcCE5pcLgLaBtpaT_nheGvJDypIV9CIrKGIyxwFc6iBJJ4-YoV5329E53jgZUKzrzGfS0gm6u883NbVpoAgvpfZqoZNOd6xb5y5T3-qO3lLruJFLE9uett0sn-8/s1600/close-encounters-of-the-third-kind-original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB7vbOMGWEDaNG3CKikcCE5pcLgLaBtpaT_nheGvJDypIV9CIrKGIyxwFc6iBJJ4-YoV5329E53jgZUKzrzGfS0gm6u883NbVpoAgvpfZqoZNOd6xb5y5T3-qO3lLruJFLE9uett0sn-8/s640/close-encounters-of-the-third-kind-original.jpg" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"> </span><span style="font-family: Courier New, Courier, monospace; font-size: large;">"<b style="letter-spacing: 0px;">This means something. This is important."</b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>A masterful early Spielberg film that shows off every aspect of his filmmaking. A sci-fi film about coming into contact and accepting another species, but in Spielbergian fashion it is of course more importantly about family dynamics and finding your true purpose. He creates awe and majesty out of these eerie alien encounters. He creates tense and realistic family drama. He indulges in one man’s descent into madness only to have him discover his destiny. A perfect blend of intimate (if depressing) family drama with a majestic sci-fi adventure.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>60. Groundhog Day (1993)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEng3xQgepKX30tnFiUnQSjgC4Gfm7GJ4WmTZf3KWNmpbkNFuj_rwTBIJaKTN2AdjqoNXD7cvC-wGZrgPwoCtwGXxV8fsP3Qjg8BtrS7TwoqaGOdmtPUCYwDeeflfNZxquBSltfKVtdvA/s1600/groundhog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEng3xQgepKX30tnFiUnQSjgC4Gfm7GJ4WmTZf3KWNmpbkNFuj_rwTBIJaKTN2AdjqoNXD7cvC-wGZrgPwoCtwGXxV8fsP3Qjg8BtrS7TwoqaGOdmtPUCYwDeeflfNZxquBSltfKVtdvA/s640/groundhog.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"I am a god. I’m not THE God...I don’t think so."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>An odd little film that is like no other. It is a light Bill Murray comedy, based on a gimmicky idea, that also turns out to be surprisingly philosophical and existential. Our cynical main character Phil, has the worst day of his life, and finds out the next morning (and every morning after that), that he must now repeat this day over and over for the rest of his life. The script knows never to explain why this is happening. Aside from the concept, the plot takes a backseat to the characters. Watching Phil’s growth into a mature human being is inspiring and makes for an incredibly re-watchable film, despite it’s literal repetitiveness.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>59. Once Upon a Time in the West (1968)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwQEYmQ2QFIg56HIh9mqc4Z0OaHeBaYQhdTkvuArsnlIBKmREroHNa8_gWE-L-rHv71pjx4WYJ5NjVG85IaxfjkayusNYDyN7NKGR3ZJkEMKegWeMXtSdA9PZ8xtjJJB1XnSDWYKCUY4/s1600/Once-upon-a-time-in-the-West1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwQEYmQ2QFIg56HIh9mqc4Z0OaHeBaYQhdTkvuArsnlIBKmREroHNa8_gWE-L-rHv71pjx4WYJ5NjVG85IaxfjkayusNYDyN7NKGR3ZJkEMKegWeMXtSdA9PZ8xtjJJB1XnSDWYKCUY4/s640/Once-upon-a-time-in-the-West1.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Instead of talking, he plays. And when he better play, he talks."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The pinnacle of the revisionist westerns by the entertaining Sergio Leone. This is one of the most grandiose films you’ll ever see. It is a nearly 3 hour melodrama steeped in western tropes and idioms. The operatic score is one of my all-time favourites. Like <i>Star Wars</i> and Wagner operas, the characters are merely caricatures that represent larger ideas, and each have their own musical theme. The plot itself is a traditional Western tale: there is a good cowboy and a bad cowboy, and they are feuding whilst caught up in the takeover of a small town by the Railroad company. A story about the end of western small town ideals, coming from a film which itself was the last great Western film for nearly 40 years to come. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>58. The Good, the Bad, the Weird (2010)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"People must know that they’re going to die, and yet they live as though they never will."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Blatantly, a remake of <i>The Good, the Bad and the Ugly</i>, this under-seen Korean film is a blast. It maintains the same plot of three rebellious cowboys who are out searching and fighting for a buried treasure. Plus, this remake honours the original through various costume nods, music cues and even replicating famous shots. But what’s new, is the action. The director never wants to rest, and launches us through this fun-filled, kinetic, action-comedy. This is a film that certainly delivers entertainment.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>57. Harry Potter and the Half-Blood Prince (2009)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"How grand it must be, to be the chosen one."</span></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The Harry Potter series is a marvel in itself: the studio created 9 movies of a single series over 10 years, that maintain (mostly) consistent actors, that is faithful and complimentary to it’s original source and all of which can be viewed as a nearly singular vision. Most folk would pick the third entry as the best (and it is my 2nd favourite), but the <i>Half-Blood</i></span><span style="letter-spacing: 0px;"><i> </i></span><span style="letter-spacing: 0.0px;"><i>Prince</i> remains my go-to. It does have the least amount of plot, and this makes room for plenty of character development, back-stories and artsy set-pieces. It has some of my all-time favourite cinematography and colour-timing (editing), which wrongfully lost the cinematography oscar to <i>Avatar</i>. </span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"The truth lies at the heart of the art of combat."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Many of the older kung-fu genre movies can be fun, but rarely, are they any good in terms of quality (in the classic film sense). Tarantino takes his love of these movies and channels the best parts into this rollicking homage to the martial arts. A beautifully simplified tale of revenge sets the stage for several creative set-pieces and fight scenes; from a japanese anime to a bloodbath showdown in black & white. Allegedly, almost every shot/sound/costume/etc is lifted from a previous martial arts film. With the beautiful camera work, high production values, zany violence and masterful choreography, this makes for an extremely entertaining ‘live-action cartoon.’ [note: the 2nd volume is also amazing]</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>55. Man on the Moon (1999)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Who are you trying to entertain: the audience or yourself?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>I don’t typically enjoy biopics. Only when the film itself reflects the subject, rather than displays the facts about its subject, does it appeal to me. If not, I’d rather read an article on the person. Here, director Milos Forman (of <i>Cuckoo’s Nest</i> and <i>Amadeus </i>fame) gives us the story of comedian Andy Kaufman. According to the film, Andy was an often misunderstood comedic genius who always wanted to act outside the box and be different. His goal was to pull long-term pranks on his audience. The film itself pulls these pranks on us and we are continually surprised. In the end, it is a good lesson in how important it is to entertain and bring joy to those around you.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>54. Monsters, Inc. (2001)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9ncOA678GGHyqKHZ2fDwSFkf8dq5k-gaS7TlRle4l5s6d8ItuMUh6OFIr2WH0ufkxq5IXfIbvktQ35YORGoZYAgQhu6hLLZUZCxZCg3iqi1ocBpzmZt5ytj7kps-0RmMp5fQ2NeGYT0/s1600/monsters+inc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9ncOA678GGHyqKHZ2fDwSFkf8dq5k-gaS7TlRle4l5s6d8ItuMUh6OFIr2WH0ufkxq5IXfIbvktQ35YORGoZYAgQhu6hLLZUZCxZCg3iqi1ocBpzmZt5ytj7kps-0RmMp5fQ2NeGYT0/s640/monsters+inc.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Put that thing back where it came from or so help me!"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Visually, Pixar evolves with every film. This was the one where they were able to handle characters with fur and hair, as well as create a wholly original world from scratch. Right from the start, Pixar always knew how to tell a good story. This entry is their most creative and has the most fascinating world. So much joy comes from simply discovering their world of monsters. Crystal and Disney-go-to Goodman, create some of the most memorable and funny characters in the Disney canon. It’s a perfect matching of personalities and when we add the character Boo to the mix, the interplay and bickering gets even better. The final line will always give me a single tear at the end!</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>53. The Lion King (1994)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"We are all connected in the great Circle of Life."</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The pinnacle of the Disney Renaissance, this is deservedly their crowning achievement, post-Walt. Straying away from the typical fairytale/princess angle, Disney chose to instead use a story from South-African folklore combined with Macbeth. This refreshing contrast combined with one of the all-time greatest scores (by Zimmer) makes for a powerful piece of art. The animation is still stunning, the Elton John tunes are memorably catchy, the typically zany Disney sidekicks are pushed only just far enough into the spotlight, the villain would be their last great baddie (Count Frollo is close), the voice actors are all-stars but also necessary and of course the masterwork of filmmaking that is the ‘stampede scene.’</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>52. Cast Away (2000)</b></span></span></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"Who knows what the tide could bring?"</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Where I’m biased towards hating biopics, I’m also biased to loving survival stories. Giving the performance of his current career, and for once not winning the Oscar, Tom Hanks is the man we live through vicariously on a desert island. Nearly devoid of music, except when we need it as poor Wilson leaves us, we are transported to this tropical island through an amazing soundscape. From the adrenaline fueled plane crash to the serene wading of waves against a rock, this film is an experience. It is not a very deep film, requiring you to analyze the symbolism and re-evaluate your life, rather it is a journey of survival and determination that I can watch any day of the week.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-large;"><b>51. Bambi (1942)</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXR1qgR_2EjXbfQ3Aq7bzbtpdVjLL_uUPEVb5sLh8auajTAdlCP4trJvetAOzxT2vIviBQcW1x707K_3d8OmaArCdVJ7w5xRVNmDMpfq0QbvPNUcV-ryiLgKDJkHAd0DQRpa50p-GMe8k/s1600/bambi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><img border="0" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXR1qgR_2EjXbfQ3Aq7bzbtpdVjLL_uUPEVb5sLh8auajTAdlCP4trJvetAOzxT2vIviBQcW1x707K_3d8OmaArCdVJ7w5xRVNmDMpfq0QbvPNUcV-ryiLgKDJkHAd0DQRpa50p-GMe8k/s640/bambi.jpg" width="640" /></span></a></div>
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<span style="letter-spacing: 0.0px;"><b><span style="font-family: Courier New, Courier, monospace; font-size: large;">"It is Man. He is here again."</span></b></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Often remembered as that deer movie where the mother gets shot and we all cry. I however, remember it for the outstanding animation and simple story.<b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>Over time, the Disney animation studio grew less concerned with putting every detail on screen and became more concerned with the rising costs of animation. If I can use a music metaphor, <i>Bambi</i> was like the Baroque Era wherein everything is ornately designed. Every cell needed to be rich in colour depth and finely crafted. The theme is streamlined to be simple and cyclical in nature (pun intended). Later movies like <i>Peter Pan</i> might be part of the Classical Era where they are intended for the public, and finely crafted art might be put aside in favour of more developed plots. Watching <i>Bambi </i>again recently, I can truly appreciate the beauty and majesty of this primal ‘art for the sake of art.’ </span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com1tag:blogger.com,1999:blog-3944054689011308619.post-53135105024098640092013-01-29T21:54:00.003-08:002013-01-29T21:56:34.797-08:00Top 20 of 2012 - Part 2, #10-1<br />
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b><i>10 - The Raid: Redemption</i></b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> This explosive action film from Indonesia is one of the best Kung Fu movies I've ever seen. Although released in some festivals in 2011 it got its official release this past year with a smashing techno-rock soundtrack and the inexplicable subtitle <i>'Redemption' </i>was added. What takes it beyond other martial arts films is that it eschews the silly notion that a plot is needed; let alone any down time at all. As the back of the DVD case rightfully purports, <i>"1 minute of romance, 99 minutes of non-stop carnage!" </i>The 'plot' of the film has a SWAT team raiding an apartment tower loaded with a gang of drug dealers. As they infiltrate and rise up each floor, the foes get tougher and tougher, climaxing with the best fight scene in recent memory. Bouts of pure kinetic hand to hand combat, an intense scene between walls with a machete and an explosive refrigerator will surely entertain any and every action junkie.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> There is always at least one documentary every year that blows me away (and it usually gets shunned by the Oscars). These ones are those that not only have interesting stories, but also manage to be more than just facts and figures. <i>The Imposter</i> takes its obscure material and presents it as a mystery and thriller, making sure to hold its cards close to the chest until need be. Bit by bit, pieces unravel and layers are revealed. Every time you think you've heard it all, the story takes another twist; thanks to the way the film makers present it. What's more astonishing is they get most every person involved to play themselves in reenactments. Without giving away too much, this 'believe it or not' tale begins with an American family whose son goes missing. Four year later, they get a call that he has been found in Spain. From our title, the viewers have figured out that this might not be their son, but rather an imposter claiming this identity. We then follow his 'skills and steps' in being recognized and admitted back into the family. This is all interesting enough, but that's just the beginning of a set of lies that twist us through this story. The less you know going in, the better.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Just when you thought the silly gimmick of making a 'found footage' film was done and gone, there comes a film that warrants its use. This little film came and went early in the year with a tiny budget, and when you have limited funds, there is no simpler solution than to shoot your film on digital hand-held cameras. Thankfully, the plot justifies the gimmick. A troubled loner teen feels threatened by his abusive father, and decides to have a camera on him at all times. He begins to live vicariously through his lens, hiding from society until he and 2 other kids stumble upon a mysterious substance which grants them the power if telekinesis, and he now has a means to 'act out'. The joy of this film is the direction it takes. It is a low-budget superhero film and therefore relishes in the little things such power can do. These are kids with superpowers and they act like kids with superpowers: stacking Lego with their minds, taking revenge on bullies, performing 'magic' tricks and playing football in the sky (here the low budget really shows). <i>Chronicle </i>is a refreshingly honest film that is unique in its approach, nice and short, and has a killer third act that ends with a bang.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> A beguiling film set after WWII, a time when the now purposeless veteran Freddie (played by Joaquin Phoenix in the finest performance of the year) returns home only to embrace alcoholism and lose all ambition. But this is not a critique of the effects of war, it is instead a mesmerizing analysis of Freddie's confrontation with therapy. Does man truly need a master, and is it not himself? This therapy comes in the form of Lancaster Dodd (played with glowing confidence by Philip Seymour-Hoffman), a self-help guru and cult leader of The Cause. Shot with staggeringly beautiful camera work by my favourite filmmaker P.T. Anderson, this is a hypnotic film to watch. Even though I didn't quite follow what the point was by the end, every second of this 2 1/2 hour film is mesmerizing and memorable. This is an intriguing film which requires a second viewing (I intend to do so) and could very well move to the top of this list or drop right off. It is nevertheless a masterful high-quality film to watch, ponder and discuss.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b><i>6 - The Dark Knight Rises</i></b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> There are movies that are perfect examples of textbook filmmaking and then there are movies that just know how to entertain. I like to think that my taste in films incorporates an equal dose of both. Over time I’ve become more forgiving of flaws in films so long as they are ambitious and entertaining (as I'm currently watching <i>Avatar</i> and looking past the conventional script and just enjoying how awesome it is). <i>The Dark Knight Rises</i> is not as fantastic as <i>Batman Begins</i> or <i>The Dark Knight, </i>and there are plenty of expositional script problems, but I don't care. This is a thrilling and definitely epic conclusion to the 'new' batman trilogy that satisfies every story line. It lacks the energy of the first two, but ramps up the scope and puts the focus back on Batman himself. Zimmer is rocking his best score since <i>Gladiator. </i>Production values and stunts are through the roof. The 2 new villains are no ‘Joker’, but certainly are grand editions. Christopher Nolan's direction with quick cuts and overlapping scenes (as usual) does not let up and makes the long run time feel like a breeze. It's not perfect, but the sheer epicness makes this the sure-footed satisfying conclusion to the 2nd greatest trilogy of all time...(<i>ahem,Toy Story</i>). </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> This was an easy choice for me to include since I'm a huge Bond fan. I love my 007 films, and <i>Skyfall</i> might be my favourite. Although my principle issue is its lack of kinetic action (like my other fave <i>Casino Royale</i>), this one has many strengths that are not prevalent in any of the other 22 films. First and foremost, <i>Skyfall</i> has the great cinematographer Roger Deakins on board. He brings some technical and visual class for the first time to a Bond film. This is the best looking film of the year and the lighting is outstanding. Secondly, along with <i>Casino Royale</i>, there is a higher caliber of acting going on. Daniel Craig gives it all he's got, along with Dench and Bardem in the 2 other principle roles. But this is because the characters are given more to do than usual. Which brings me to my third point, the script. In the last few Daniel Craig films, for good or bad, Bond has been trying to shed the baggage of the spy's film history. He has been looking towards the future, in search of a cynical, more self-aware character that rejects his ‘surface level’ past. In this film however, I find him with both feet firmly planted in the future and the past. The best of both worlds; in with the old, in with the new. The film is an analysis of who Bond is (both as a character and a series) and questions what place he has in modern action films. And yet <i>Skyfall</i> also confidently embraces its history and relishes what makes Bond fun. A Grotesque over the top villain, a few gadgets and traps, snappy remarks and an appreciation for staying classy. To me, this is the pinnacle of the Bond films: a little <i>Goldfinger</i>, mixed with Timothy Dalton, mixed with some <i>Casino Royale</i>, and then shaken, not stirred.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> I'm not sure why I love survival stories so much. Like <i>Cast Away </i>(one of my all time faves) and my #1 for this year, I just find something so pure and enthralling about someone stuck with confronting themselves in isolation. Maybe I should go on a Walkabout... Disregarding that tangent, <i>Life of Pi</i> is a beautifully shot film of a beautiful story about the beauty of storytelling. For me, this was the most touching film of the year thanks to its imagery and love of filmmaking. A young boy named Pi, an appropriate name for someone who embraces all aspects of life and every religion, winds up stranded in the ocean with a tiger in his lifeboat. That's pretty much the story. Pi experiences a remarkable tale of survival and undergoes a few introspective epiphanies. But what is most memorable about the film is that it is a parable about the merits of storytelling. Through the use of symbols and metaphors, a story can mean so much more. They are powerful tools that allow the reader/viewer to assess a personal meaning for themselves. When messages are allowed to be interpreted, rather than being told at face value, we appreciate them more and it becomes more personal. This is the stance that the film takes and the director Ang Lee, makes sure to present us with the most gorgeous imagery to transport us there. The bookends of the film are not as strong as the rest, but they are nevertheless essential to contrast the majesty of storytelling with the cold hard truth. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZ3_uCUHSo7Guivwg1wPNPogV2CHZGpUqo8rkJMRTq85zHasT9rhxzev16dmHndDRQQFM9ZjwQWDI02sqv2xNhxt34Imsh6qCS6MMILfpJRhq8ZqoJ3S70DP1-co6Qiqf3rs9ijkp4HA/s1600/cloud-atlas06.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZ3_uCUHSo7Guivwg1wPNPogV2CHZGpUqo8rkJMRTq85zHasT9rhxzev16dmHndDRQQFM9ZjwQWDI02sqv2xNhxt34Imsh6qCS6MMILfpJRhq8ZqoJ3S70DP1-co6Qiqf3rs9ijkp4HA/s640/cloud-atlas06.jpg" width="640" /></a></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> The most intriguing and ambitious film of the year is not without its flaws. But like my #1 from last year <i>(The Tree of Life)</i>, I will always be in favour of ambition and creativity over perfection and lack of inspiration. Even if you don't like <i>Cloud Atlas, </i>at the very least you can find it interesting and appreciate the thought and ingenuity that went into making this. Like <i>Life of Pi</i>, this is also based on an 'un-filmable' novel. Spanning decades, we are introduced to 6 different stories with characters every bit as different as the next. Bit by bit, as we leap back and forth in time through cross-cutting, we simultaneously experience each high, low and climax as it is relative to each of the stories’ arc. Like the Wachowski's previous film <i>Speed Racer</i>, this is a masterpiece in film editing (unfortunately overlooked by the Academy this year). For a 3 hour film, it flies by thanks to the constant linking to the next story at just the right time. <i>Cloud Atlas</i> also boasts a great score, a plethora of entertaining characters, exquisite production design that helps you to immediately link to each story and a sublimely simple theme. It may be easy to dismiss this film after about 25 minutes, "Ya, I get it! We're all connected! Get on with it!" But the enjoyment comes from watching it all unfold in a beautifully crafted and original narrative.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> It's no surprise that horror films have become tiresome predictable jokes. So it feels refreshing when a little meta-horror-comedy called <i>Cabin in the Woods</i> comes along that displays a level of respect for itself and the horror genre it comes from. This is a proper homage that honours its elders while deconstructing them and providing insight into the essence of horror films (therefore a perfect companion film to <i>Shaun of the Dead)</i>. When a group of college kids head to an isolated and abandoned cabin for the weekend, things get eerie and we fear that they might not make it through the night. And so begins a classic overdone scenario. The usual type of scares and cliches occur (or almost occur), then just when you think the movie is over, you realize only an hour has passed and you then enter one of the finest twists ever and a brilliant 2nd half that delights, shocks, satisfies and presents such an honest gleeful love for horror films. I refuse to give away what happens and where it goes, but it is certainly fun. That isn't to say that the first half is no good. Much of the comedy lies in the first half as we watch these smart college kids slowly fall into the required stereotypical character types (the dumb jock, the blonde floozy, the nerd, etc...) and experience purposeful horror tropes. This is easily the most enjoyable film of the year with an incredibly fun and creative story that provides insight into the horror genre. A delight for a film junkie like myself, even if I'm not much of a horror fan.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b><i>1 - The Grey</i></b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> When this film came out last January, it was unfortunately advertised as a new Liam Neeson action movie wherein he fights and punches arctic wolves. Thankfully it turned out to be something completely different...although he does have one man vs. wolf scrap. This is a beautifully contemplative art film disguised with the thick winter coat of a survival thriller. We are introduced to Neeson, a depressed wolf hunter working for an oil company to protect their men while they work in the forests of Alaska. When this motley crew of strong and toughened men take a flight further north, the plane hits some bad weather and goes crashing down. After one of the most visceral and claustrophobic plane crashes ever committed to film (a marvel of sound design), the men find themselves stranded in the freezing north with no hope of rescue and a pack of wolves in constant pursuit. The coldness conveyed in this film makes you tight-chested and forces you to experience the intensity. Within the first 20 minutes, the main character contemplates suicide, a plane crashes and you watch helplessly as a man is being coaxed into death. Liam Neeson gives his finest performance since Schindler's List and evokes a man who fears death at ever turn; death which is epitomized by the insistent lurking if wolves forever in his shadow. With the falling snow, bleak scenery, glimmers from the blazing firewood and refreshing greenery and brooks this is a gorgeously framed and breathtaking film. As with <i>Skyfall</i> and <i>Life of Pi</i>, it is clear that great cinematography is the way to my heart. <i>The Grey </i>is an effective survival story with men getting picked off one by one, but it takes its time. Best of all, it winds up being a very philosophical and introspective look at the meaning of death. Yet despite all these dark, intense, depressing feelings, the film ends on a perfect note with an uplifting satisfying arc for Neeson's hunter. I love this film because of its thrilling start that smoothly opens up into an atmospheric dreamlike quality. Despite the desperation and frigidity, this is a film and place that I plan to return to again and again. </span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-4468102409854621632013-01-28T21:23:00.000-08:002013-01-28T21:23:25.321-08:00Top 20 of 2012 - Part 1<span class="Apple-style-span" style="font-family: 'Trebuchet MS'; font-size: large;"> Since I wound up writing too much for my Top 20, I am splitting it up into two parts. Therefore here are numbers 20 through 11. Enjoy!</span><br />
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> It's the time again! For me to post my opinions all over the Internet. I had a solid outing in seeing 102 films this past year (the majority were actually good!), and I've chosen 20 of them to share here with you. As the title suggests these are my 'faves', not necessarily the 'best'. For instance, my top 3 are definitely not for everyone, but are definitely for me. If you want a list of the highest quality but not necessarily entertaining films of 2012, go check out the Academy Nominations (they're actually pretty good this year). My 20 are those that entertained me the most and I hope to revisit most often. </span></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">NOTE: the only film I didn't get around to seeing that had potential was <i>Amour.</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">HONOURABLE MENTIONS: <i>End of Watch, Goon, The Pirates! </i>and <i>Beasts of the Southern Wild.</i></span></span></div>
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</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Being my most anticipated film of the year, my hopes were too high and I was initially underwhelmed by <i>Prometheus</i>. After reflecting on it, and rewatching it on gorgeous bluray, I looked past the thinly written characters and odd plot points. I appreciated this movie as a fun atmospheric Sci-Fi flick with the best visuals of the year. Not to mention a claustrophobic surgery scene that rivals the shock and intensity of the original <i>Alien, </i>which this is a prequel to. Although Prometheus is silly, the atmosphere created lingers long afterward, plus it had the best trailer of the year.</span><span class="Apple-style-span" style="font-size: large;">
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Unfortunately labelled as the 'torture movie' and having American politicians up in arms over it's true-to-life claims, this a thrilling docudrama about the 10 year manhunt for Osama Bin Laden. Even though I have an issue with the lack of arc or direction with the main character, the rest of this film is still strong enough to make this list. Breezily chugging through a decade long search, this is an engaging look at the cruel and unsound methods used to catch cruel people. Overall, I don't find it as gripping as the director's previous film <i>The Hurt Locker</i>, but the last act is an astonishing display of intense filmmaking as we follow the raid of Bin Laden's stronghold. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Setting up a more than likely better film this coming year, <i>The Hobbit:AUJ </i> is the beginning of an unnecessary trilogy. But thankfully it is different enough from the first trilogy. That difference is what turns most (but not me) off of this film: it aims to a younger crowd. Not as straight-laced and stiff as <i>The Lord of the Rings</i>, this meandering entry into the series is full of silly characters and embraces a refreshingly lighter tone. As usual, Gollum steals the show and Gandalf brings credibility to the series. But the highlight is having the exasperated and classy Bilbo as our protagonist as opposed to the dour and boring Frodo. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Odds are you're one of the billions who've already seen this, and if you haven't, there's no reason not to. Like <i>The Hobbit</i>, this is a movie for the kid in all of us. If I was 10 years old, these would be the coolest movies ever. Even though the majority of the 'Marvel Movies' leading to <i>The Avengers</i> were not good, this ginormous movie proved how awesome comic book movies could be. After getting through some nonsense about a plot for the first 45 mins, you're then presented with the joy of watching the coolest superheroes crossing over, interacting, and obviously teaming up to save the world from destruction. Like a kid playing with his action figures in a sandbox, director/writer Joss Whedon gives you everything you want to see in terms of action, and never lets his imagination get too serious. We finally have a Hulk to be proud of. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Odds are you're one of the billions who haven't even heard of this documentary. A sequel to the 1992 film <i>Baraka</i>, (a favourite of mine and Roger Ebert), this is basically BBC's <i>Planet Earth</i> on screen. Shot over a number years on pristine 70mm film, we experience scene after scene of scenery and civilizations around the globe. No narration or plot. Just abstract music and sound effects. It may seem boring, but to me, I find it soothing. Without plot or words, you draw your own conclusions and thoughts while fascinating, beautifully framed shots pass by. This film would be higher on my list were it not already done with <i>Baraka </i>or with better music in the original <i>Koyanisqatsi.</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Finally a good video game movie. A full length Disney animated film that is better than the Pixar entry this year. It copies the <i>Toy Story</i> concept of following video game characters when they aren't 'working' for us, but it's such a fun idea that it doesn't feel like a retread. There's enough colour, zaniness and cuteness to whiz you through this confectionary of worlds despite a barebones plot aimed at kids. It thankfully doesn't result in a million video game references, and keeps it all about the characters. </span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> A cute little movie about a Boy Scout and his school girl crush eloping across an island; away from their overbearing parental figures. On this fantastical storybook island, the kids behave like adults and vice versa. This is a visually pleasing film with certain colours washed over every scene. <i>Moonrise Kingdom</i> is a defiantly quirky film that appeals solely to fans of director/writer Wes Anderson's previous films. The lush scenery and open-eyed wonder of the kids contains the type of innocent mysticism one would find when reading Calvin & Hobbes comics. The film also makes use of wonderful music cues, zany cutaway comedic moments, plenty of oddball characters, a charming romance and the usual Wes Anderson 'families coming together' theme.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Ben Affleck's directing career has certainly proven to be better than his acting. He's made 2 great films prior and now <i>Argo</i> seems to be his best yet (probably slated to win Best Picture). Aside from putting himself in the film, this is a near-perfect film. The true story of how a CIA agent rescued American diplomats from a hostage situation in Iran is fascinating. Along with help from the Canadian Embassy, they create a fake film hoax to disguise their agents as a film crew in order to escape. The story plays out as a top notch thriller while making sure to insert political commentaries and Hollywood criticisms. There are plenty of great side characters (especially when so much is lacking from a main character), and the production design is so well detailed in order to match archive footage with the film. The tacked on Hollywood ending is allowable, but it being no more than a well crafted thriller is what keeps it from being a masterpiece for me.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Who would have thought that 2 1/2 hours of watching a bill being passed on screen could be interesting. Barely a Spielberg film, <i>Lincoln</i> is a marvel of writing topped with yet another finely-tuned performance by Daniel Day-Lewis. Spielberg takes a back seat to let the script's numerous inspiring monologues shine through. This results in more of a stage play than a film, but allows the smaller details to come through. Even though Abraham Lincoln's ambitions are large and forward thinking, the film takes a microscopic look at the little processes in achieving these goals. Filling out a stellar film are the fantastic sets and costume design, the plethora of character actors, the typically gorgeous lighting by Kaminski and of course a nuanced and timid performance by Day-Lewis as Lincoln.</span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> This could've been an easy pic for my #1. It's my favourite musical with my favourite music plus it has Hugh Jackman! But after watching it, it was unfortunate that some of the performances weren't great (poor Russell Crowe among others). And yet as a film, it is magical. Other actors like Hathaway, Eddie Redmayne, the children and Jackman (most of the time) give outstanding performances. The lack of talking and emphasis on singing gives the film a steady flow from beginning to end without questioning why people are in song. The production values are high and the director Tom Hooper uses his patented ultra close-up shots to give you something you wouldn't get with stage versions. He gives the film a reason to exist, you are right there with the performers. With no vocal audio dubbing, it is a unique film experience featuring some of my favourite music.</span></span></div>
</span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com2tag:blogger.com,1999:blog-3944054689011308619.post-24655483300080917712012-11-05T12:22:00.000-08:002012-11-05T12:22:58.471-08:00<span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><a href="http://petersmoviethoughts.blogspot.ca/2012/11/wreck-it-ralph-2012-candyland-halo-toy.html">Wreck-It Ralph (2012)</a></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Not dissimilar from <i>Toy Story</i>, <i>Wreck-It Ralph</i> is the good old Disney story of inanimate objects coming to life. In this latest of Disney's full-length animated features (not Pixar), we are privy to the lives of video game characters when the games are not being played. The game Fix-It Felix exists in an arcade, with it's villain Wreck-It Ralph, who is a good guy at heart and is tired of being the bad guy in his game. He abandons his game and travels to others in search of a new life as a hero. </span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> This is a very simple story about redemption and accepting your true calling, but the main attraction here is the visual landscape and literal eye-candy. The rules of their world and the creativity involved is delightful. There are some real games and references used throughout and luckily that wasn't their main comedic goal. Thankfully, the movie never turned into a lazy episode of reference-overdose <i>Family Guy</i>. The success of this film are the little touches and generic video game idioms: the pixelated backgrounds, the juxtaposition of retro-games against hyper-kinetic modern games, the stilted animations of characters who can only move at so-many-frames-per-second and the plethora of sounds and stylized music cues. </span></span></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Once you realize the majority of the film takes place in Sugar Rush, a Mario Kart-esque racing game in a world made entirely out of junk food, you needn't worry of boredom since the artists keep this world interesting in scene after scene. The details in the scenery (made entirely out of candy) seem so tangible and a joy to look at. There is an Oreo gag in particular that just about made the film for me. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Aside from Ralph himself, mostly everyone is a one-note character. They don't evolve much, but at least their jokes are consistently enjoyable; like Fix-It Felix's charming optimism, Jane Lynch's bad-a** Sergeant and even the Sour Ball's sour...ness. </span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Despite having a very familiar story to tell (see also <i>The Nightmare Before </i>Christmas), <i>Wreck-It Ralph</i> is a very fun movie with stunning animation. Just like a video game, it is kinetic, vibrant, creative, while also being a simple episodic story based on a gimmick. Like another video game movie, <i>Scott Pilgrim Vs the World</i>, this is a spectacularly visually engrossing film with where the story takes a backseat on this comedic joyride. </span><b> </b></span></div>
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</span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-14580444377941172212012-11-05T12:07:00.003-08:002012-11-05T12:10:42.545-08:00<span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><a href="http://petersmoviethoughts.blogspot.ca/2012/11/flight-2012-aa-for-aa-alcoholics-anon.html">Flight (2012)</a></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b> When a passenger plane malfunctions and begins to nose dive out of control, an experienced pilot pulls a risky move that rolls the plane upside down in order to land it safely with only a handful of deaths. At first he is pegged as a hero, until it was discovered that he is an alcoholic and had been drinking on that day. An investigation is then led into the cause of the crash while the pilot, Whip Whitaker, attempts to get a hold of his drinking problem.</b></span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span> There are two amazing facets to this film: the opening half-hour involving the plane crash itself and the character of Whip as performed by Denzel Washington. Director Robert Zemeckis hasn't made a live-action since 2000's <i>Cast Away, </i>a favourite of mine. He's been unfortunately dabbling in the motion-capture business for a decade until <i>Avatar,</i> <i>Tintin </i>and Gollum came out and showed him up. Like <i>Cast Away</i>, he once again pulls off one of the most intense and well crafted and plane crashes committed to film. This one is a lengthy plummet as Whip struggles to keep his plane in the air as long as he can. Although he is worried like everyone else aboard, like a true captain, Whip demonstrates authority and competence in landing this plane like he has planned for it his whole life. Both Denzel's conviction and Zemeckis' craftsmanship combine to make one of the best scenes of the year. As this happens in the first half-hour of the film, we now have the intriguing character of Whip Whitaker played fantastically by Washington to help us through the remainder. </span></span></b></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span> A dry and boring film could easily have followed the crash, but the character is such an interesting conundrum whom I haven't seen before, I found it engaging. Whip is an odd person. He is not a sad sack alcoholic, he is not our indelible antihero, nor is he the easy to root for good guy. He is a mix of all three. Whip knows that he drinks and can be convinced that he has a problem, but for the most part he can be in control of himself. He tries to be honest to himself, but this requires him to lie to others. So, by having a complicated character who is sometimes a hero and sometimes a wreck, this results in an uneven film that flip-flops tones and has trouble placing its sympathy. One moment we are dreading his return to the drink, the next we are relishing in his hangover and he is enjoying it. </b></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span> With a stellar opening act and a refreshing performance by Washington as an intriguing protagonist, <i>Flight</i> certainly has its merits. It is just unfortunate that an opening scene and great acting is all that is going on here. If you’re looking for something more from the creator of such classics as <i>Back to the Future, Who Framed Roger Rabbit, Forrest Gump</i> and <i>Cast Away,</i> you may be disappointed. But simply put, this is a perfectly well-crafted character driven film. I am at least thankful that Zemeckis is back to making live action films.</b></span></span></div>
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</b></span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-82589029531295656192012-11-01T22:16:00.002-07:002012-11-01T22:18:24.512-07:00<span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><u><a href="http://petersmoviethoughts.blogspot.ca/2012/11/war-of-worlds-2005-end-of-spielbergs.html">War of the Worlds (2005)</a></u></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>H.G. Wells' novel <i>The War of the Worlds </i>was first played out as a prank on the radio by Orson Welles, then visualized as the classic 1953 film, then remade in 2005 by Steven Spielberg. This was the last film in his cold, dark period (<i>A.I., Minority Report, Munich) </i>and second sci-fi outing with Tom Cruise. Unfortunately it was close to this time that Cruise 'lost his way' and his loony-ness overshadowed the success of <i>War of the Worlds.</i> </span></b></span></b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The movie is thrilling and fast-paced. Simple and dazzling. All of which can all be attributed to the master behind the camera. Sir Steven Spielberg is the main attraction here. I believe this is one of his most creatively shot films. Since the majority of the film is a family running away, he has to keep it interesting at a break-neck speed. He is channeling his younger self who shot <i>Raiders of the Lost Ark. </i>Every scene incorporates a fresh camera movement that pushes, pulls and drags you along. Whether the camera is spinning around a speeding car, running and ducking through a forest, shooting the horror vicariously through mirrors and windows or slinking and hiding in a basement, Spielberg is using his ingenuity to mirror the chaos of the scene with his camera.</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Then there is the other master behind the lens, the awesome Janusz Kaminski. Ever since <i>Schindler's List</i>, he has been Spielberg's cinematographer, giving each of his films a fantastic gritty look. Here, using the lighting, he illuminates many scenes with flashes of colour in homage to the technicolor original. Sporadic hints of red and deep blue evoke otherworldliness just beyond the frame, just hinting at what you don’t see. His gritty camera grain is mixed well with the cool alien designs, creating some believable scenarios full of despair.</span></b></span></div>
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<span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Initially, on my first viewing (along with most people), I hated the ending. Nowadays, I am fine with it. The Morgan Freeman summation makes sense, and is in the spirit of the original, yet is barely touched upon throughout this film; making the end feel rushed and cheesy. I don't have an issue with the son returning. That needs to happen thematically. Ray needs to learn to let go of his son, and to know that his boy can survive on his own. It was just unfortunate that the end was shot so pristinely, evoking a cheesy ‘happily ever after’ feel. </span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Like hell on wheels, a ghostly train engulfed in flames careens through a traffic stop in a snowy apocalypse. Barely observed by a desensitized mob on a mass exodus: controlled chaos reigns throughout <i>War of the Worlds</i>. Spielberg’s overlooked sci-fi epic suffers very little from its rushed ending, and triumphs as a masterclass in art direction, sound mixing, visual effects, cinematography and flamboyant bravura filmmaking.</span></b></span></div>
</b></span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-24788720702854180922012-10-29T12:11:00.001-07:002012-10-29T21:00:22.543-07:00<span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><u><a href="http://petersmoviethoughts.blogspot.ca/2012/10/cloud-atlas-2012-do-unto-others-as-you.html">Cloud Atlas (2012)</a></u></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i> Cloud Atlas </i>is an epic yarn about 6 different stories in 6 different decades involving many different people. The actions from one story will eventually affect the next story. Each action that is taken and each choice that is made will impact the future. This type of interconnected plot has been done before in films like <i>Magnolia </i> and <i>Crash</i>, but never in such a grand scope as this. </span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"> This 3 hour film may take place over centuries, but what binds the assortment of scenes together are the characters. Even though each story has different characters in them, these bodies are vessels in which souls are transported from beginning to end. <i>Cloud Atlas</i> takes a strong stance on spirituality, namely reincarnation and karma (often associated with Buddhism). So in order to tell 6 different stories which are affected by each other, exist decades apart, and involve various souls which redeem or condemn themselves, the </span><span style="letter-spacing: 0.0px; text-decoration: underline;"><i>three</i></span><span style="letter-spacing: 0.0px;"> filmmakers have chosen to make their film using a narrative that hops forwards and backwards throughout time.</span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><br /></span></span></span></div>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> It is at this point in my description that you will probably know if this movie is for you or not. If you are not open to the concept of passing souls, and if you do not like movies that tell their story in a twisted manner, I cannot recommend this film. <i>Cloud Atlas</i> is not for everyone. But it is certainly for me.</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>I will forever be a fan of anything that is creative with flaws over something that is done perfectly and without purpose or ambition. I will admit that <i>Cloud Atlas</i> is long. You feel those 3 hours. But after I’d left the theatre, it stays with you and that length is necessary for its scope. This is an engrossing film that envelopes you. You need to be held within it to let it work. About half-way through you clearly understand the point it is trying to make. It goes beyond the point of beating you over the head with its message. The message becomes more than idea; it transcends to a matter of fact that just exists and binds the film. The scope is what makes this movie.</span></span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The actors are all great. Each undergoes extensive and mostly impressive make-up alterations to make them white, black, Asian, old, young, scarred and the opposite sex. Most of these changes work (Hugo Weaving in drag is always amusing) then some just look forced (Hugo as an Asian borders on offensive). But it is the lovable Jim Broadbent who steals the show as both the grumpy old composer and the comedic relief Book Publisher.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The only fault I have is that the film can come across as being cheesy if you aren’t open to it. You are required to be open to the make-up and the theme of ‘making kind choices’. You have to trust the filmmakers. The stories told from the future are a little tough to understand at first, but you become accustomed to their language and terminology. And each of the stories are built off of cliches; like an honest reporter trying to expose a secretive corporation, a white man with a good heart reaching out to help a black slave, or a dystopia where someone tries to brake lose and become an individual. But now that I’ve thought about it, these cliches are essential to get their message across: we continually come across the same stories and scenarios and it is our choices that we make within them that define us and our future. As a kid in Halle Berry’s 1970’s segment points out, “Just like any good [story], you know what is going to happen.” </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Summary:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>I’d have to watch it again (and again) to fully understand how each soul is affected and how each transition is linked thematically scene by scene, but I already love this film. <i>Cloud Atlas</i> is a long movie that requires your openness and appreciation. It is a film with plenty to say and plenty to show. What you take out of it, is up to you. And whether you like it or not, we can be grateful that ambitious films with a singular vision and creative storytelling exist.</span></span></div>
</span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-77427844639066214242012-10-03T10:44:00.000-07:002012-10-07T08:51:23.184-07:00<span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><a href="http://petersmoviethoughts.blogspot.ca/2012/10/looper-2012-what-goes-around-comes.html">Looper (2012)</a></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: large;"><i> Looper</i> is that rare film we get in the Fall season that is actually good. What's more, is that it is a science fiction movie with brains and class. The film takes place in 2042, where we follow Joe (Joseph Gordon-Levitt), a professional hit man. His job is made easy since his targets are sent back in time from the future and placed right in front of him (on an almost literal silver platter). Complications arise when Joe's future self (Bruce Willis) is sent back to warn Young Joe of a troubled future that must be stopped.</span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"> This first half of this film is fantastic. The director immediately brings you into this world using credible effects, internal narration from Young Joe in a film noir/<i>Blade </i>Runner style and simple time travel logic (with many flaws when you really think about it, but not in the moment). This film keeps you on your feet, always wanting to find out what happens next. There are many scenes in particular that will stay with you for a long time: the deterioration scene, watching Old Joe deal with murdering someone, and a character reveal involving telekinesis.</span> </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"> Being a time travel movie, you can expect moments involving a complicated narrative in which you duck in and out of different time 'zones'. A third of the way in, the director takes us on one such trip, where the film doubles back on itself revealing a 30 year montage which brings us up to speed with the time travel rules. This is the kind of twisted narrative I was hoping would keep up, but it was merely an isolated occurrence.</span> </span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"> It is after this, in the middle of the film, that <i>Looper </i>dials itself down to become a much more subdued movie. Which is fine, since we then have time to develop the characters and get to know everyone. Unfortunately, the third act never wakes up. Aside from a ridiculous shoot out scene involving Old Joe and a few dozen baddies, the scope of <i>Looper</i> becomes greatly reduced. It is still entertaining, but not consistent with the first half. There are no more twisted narratives, the Young Joe inner monologues have mysteriously disappeared (save for the final line in the film) and more and more cheesy moments occur involving telekinesis. However, the second half is not without its benefits. We are introduced to 2 fantastic strongly written characters played by Emily Blunt and an ever-so-rare great child actor. As well, the film wraps up perfectly in a satisfying conclusion that would be right at home in any time travel movie. </span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: large;"> There is not much to complain about here. You have to appreciate a movie that is original and keeps you engaged. It just has an inconsistent second half that dials down the energy and intrigue from the beginning. Also, keep in mind that this is not the action movie that the trailer proposes. I would recommend this to most everyone because it is at least creative and fresh. This movie ranks #889 of the 1833 movies I’ve seen.</span></span></div>
</span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-73211922746902508702012-09-30T10:40:00.002-07:002012-10-07T08:49:49.435-07:00<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b><a href="http://petersmoviethoughts.blogspot.ca/2012/09/the-master-2012-mesmerizing-and.html">The Master (2012)</a></b></span><br />
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<span class="Apple-style-span" style="font-size: large;"><b><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> <span class="Apple-style-span" style="font-size: large;">Paul T. Anderson is my favourite modern writer/director if for any reason that his previous films (<i>Boogie Nights, Magnolia, Punch-Drunk Love, There Will Be Blood)</i> are all masterpieces and he is an ambitious auteur. Unfortunately his latest film, <i>The Master</i>, might just be too ambitious and gives you the sense that he is over-reaching. Searching for something, but he's not sure what.</span></span></span></b></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b><span class="Apple-tab-span" style="white-space: pre;"> </span></b>The main draw of this film is that it is powerfully acted by Joaquin Phoenix (Freddie) and Philip Seymour Hoffman (Dodd). Phoenix is constantly hunched over with a lack of self-assertion, and has a look in his eyes that suggest there is much more to him than he lets people know. Hoffman represents his opposite and is poised with confidence and often charismatic when with crowds. Yet the 2 are instantly drawn to each other in an amazing early scene where the master evaluates his subject Freddie using his own hypnotism based interrogation. Johnny Greenwood's score is also fantastic. It is whimsical and dreamlike when demonstrating the alluring powers of The Cause. It then warps into odd percussive music, which is reminiscent of <i>There Will Be Blood,</i> when fueling the driving unsteadiness of Phoenix's character.</span></span></b></span></div>
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<span class="Apple-style-span" style="font-size: large;"><b><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>There are beautifully composed shots throughout <i>The Master</i>, but Anderson is mostly subdued compared to his earlier grandiose style. The issues arise not with the craftsmanship, but with the film's purpose. The film is easy to follow and you can understand everything that happens. However, the reasons and motivations that lie beneath are what leave me confused. By the end, most films have payoffs through characters or themes. These are what can drive a film and give it reason to exist. <i>The Master</i> is either much smarter than me (which is a totally valid option) or it lacks direction and purpose. Overall, I can discern that there is an exploration of how Freddie is conflicted with desiring to be both a master of his life and search for his own master. Yet the film runs at almost 2 and a half hours, and it seems like much more is trying to be said but nothing is focused on. Without a solid theme or purpose, the film lacks structure and satisfaction........just like Freddie! Hey, I think I just got it! It's all meta!....or not.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><u><b>Summary:</b></u></span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b> Astounding craftsmanship, yet befuddling. A movie that seems confused which can leave even the most concentrated viewer lost and without a master. If you interpret the film differently or understand the meaning of <i>The Master, </i>please enlighten me. I’ve place this middling film as #542 out of the 1830 movies I’ve seen.</b></span></span></div>
</span>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-1117442104341459512012-09-21T21:22:00.002-07:002012-09-21T21:22:26.424-07:00Getting back into this...<br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">It's time for me to get back into reviewing. To get me started, I've lined up these 4 point-form reviews. Stay tuned for more real reviews to start up soon!</span></div>
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<span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b>Lawless (2012)</b></span></div>
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<span class="Apple-style-span" style="clear: left; float: left; font-family: 'Trebuchet MS', sans-serif; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxGJk5tidsOnqFp9OPuey0BDWtVQwQSloy48aH5pW8f_QZgm8wV8ohtvYHHx-pGaMQ_G4AbqZpL2ZuOtAOSz3eo6Xmb676Kd47BAQZNZUG1g2F0XWl1iXR1jsc7GVoq59YHsWdXHcnLw/s640/lawless-3a.jpg" width="640" /></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="color: #3d85c6;">Rating:</span></b> </span>4.4/10 and ranked #1026 of the 1822 movies I’ve seen.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="color: #3d85c6;">Plot:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span>In Depression-era Virginia, three small-town brothers struggle to keep their bootlegging business alive against the threat of a new deputy.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="color: #3d85c6;">Background:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span>A western/gangster drama by the patient director John Hillcoat (The Road), and based on the true story and novel ‘The Wettest County in the World.’</span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Pros:</b></span></span></div>
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<li><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Fantastic acting from the evil Guy Pearce, the brief-but-fiery Gary Oldman, the reliable Jessica Chastain and surprisingly Shia LaBeouf.</span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Steady and capable direction from Hillcoat that allows the actors to shine.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">3 fantastic scenes: 2 of them being Oldman’s only moments and the other is a fascinating window into an old-fashioned church service.</span></li>
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<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">These notable scenes are few and far between; let alone inconsequential.</span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">The tone is all over the place. The film sometimes pokes fun of itself using caricatures of human beings, inconsistent music choices, and some oddly comedic final scenes, but then like Hillcoat’s previous films, this is contrasted with an overall dry tone. [note: this dry feeling worked extremely well in ‘The Road’ since it fed off of the source material’s bleakness; it does not work here].</span></li>
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<span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b>Dredd (2012)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ZhJlPaXZAazDV-H0VnAz7wnB7MDdguDN3ImwWDU8eIoPcrl9dxsfdtacY7wugrDaCpgTTfKfCd1mPOvx2-GPcD8ZrWanHpeSznyQ8VLbMZcG8E7HYsgJupxUv4u5-JUcCW_FR4lOr90/s1600/Dredd-first-trailer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ZhJlPaXZAazDV-H0VnAz7wnB7MDdguDN3ImwWDU8eIoPcrl9dxsfdtacY7wugrDaCpgTTfKfCd1mPOvx2-GPcD8ZrWanHpeSznyQ8VLbMZcG8E7HYsgJupxUv4u5-JUcCW_FR4lOr90/s640/Dredd-first-trailer.jpg" width="640" /></span></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Rating:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">1.5/10 and ranked #1730 of the 1822 movies I’ve seen.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Plot:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In a future where crime thrives, the police are promoted and given the power of Judge, Jury and Executioner. Judge Dredd (who looks like Captain Falcon) is in for his toughest assignment yet, locked in a tower with 200 floors of criminals out to get him.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Background:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">A remake of a notoriously silly Sylvester Stallone 90s action movie (which I haven’t seen). Both of which are based on a comic from the 70s.</span></span></div>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Pros:</b></span></span></div>
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<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Stylish and slick looking</span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Strong confident female characters in an action movie!</span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Nice Dredd costume</span></span></li>
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<span style="letter-spacing: 0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Cons:</b></span></span></div>
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<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">A re-hash of a far superior film from earlier this year, <i>The Raid.</i></span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Bad and pointless 3D effects.</span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Confused morals and themes: <i>Dredd</i> could have been satirical or an indictment of police enforcement and a warning to where our legal system can go (like <i>Minority Report</i>). It barely touches these ideas through the ‘Rookie’ character, but it ultimately sides with Judge Dredd himself and relishes the violence.</span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Every once in a while, there are ‘Wow’ moments, but they are unfortunately rooted in and reliant upon violence; often portrayed in a yawningly overused slow-mo shot which only glorifies the bloodshed.</span></span></li>
<li style="font: normal normal normal 14px/normal Futura; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Zero climax</span></span></li>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Summary:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">DREDDFUL. This movie has beat out <i>‘The Five-Year Engagement’ </i>and <i>‘Dark Shadows’</i> as the worst movie I’ve seen this year...hopefully there’s none worse.</span></span></div>
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<span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b>The Campaign (2012)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNurdkNdGIAQ_wyGj8rv1b9LPzCIlRNxnHNBnDN3aGr4XoJMcf-XZwdygdfHk-ZhyphenhyphenIxqRxmzzgZyDKHEB43mtDlHJUP_syKSfrRI0bdqsJq5hSTPbHavMHHYrPfXeC0C5lzX3_Ar-Sv4/s1600/The-Campaign-posters.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVNurdkNdGIAQ_wyGj8rv1b9LPzCIlRNxnHNBnDN3aGr4XoJMcf-XZwdygdfHk-ZhyphenhyphenIxqRxmzzgZyDKHEB43mtDlHJUP_syKSfrRI0bdqsJq5hSTPbHavMHHYrPfXeC0C5lzX3_Ar-Sv4/s640/The-Campaign-posters.jpg" width="640" /></span></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Rating:</span></b> </span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">7.0/10 and ranked #567 of the 1822 movies I’ve seen.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Plot:</span></b> </span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">A lazy congressman of an American district now has to make an effort to be an active politician when he is challenged for the first time in 4 years by a new candidate. A dastardly political campaign ensues.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Background:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Typical to most of his films, this is another simple and crass Will Ferrell comedy that seems more script based than his previous heavily improvised outings (for good and bad). This time he teams up with recent funny man Zach Galifianakis.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Pros:</b></span></span></div>
<ul>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Like his SNL sketches and previous movies, <i>The Campaign</i> is based on a certain idea (corrupt Politics) and stretches it out to a full length film. Yet unlike his previous failures that stretch for too long (<i>Casa de mi padre </i>and Blades of Glory), this one doesn’t feel forced to the subject. Instead of being a heavy handed satire, it only takes a few shots at politicians and is thankfully more focussed on comedy.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">It would have been easy to pull cheap shots at George Bush (Ferrell’s famous impression from SNL), but the movie takes the high road to not take shots at specific politicians.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>The Campaign</i> also has the key ingredient for any comedy: an abundance of one-off funny side characters (and animals).</span></span></li>
</ul>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Cons:</b></span></span></div>
<ul>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i></i>The veteran actors (Dan Aykroyd, John Lithgow and Brian Cox) feel sour and have a lack of magnetism. They tend to suck the energy right out of their scenes.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i></i>Barely and hour and twenty minutes, there is not much to this movie. It has a few things to say about corruption, but is nevertheless fairly vapid.</span></span></li>
</ul>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Summary:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Although fairly forgettable and not much substance, <i>The Campaign</i> is still first and foremost a comedy with plenty of hilarious moments and is sure to entertain. Besides, it does land in the better half of Will Ferrell movies.</span></span></div>
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<span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: x-large;"><b>The Island (2005)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrPMrMhyYUDd1rXROsGhRQaZQ-mx0a_tQ6fIZ-tkgJtWSOmDWlCIFBUiKSWpZg64oK5rOvrI6-Gn3Rttk_xZU_Gy4CdXOXUNccgNiYB6A6FghAHC4HAbsjdCut4MubpJaMpYgvzR77Pg/s1600/fantisland_wideweb__430x304.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="font-size: large;"><img border="0" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNrPMrMhyYUDd1rXROsGhRQaZQ-mx0a_tQ6fIZ-tkgJtWSOmDWlCIFBUiKSWpZg64oK5rOvrI6-Gn3Rttk_xZU_Gy4CdXOXUNccgNiYB6A6FghAHC4HAbsjdCut4MubpJaMpYgvzR77Pg/s640/fantisland_wideweb__430x304.jpg" width="640" /></span></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Rating</span><span class="Apple-style-span" style="color: blue;">:</span></b> 5</span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">.8/10 and ranked #830 of the 1822 movies I’ve seen.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Plot:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In a futuristic human colony shunned from the rest of the world, 2 curious inhabitants escape in search of a liberated life and discover what’s outside.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Background:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Another big-budgeted action movie from the now much ridiculed director, Michael Bay. As is typical of most of his movies, there is a vaguely intriguing idea scripted by a terrible writer. </span></span></div>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Pros:</b></span></span></div>
<ul>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">At least we can say that Bay is a consistent director. <i>The Island</i> has action sequences that are in fact quite fun; most notably the flying motorcycle scene. </span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">The set design and art direction is slick with a clean glossy smear throughout. It is an easy film to look at, and immediately puts you in the environment.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">There general concept of the movie is original and intriguing, and since it doesn’t delve too much into the ethics of this colony, the viewer can accept its simplicity and just sit back and numb their mind with a silly sci-fi flick.</span></span></li>
</ul>
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<span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="color: #3d85c6; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Cons:</b></span></span></div>
<ul>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">A script or foolish director that dumbs everything down.</span></span></li>
<li style="font: 14.0px Futura; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Many moments are framed, coloured and stylized like commercials - initially I thought this was to mirror how the protagonists are in fact products/items for sale, but since this style never changes as the characters progress beyond products, this theory is shut down. Also because the movie is just littered with horrendous product placement. Gotta love that first generation xbox virtual simulator chamber! Not to mention each of Bay’s films are like this.</span></span></li>
</ul>
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b><span class="Apple-style-span" style="color: #3d85c6;">Summary:</span><span class="Apple-style-span" style="color: blue;"> </span></b></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">As silly as this movie is, the central plot is intriguing enough to warrant its existence. It is often laughable, but is good ol’ dumb fun. One of the better Michael Bay films, but that doesn’t mean much.</span></span></div>
Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-25928897876778621072012-01-18T12:06:00.000-08:002012-01-18T12:06:26.890-08:00Top 20 of 2011 (or the year Pixar didn't make the cut)<div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"> Here it is, my favourite films of 2011. I saw 74 movies from that year, and these are the top 20. Keep in mind that these aren’t necessarily the ‘highest quality’ films of the year, but the ones I enjoyed the most and recommend. There are only a couple movies I have yet to see that ‘might’ have made my list, but I am happy with what I have. Kudos to 3 films that almost made the cut and I still recommend you check out: <i>Midnight in Paris, I Saw the Devil</i> and <i>Crazy, Stupid, Love.</i></span></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><i><br />
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</span></i></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0.0px;"><i><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>20. Moneyball</b></span></i></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><i></i></div><ol style="display: inline !important; list-style-type: decimal;"><li style="display: inline !important; font: normal normal normal 12px/normal 'Trebuchet MS'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><i><span style="letter-spacing: 0.0px;"><span class="Apple-style-span" style="font-size: large;"><br />
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<div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YI5m1yhcbAOBpksX9-nD62L3Ie8SyJd4k4hmsqYOZzOus39pDt4RJOJSO-DG75IvO-FXv3LFvxjXLd712TbHdt7czZs_pE01FFlZ4azAUvDjAggRlGPRfMWJjFkOySDhrJGOD9nEW2A/s1600/moneyball-movie-photo-05.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YI5m1yhcbAOBpksX9-nD62L3Ie8SyJd4k4hmsqYOZzOus39pDt4RJOJSO-DG75IvO-FXv3LFvxjXLd712TbHdt7czZs_pE01FFlZ4azAUvDjAggRlGPRfMWJjFkOySDhrJGOD9nEW2A/s320/moneyball-movie-photo-05.jpg" width="320" /></a><i></i></div><ol style="display: inline !important; list-style-type: decimal;"><li style="display: inline !important; font: normal normal normal 12px/normal 'Trebuchet MS'; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-size: large;">A true underdog story that makes you believe in standing up for your ideas. Brad Pitt in one of his best performances and an outstanding script that makes talking about numbers and business maneuvers into an engaging by-the-numbers drama.</span></span></li>
</ol><br />
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</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">19. Contagion</span></b></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIfZiKIZ30JbdAS2oxtjOrY_DrJMO9Kf6HJPB0br7f-pdU1ptmyT-nzy_8rZSz3b1S_IydecoehslUaAyzNJkG2ESmDkU8IHASbiZi07FJ9OSo9CPwHeLoZ9bcFIGQcepGH-VeMCny60Y/s1600/contagion9644g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIfZiKIZ30JbdAS2oxtjOrY_DrJMO9Kf6HJPB0br7f-pdU1ptmyT-nzy_8rZSz3b1S_IydecoehslUaAyzNJkG2ESmDkU8IHASbiZi07FJ9OSo9CPwHeLoZ9bcFIGQcepGH-VeMCny60Y/s320/contagion9644g.jpg" width="320" /></a></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> One of the many end of the world movies this year, this one takes the non-action perspective. Dealing with the bureaucratic and procedural handlings of an epidemic outbreak, this thriller takes an all star-cast and puts them in realistic, logical circumstances. It delivers the chills through a practical realism which makes it strike close to home.</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">18. Troll Hunter</span></b></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br />
</span></b></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RJANtUK25YaCzKNpQw_w7ScAaco6UtPCF11pSvd7PCL-UmKRBCBwlb9mIUCkrBmjIUdwhvRk-hAvf7LCMxWkMqHtrxtxhTZU-3vXBaMQLY3y2c92yUP-rNGZRrVek4v_E0sF4KSPqec/s1600/troll-hunter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RJANtUK25YaCzKNpQw_w7ScAaco6UtPCF11pSvd7PCL-UmKRBCBwlb9mIUCkrBmjIUdwhvRk-hAvf7LCMxWkMqHtrxtxhTZU-3vXBaMQLY3y2c92yUP-rNGZRrVek4v_E0sF4KSPqec/s400/troll-hunter.png" width="400" /></a></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Set in Norway, in documentary mode, we follow some students who are trying to expose a government cover-up of Trolls. Done in found-footage style, the movie plays with the mythology of Trolls which is ever present in Norway’s traditions, and thankfully embraces the comedic notions of this premise as it gets more and more epic near the end.</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">17. </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Adjustment Bureau </span></b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and <b>Source Code</b></span></span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><br />
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<div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> These sci-fi movies are tied due to having the same qualities and errors. They both have fascinating premises: one involves a mysterious ‘bureau’ of people who control the lives and destinies of everyone in the world, and the other is about an agent who relives the same 8 minutes on a train over and over until he can find the terrorist. The first takes the romantic adventure route, the other takes the puzzle thriller twisty route. They are both very entertaining but are ultimately both kind of cheesy.</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DCmUzvZczEUj-cCISYuDcEnped8YaKoF9HqCtAop3_8781dOFZqa2z10dVTqwPmXzhoUJtaX2ETWb5EsuMVAsqamIEu7PQ8SU_PA7nBAIWA_evv2kzqHs7xtL1TQPLIOSIegrK_5GY0/s1600/hugo-movie-review.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DCmUzvZczEUj-cCISYuDcEnped8YaKoF9HqCtAop3_8781dOFZqa2z10dVTqwPmXzhoUJtaX2ETWb5EsuMVAsqamIEu7PQ8SU_PA7nBAIWA_evv2kzqHs7xtL1TQPLIOSIegrK_5GY0/s400/hugo-movie-review.jpg" width="400" /></a></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b> </b>Scorsese’s ‘first family film’, succeeds less as a movie for young ones, and aims more effectively at the older crowd. The story of an orphaned boy who is in search of a mystery his father left behind, is rather dry but it eventually unravels into a poignant and nostalgic look at the wonder and magic of the early days of film. Scorsese simultaneously uses the modern ‘magic’ of 3D to depict the still enchanting effects cinema has to offer.</span></div><div style="font: 12.0px 'Trebuchet MS'; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">The other tie on my list are these two Comic Book action flicks. They are both simple, by the numbers origin story films that manage to hit all of the right beats and deliver a good ol’ time at the movies. </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>X-M:FC</i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> makes use of two fantastic leads and an interesting plot (for once in the franchise). </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>CA:TFA</i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> boasts an outstanding cast top to bottom, from the lovable lead to the colourful minor characters. Or maybe I just like them because they are miles beyond the other recent Superhero movies (</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>Iron Man 2, Green Lantern, Thor).</i></span><br />
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<span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">13. Bridesmaids</span></b></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42z_HL8gEv79FLtcLtUbBqRah3S1PI3lpY5TKxpGzsCHfgddirlbmKal-difHZ8kd94xb8LMXKdHJl4j_VOZk46VE15whr2TqtFcoREd8Bst-eaB_YG1sNxVVM_cU7KKbROIgMkXJlpc/s1600/Bridesmaids+youtube+tv+video+channel+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh42z_HL8gEv79FLtcLtUbBqRah3S1PI3lpY5TKxpGzsCHfgddirlbmKal-difHZ8kd94xb8LMXKdHJl4j_VOZk46VE15whr2TqtFcoREd8Bst-eaB_YG1sNxVVM_cU7KKbROIgMkXJlpc/s400/Bridesmaids+youtube+tv+video+channel+%25283%2529.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Taking a cue from the ‘R-rated Comedies with Heart’ that preceded it (see <i>The 40-Year Old Virgin</i>), this is the genuine comedy of the year. It's a refreshing change to see an all female cast fleshed out with interesting characters who are still able to act silly. With ample crassness mixed with honest emotions, the ladies of this bridal party will surely have you smiling; as well as hating one of the meanest villains this year. I for one, would like to attend a party where they hand out complimentary Labrador puppies. </span><br />
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<span class="Apple-style-span" style="font-size: large;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">12. Harry Potter and the Deathly Hallows: Part 2</span></b></span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8acPeOnc8sy3IfmvbJtkO6qtN4PL8PuQ7KxE3LVqLJjSH52-4-tSlTnn5vQp0Eq3pyI-NiTe8llk4Y7VlMGOLrtm-Zray-CfCaeMYxWXD_bN9qtUY2j38lOEvksc4zdKTbPVCsIyaWd8/s1600/hp72-fp-00595.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8acPeOnc8sy3IfmvbJtkO6qtN4PL8PuQ7KxE3LVqLJjSH52-4-tSlTnn5vQp0Eq3pyI-NiTe8llk4Y7VlMGOLrtm-Zray-CfCaeMYxWXD_bN9qtUY2j38lOEvksc4zdKTbPVCsIyaWd8/s400/hp72-fp-00595.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"> After a second viewing, the magic and mystery wear a little thin. Nevertheless,</span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="font: 12.0px 'Stone Sans ITC TT'; letter-spacing: 0.0px;"> </span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">this is an epic film which still manages to wrap up a 10-year, 8-movie, 7 novel long franchise. A great cast, expensive effects, gorgeous cinematography and mature film-making by comparison to the series’ bumbling beginnings. </span></span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Not the happiest of films, after a gorgeous 8 min. opening on the end of the world set in super slow-mo to Wagner’s <i>Tristan and Isolde</i>, we rewind to the previous day. Here we meet the depressed melancholiac Kirsten Dunst at her own wedding party, while a planet (named Melancholia) slowly gravitates to Earth where it will inevitably collide (see opening scene). This artistic film doesn’t focus (too much) on the physical destruction of the Earth, but uses the planet as a metaphor of this emotionally crushing depression as it demolishes the characters as well as the viewer.</span><br />
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>10. Rango</b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpq8BlmFEPcVCwSwQ7qS74Rxw5lUIGJp-3kf1rk6aLFSLmh0gIn8NIDceqwAm9UwqlMFUHJZO7gr7LNuS_HpyWBMFO17sS17w-YSKcLrKvkFhui0DwFEGghZtT7zmYqial1zwoIcm9Auk/s1600/Rango_movie_stills_13.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpq8BlmFEPcVCwSwQ7qS74Rxw5lUIGJp-3kf1rk6aLFSLmh0gIn8NIDceqwAm9UwqlMFUHJZO7gr7LNuS_HpyWBMFO17sS17w-YSKcLrKvkFhui0DwFEGghZtT7zmYqial1zwoIcm9Auk/s400/Rango_movie_stills_13.jpg" width="400" /></a><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> I’m giving this the ‘Pixar’s Up Award’, for the movie with the most seemingly random elements somehow coming together to form a great cohesive film. This is a beautifully ugly film wherein a thespian chameleon literally crashes into his mid-life-identity crisis, stumbles into a dusty western shanty-ville inhabited by the ugliest creatures, has an identity forced upon him, helps accidentally uncovers the plot from the movie <i>Chinatown</i>, has an existential dream sequence where he meets the real life Clint Eastwood (who is also playing his Man-With-No-Name role), all in an animated film that may or may not be for kids.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Despite what Tom Cruise does offscreen, I can always be entertained by him in the movies. Especially when he himself is dangling off of the tallest building in the world. Instead of using stuntmen or overdone computer effects, Tom and director Brad Bird go for the real thing and construct an amazing set-piece in an outstanding action flick. I won’t say too much about it since I recently wrote about it, but it is a movie for everyone to enjoy because it is what most current action movies lack: fun.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0CG7WKnC4Oo7zxxVdOXY4uAg1h-UWuxphLVZGw17NyY_YmxpxDjcNXSd0fM9cwshYXWEQ0KzhD19KsazZnx-bBay8LSAqQJNPZY-uJU9tEdPlCP-fPQTvfGJ1hcWJUDB5qhS_ojPevlA/s1600/Driving.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0CG7WKnC4Oo7zxxVdOXY4uAg1h-UWuxphLVZGw17NyY_YmxpxDjcNXSd0fM9cwshYXWEQ0KzhD19KsazZnx-bBay8LSAqQJNPZY-uJU9tEdPlCP-fPQTvfGJ1hcWJUDB5qhS_ojPevlA/s320/Driving.jpg" width="316" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Aside from the puppets themselves, what makes a muppet movie an actual Muppet Movie? Wit, charm, catchy and sentimental tunes, celebrity cameos, self-awareness and out-of-the-box unconventional logic. These are the differences between their last abandoned outings (</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>Muppets from Space</i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> and other straight to DVD appearances) and this 2011 reboot of the series; with the exception of the cameo part, which was lackluster here. Nothing gives me greater delight than watching these loveable and colourful friends acting silly and just trying to put on a quality variety show. Believe me, I’ve been there and it can mean the world to you. It’s great to see the gang back and I had a smile on my face literally the whole time. This is obviously my truly personal pick. The fact that this is in no way a perfect film, and I still love it, shows how much this irreverent nostalgic comedy is heavily aimed at the fans, and fans alone. Works for me!</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4dpk8T0xqO7xt032ynvAcSReaBXk0gnFbc52ztLE5MME7pUfUTXpgF4HEpEuacIJwnDG2GMkfswVB_NQP00KwcMPWiMVR-WaSuwPxd_WEKFSX9h96esQcnuaUibOwTonwAWTWKITf7IY/s1600/the-artist-movie1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4dpk8T0xqO7xt032ynvAcSReaBXk0gnFbc52ztLE5MME7pUfUTXpgF4HEpEuacIJwnDG2GMkfswVB_NQP00KwcMPWiMVR-WaSuwPxd_WEKFSX9h96esQcnuaUibOwTonwAWTWKITf7IY/s400/the-artist-movie1.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> The most charming movie of the year will absolutely delight anyone who can sit through a 'nearly' silent film. Yes, that's right, </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>The Artist</i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> is in black & white with no dialogue or sound effects; only word cards and stylized 1920s music (plus an ingenious use of the </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><i>Vertigo</i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> soundtrack near the end). You begin by watching part of another silent movie. It then draws back and you are watching an audience watch this movie. Then you realize that they are silent as well, so now you are watching a silent movie with people watching a silent movie and wonder what you just got yourself into for the next hour and a half. But after 5 minutes of the film's charismatic actor and his cute trick dog, you are happily along for the journey. This film is about an actor trying to maintain his integrity as the studios turn their back on him in favour of the new 'talking pictures'; much like how this film itself is defying the current Hollywood system by being silent. It is a very sweet story about love, jealousy and not losing control of your pride. It uses its gimmick so effectively that this story could not have been told any other way.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> The Spielberg film of 2011 that I wasn’t expecting to like, wound up proving me wrong (and vice versa with the other). This is true old-fashioned, action-adventure Spielberg directing in top form. No, it’s not <i>Raiders of the Lost Ark</i>, but it certainly evokes it. Tintin, our plucky detective travels the globe to uncover the ‘Secret of the Unicorn’ with the help of 2 amazing sidekicks who steal the show. Tintin himself was never meant to have much charisma or interest, rather, he is the audience’s (reader’s) surrogate for the adventure. As this is Spielberg’s first directorial effort in animation, he displays how fluent of a camera operator he is in this completely free environment. Without expensive restraints and the physics of the real world, he is allowed the freedom to move the camera around and through whatever he likes, to create a kinetic propulsion that drives the film. If Tintin is our surrogate, then the camera is our tour guide pulling us along. The ‘falcon chase’ alone is a tour-de-force which displays the freedom of animation under the direction of a master.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="font: 12.0px 'Stone Sans ITC TT'; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">As I have proposed before, this is the suave, modern re-imagining of Scorsese’s <i>Taxi Driver</i>. They of course aren’t the same film, but thematically, they are twins across decades. <i>Drive </i>is a Neo-Film Noir about a stunt driver who moonlights as a wheelman for heists. Note: how I called it a ‘Neo-Film Noir’ and not ‘Action Film’. Despite the title, plot and advertising this is a slowly paced film with only a couple of chases. There are numerous scenes of characters numbly starring or just sitting and taking in their environment. This film is all about atmosphere and style. It has one of the best soundtracks of the year that evokes a slick 80s pop soundtrack. The whole film is dusted off with cool shades of blue and dark hues to provide a cold feeling. Then, once in a while these cool, calm and collected moments are suddenly offset with flashes of violence or action (see the elevator scene) that show the driver’s energetic ability to snap his facade and protect the ones he loves. This film isn’t very deep or has anything important to say, but it is a masterpiece in style and genre mixing.</span></span><br />
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</div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> Wow,...Number 2? Okay! I clearly just can’t get enough of this summer action flick. The movie that irritated people before it came out (no one wanted another remake) and looked terrible in the previews surprised everyone. Yes, it has problems with flat/token human characters, but that is only in service to make you cheer for the apes. Flipping the perspective of the original, Caesar (our protagonist ape), is now the fish out of water instead of a human. Thanks to an oscar worthy performance by Andy Serkis (as well as the animators), you understand every motive and emotion he goes through, without the need for dialogue. I am always a fan of moments in films where the dialogue is eschewed in order to let the music, sound and images tell you a story. Movies are all about moving images on a screen, and this film just lets the scenes unfold and speak for themselves. The director handles the story extremely well and allows scene after memorable scene to play out believably in this far-fetched sci-fi premise. Besides, who doesn’t want to sit back and enjoy watching apes on the loose taking over the Golden Gate Bridge? Here’s hoping an epic sequel is in the works.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="font: 12.0px 'Stone Sans ITC TT'; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">Movies can be simple blockbusters that are there to entertain, or ambiguous combinations of moving images and ideas. My No. 2 is the former and <i>The Tree of Life</i> is definitely the latter. Like all forms of art, movies can mean many things to many people. In the end, it comes down to taste and personal experience, as to whether you’ll love a free-form movie like this, or hate it (“Why were there dinosaurs?”). The film is about a quaint 1950s family growing up in America, as seen through the perspective of one of the boys. Yet, this plot synopsis does not do it justice. This is a film that does not hinder on its story, it abandons conventional structure and presents a unique form of narrative. The bulk of the film is a series of images and thoughts that are seen and heard in his head as he discovers life. “Why does dad tell me to take my elbows off the table, when he himself does it?” “Where does life come from?” “Why does that man walk that way?”...and other unanswered thoughts. If anything, the thoughts reflect a discussion between ‘The way of Nature and the way of Grace’ as the opening dialogue suggests. This is a philosophical film, in that you interpret these images and thoughts to your own experiences. You answer your own questions. I’m not saying I understand everything in this film, nor do I mean to be pretentious, but this movie does offer the chance for you sit back, relax and reflect the images unto yourself. There are also great conventional movie-isms as well: beautiful computer and practical effects, outstanding naturalistic acting from the children and gorgeous, innocent camera work.</span></span><br />
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</div>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-41917038447727709992011-12-27T11:23:00.000-08:002011-12-27T11:25:20.344-08:00Mission: Impossible - Ghost Protocol (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMiSIaGu71_N34Kd7hBLqE_KsYt_B-nIarrAiLyUQOV16JpCZ48TRdlSmehsi4hukGiON-0jpufNhKRjopH212_m9G1J3dAB9bFnwrvrqm4ykwEbZukEwEZ-wTVG7YTymBEDpBoIW90Ho/s1600/1e1a4_385373-mission-impossible-ghost-protocol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMiSIaGu71_N34Kd7hBLqE_KsYt_B-nIarrAiLyUQOV16JpCZ48TRdlSmehsi4hukGiON-0jpufNhKRjopH212_m9G1J3dAB9bFnwrvrqm4ykwEbZukEwEZ-wTVG7YTymBEDpBoIW90Ho/s400/1e1a4_385373-mission-impossible-ghost-protocol.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><div style="text-align: center;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><u>The thrilling instalment of an underrated series.</u></span></span></div></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><div style="text-align: center;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">8.8/10</span></span></div></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 14px; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>This is the latest instalment of the underrated <i>Mission: Impossible</i> series of action films. The first one was a refreshing thriller that came out mid 90s when every other movie was a cheap action flick. The second one, by John Woo, is not very good but at least oozes with style and boasts a Zimmer soundtrack. The third is an outstanding action movie that brings on the intensity. Now this 4th one, <i>Ghost Protocol </i>(because every movie now needs a subtitle, despite none of the previous films having one) amps up the action and brings the thrills.</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 14px; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>This film brings the great and mighty Brad Bird on to direct, and his experience in animation brings a level of perfectionism and physical type of story telling with his craft. The action scenes (which are the main attraction here) sizzle with a slick combination of coolness with humour. The opening jail break scene is fun. The obligatory heist scene (in Russia) is clever and inventive. The Dubai scene is insanely thrilling; this is the grandest and coolest scene of the year. And the final fight is somewhat anticlimactic yet incredibly tense. This movies runs at a break-neck speed. So you will definitely get your thrills and action.</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 14px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span></span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span>There is a key difference between this one and the previous instalments. The spotlight is taken off of Ethan Hunt and shone on his teammates. His 3 colleagues are given ample screentime to widen the spectrum of personalities. In particular, Simon Pegg’s Benji is granted the coveted bumbling comedic presence which lightens the entire film. This difference however, of taking the spotlight away from Cruise, is where the film doesn’t work as well as it could. What made the 3rd film so amazing was the through-line which linked all of the events together emotionally. Ethan Hunt was constantly struggling to protect his personal life from the villain, Philip Seymour Hoffman, who was far and away better than the new terrible ‘villain’. But I suppose these films aren’t out to drive home the emotions. They are popcorn flicks designed to entertain and thrill; which <i>Ghost Protocol </i>does extravagantly.</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 14px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> </span></span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px; text-decoration: underline;"><b>Summary:</b></span><span style="letter-spacing: 0px;"> With loads of cool gadgets and outstanding action sequences, this is the biggest <i>Mission: Impossible</i> yet and definitely boasts the most action. Most of the praise should go to Brad Bird for his fluid direction of the action, and to Tom Cruise for still being charismatic and brave for doing his own stunts. The script could use some work, and they should have avoided shoehorning in that terrible backstory with Ethan’s wife. It’s not as well-done and engaging as the 3rd, but this is still an amazing action film you should see. My #206 of the 1664 movies I’ve seen. [on flickchart.com]</span></span></div><br />
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</div>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-12225745692077211152011-12-16T14:04:00.000-08:002011-12-16T14:05:55.099-08:00Carnage (2011)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDacyfHCzlSkxcc3JlHAkB042mkCiXEcxaxECij48dpSBQuocvJSv01C4fOGN6N6BHzytc226dplkTp29KwyITeUjwkY7vXRFrMSqFkfjVv9yeuGmNauQzG422_rMrMWSNIqPapfjWb1I/s1600/Carnagemovie_wallpaper_pictures_photo_pics_posterCarnage_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDacyfHCzlSkxcc3JlHAkB042mkCiXEcxaxECij48dpSBQuocvJSv01C4fOGN6N6BHzytc226dplkTp29KwyITeUjwkY7vXRFrMSqFkfjVv9yeuGmNauQzG422_rMrMWSNIqPapfjWb1I/s400/Carnagemovie_wallpaper_pictures_photo_pics_posterCarnage_2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><u><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">Prepare for a Play. An Awesome Play.</span></u></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">7.9/10</span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span> <i>Carnage </i>is a very very short film based on the play ‘God of Carnage’. When two kids get in a meaningless fight, the parents of the victim invite the bully’s parents over to discuss how to deal with the situation: Parents to Parents. Initially no one wishes to directly place blame on each other, but undercurrents of contempt and insinuations begin to come out. Then the four very opinionated parents remove their innocent shell and they begin heated arguments about their morals and views of society.</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span> When I said ‘based’, I mean literal translation. This barely 80 minute feature feels like a play that has been filmed, rather than a play turned into a film. The cinematic elements are bare-boned. There are no fancy camera movements, it is all objective viewing. There is no music except for the two bookended scenes that showcase some bombastic music by Alexander Desplat. With the exception of these brief bookends, the entire play/film takes place in a single apartment room with the 4 characters. </span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-tab-span" style="white-space: pre;"> </span> That being said, the elements that have been brought over from the stage world (script and acting) are the main attractions. There is an ever-present sense of resentment and passive aggression underneath everything the characters say. They all begin by subtly attacking each other with off-hand comments, until they can no longer tolerate each other’s ‘way of life’ and begin to have an all out feisty argument. The way the script slowly turns them on each other and pairing them up differently (family vs family, men vs women) is well timed and gives each character their proper resolution and arc. Meanwhile this biting dialogue certainly gives the actors lots to work with. You can tell they were all having a lot of fun making this, probably over less than a week.</span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; min-height: 14px; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: normal normal normal 12px/normal Helvetica; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px; text-decoration: underline;"><b>Summary:</b></span><span style="letter-spacing: 0px;"> This is a viciously delightful and cringe-worthy play put on film. It gets funnier and funnier as the tension steadily rises from their prejudice attacks on each other. The script is the highlight and Jodie Foster is particularly fantastic. Yet ultimately this is only a ‘Play Movie’. It is a short, word-for-word translation from stage to screen with limited film techniques that could make it unique to the screen. But perhaps it is this objective filmmaking which forces us into the increasingly cramped apartment and to experience the verbal lacerations firsthand. If you prepare yourself for a play, you may just love it. Of the 1660 movies I’ve seen it lands nicely at #356.</span></span></div><br />
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</div>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0tag:blogger.com,1999:blog-3944054689011308619.post-19483386743893568752011-11-30T09:27:00.000-08:002011-11-30T12:37:30.796-08:00Catch Up Time!<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">I’ve been falling behind in reviews, so here is a smorgasbord of 5 quick to the point reviews to keep us all up to date!!</span></span><br />
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<b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;">The Muppets (2011)</span></b></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rIjJAJg6R1U0PtzWWvS5SJTD1ECXaom9kPDJP-neFxXUr5I435SHbpSKMHJqs3AyQnbZvqpMLkH1NcJ-pd1amW0e0rzeOOuaXq4k615PeeiEk9gtJnfpE8TgrbhAmw8DQuSm8NGCB7g/s1600/The-Muppets-2011-Cast.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rIjJAJg6R1U0PtzWWvS5SJTD1ECXaom9kPDJP-neFxXUr5I435SHbpSKMHJqs3AyQnbZvqpMLkH1NcJ-pd1amW0e0rzeOOuaXq4k615PeeiEk9gtJnfpE8TgrbhAmw8DQuSm8NGCB7g/s400/The-Muppets-2011-Cast.jpeg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Rating</b>:</span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"> 8.8/10 and #202 of the 1650 I’ve seen.</span><br />
<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Plot</b>:</span> After abandoning their success and friendship for many years, the muppets decide to finally get back together so they can put on one last show to save their theatre (classic).</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Background</b>:</span> It’s been a decade of no muppets on the big screen and only straight to TV failures (<i>The Muppets’ Wizard of Oz). </i>This is their attempt to make a film that is reminiscent of how awesome they used to be in their classic movies and the Muppet Show.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #3d85c6;"><b>Pros</b>:</span> Great new Muppets (Walter, 80s Robot) - kinetic and hilarious (for the first half), 3 show-stopping musical numbers (Life’s a Happy Song, Man or Muppet, Rainbow Connection) - nostalgic, reminiscent, self-referential - zany like the Muppet Show</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #3d85c6;"><b>Cons</b>:</span> Odd lack of Rizzo and Pepe - 2 bad songs (the rap and disco ones) - still lacks the heart the first few films had - looses steam in the second half - won’t win new fans - very disappointing celebrity cameos</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #3d85c6;"><b>Summary</b>:</span> This is a great step in the right direction to bring the Muppets back. Even though it has an oddly paced second half with a lack of emotional core like the originals, this is still a funny and charming movie. It breaks the 4th wall and is self-referential so often that it aims to please the original fans rather than get new fans.</span></span><br />
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</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Hugo (2011)</span></b></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVSDoK-JQ7zSDo8iMGekVm3Tun76ubKEvwNF-ZUUGJ5xuejQxrkthdghFPG-Sc-3xlHczQPxhUMPGaIGdprkqwzYdWnageFiI5V7b3BymYPZ6kRjsuxQJA0KBTvKQwYzRTGTaSanwAjH0/s1600/Hugo-Poster-Header.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVSDoK-JQ7zSDo8iMGekVm3Tun76ubKEvwNF-ZUUGJ5xuejQxrkthdghFPG-Sc-3xlHczQPxhUMPGaIGdprkqwzYdWnageFiI5V7b3BymYPZ6kRjsuxQJA0KBTvKQwYzRTGTaSanwAjH0/s400/Hugo-Poster-Header.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Rating</b>:</span> 7.5/10 and my #412</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Plot</b>: An orphaned boy who lives in the Paris train station, begins to unravel a mystery his father was attempting to solve before he left. </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Background</b>:</span> This is Martin Scorsese’s first family film. It is not loaded with swears, violence or gangsters. Was based on a book.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Pros</b>:</span> <i>Avatar</i> aside, this is the best 3D I have seen (technically and symbolically) - lots of beautiful shots and craftsmanship from Scorsese (especially the opening long shots) - endearing and nostalgic look at the birth of cinema.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Cons</b>:</span> A mature film and therefore not too entertaining for young kids (but perfect for the whole family) - the plot meanders with its subplots - the payoff of the mystery is whimsical but takes too long to get there (the film feels long).</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Summary</b>:</span> A good film for the whole family to relax with, but the adults/seniors will enjoy it more. Scorsese is displaying some beautiful camerawork but it lacks in the entertainment category. Yet if you know about the origins of cinema, there are lots of nuggets and homages to early cinema; if you understand that the poster with the clock is direct reference to a Harold Lloyd film, then it’s for you.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><br />
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Moneyball (2011)</span></b></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EjPVrziG5LUIk4fOXU45H1Id-NDl1XNhtnzVZu1FShp94PEYkAyQ0F6hzgJoDHDGvQFz5Yxm0wwJi59LL8UEC6KZs5_y2XToHpEp_cFe1qef8ho7hID5zzrtOMCxQQesQTGDHOM88z8/s1600/moneyball_brad-pitt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7EjPVrziG5LUIk4fOXU45H1Id-NDl1XNhtnzVZu1FShp94PEYkAyQ0F6hzgJoDHDGvQFz5Yxm0wwJi59LL8UEC6KZs5_y2XToHpEp_cFe1qef8ho7hID5zzrtOMCxQQesQTGDHOM88z8/s400/moneyball_brad-pitt.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Rating</b>:</span> 7.2/10 and my #467</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Plot</b>:</span> Brad Pitt plays the manager of the Oakland A’s Baseball team. He uses a unique method to bring in new players that could help take the team out of a slump. But he is in constant struggle trying to use his method against coworkers and critics. </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Background</b>:</span> A true story written/adapted by the same genius who wrote <i>The Social Network </i>and <i>A Few Good Men.</i></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Pros</b>:</span> More than just a biopic/sports drama - inspirational - tight script moves it along.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Cons</b>:</span> Although Pitt is good, he is still not worthy of an oscar like some are predicting - forced subplot with his family that does not fit in.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Summary</b>:</span> Certainly worth your time and very inspirational. A great story about standing up for what you believe in. But the fantastic script and charismatic Pitt aren’t enough to make it something truly special or a must-see.</span></span><br />
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</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Immortals (2011)</span></b></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ9PUssvNsYMthwCik4foeRNg4qdXXerKsTrG1hc0epB9fgytACFmlZ7FxBykeg-kcKP0XnDTrQJlUV-juObuYoMtr8q5bqLF6kxwIw8zORfFrRMWxXpA5Eb2FHftb2zV1UwnPE3_pn30/s1600/6a00d8341c630a53ef01539309fdee970b-600wi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ9PUssvNsYMthwCik4foeRNg4qdXXerKsTrG1hc0epB9fgytACFmlZ7FxBykeg-kcKP0XnDTrQJlUV-juObuYoMtr8q5bqLF6kxwIw8zORfFrRMWxXpA5Eb2FHftb2zV1UwnPE3_pn30/s400/6a00d8341c630a53ef01539309fdee970b-600wi.jpg" width="400" /></a></div></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Rating</b>:</span> 3.4/10 and my #1095</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Plot</b>:</span> The mortal Theseus, is chosen by Zeus to lead his fellow Greeks against King Hyperion who is out to destroy the world by unleashing the Titans. </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Background</b>:</span> By the same studio that made <i>300</i>, they are attempting to make another violent hit loaded with CG and testosterone.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Pros</b>:</span> Mickey Rourke steals the show as a true villain - Cavill (Theseus) is fine but is promising for his next role as the new Superman - some absolutely fantastic action scenes (especially the final battle with the Gods) - nice costumes I guess?</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Cons</b>:</span> An example of form over function (illogical but pretty clothing, nonsensical settings but cool looking) - useless dialogue scenes that force weak themes down our throats - the end scene has no purpose or explanation.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Summary</b>:</span> This is not an intelligent film. Neither was <i>300,</i> but that movie didn’t try to be smart, <i>Immortals</i> is attempting to be something more and thus fails. Nevertheless you are certainly going to get your action, testosterone and pretty graphics.</span></span><br />
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</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span style="letter-spacing: 0px;"></span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="color: #6fa8dc; font-family: 'Trebuchet MS', sans-serif; font-size: large;">Puss in Boots (2011)</span></b></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsbQ7LuEEZQh4TND9LLOZHCn0xqDiM5K65HMBW6m7xywhKGE09EUtqds_ldo8tVAyAgJ1w3XScuYO0f7Crm4pHNzZTscReX-lb_zZetSxbyPyU4yp3_OtI3GzTO0ECnzUTmte-Vc1pezk/s1600/puss-in-boots11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsbQ7LuEEZQh4TND9LLOZHCn0xqDiM5K65HMBW6m7xywhKGE09EUtqds_ldo8tVAyAgJ1w3XScuYO0f7Crm4pHNzZTscReX-lb_zZetSxbyPyU4yp3_OtI3GzTO0ECnzUTmte-Vc1pezk/s400/puss-in-boots11.jpg" width="400" /></a></div><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Rating</b>:</span> 2.5 and my #1239</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Plot</b>:</span> The legend and first adventure of the cuddly, Spaniard Puss in Boots. He sets out with Humpty Dumpty in search of the Golden Eggs at the top of Jack and Jill’s beanstalk.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Background</b>:</span> A blatant cash-in spin-off from the Shrek series. </span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Pros</b>:</span> Funny for the first 20 mins (the bar scene) - expensive animation - they get their moneys-worth of cat jokes and they do mostly work - exotic Spanish score by a Zimmer knock-off.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Cons</b>:</span> The other main character Humpty Dumpty is disturbing to look at, not funny and uninteresting - the jokes get old fast - just feels like zero effort was put into the script.</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #6fa8dc;"><b>Summary</b>:</span> This should have been a short in front of another Dreamworks film. It’s a funny concept but there’s not much else to sustain a full film. The genius of the first 2 Shrek films was the one-off side characters, but in this movie Puss and Humpty leave town for an adventure and there are therefore no more funny characters to meet them. Still great for very young kids.</span></span></div><div><span style="letter-spacing: 0px;"><br />
</span></div>Peter Crouchhttp://www.blogger.com/profile/04445852191942631121noreply@blogger.com0