What is it?
Daniel Day-Lewis drinks other people’s milkshakes.
Why is it great?
To be honest, I’ve never found the character study of Daniel Plainview fully satisfying. We learn so much about how he is but virtually nothing about why. From his initial hatred of humanity to his final descent into loner hell, we’re never given an understanding as to what’s behind it all, which I think limits the character’s impact. Still, when the movie works it really works. When you’ve got one of the best directors alive working with one of the best actors alive in an early American oil epic it’s almost hard for it not to be great. Anderson’s beautiful, patient shots and the brilliant Plainview vs. Eli Sunday scenes are going to be just as riveting 50 years from now as they are today.
Daniel Day-Lewis drinks other people’s milkshakes.
Why is it great?
To be honest, I’ve never found the character study of Daniel Plainview fully satisfying. We learn so much about how he is but virtually nothing about why. From his initial hatred of humanity to his final descent into loner hell, we’re never given an understanding as to what’s behind it all, which I think limits the character’s impact. Still, when the movie works it really works. When you’ve got one of the best directors alive working with one of the best actors alive in an early American oil epic it’s almost hard for it not to be great. Anderson’s beautiful, patient shots and the brilliant Plainview vs. Eli Sunday scenes are going to be just as riveting 50 years from now as they are today.
2. Spirited Away (Hayao Miyazaki, 2001)
What is it?
A little girl stumbles into a ghost world after her parents are transformed into pigs. A modern-day Alice in Wonderland follows.
Why is it great?
This was an enviable decade to be a kid, as many children’s movies stopped relying on clichés and Phil Collins soundtracks and started treating their audiences with respect. But the one that impressed me the most wasn’t made by Pixar. Containing more visual ideas than 10 Disney movies combined along with a universal story about childhood, Spirited Away is the best animated film of the decade.
A little girl stumbles into a ghost world after her parents are transformed into pigs. A modern-day Alice in Wonderland follows.
Why is it great?
This was an enviable decade to be a kid, as many children’s movies stopped relying on clichés and Phil Collins soundtracks and started treating their audiences with respect. But the one that impressed me the most wasn’t made by Pixar. Containing more visual ideas than 10 Disney movies combined along with a universal story about childhood, Spirited Away is the best animated film of the decade.
3. The Dark Knight (Christopher Nolan, 2008)
What is it?
Nana nana nana nana nana nana nana nana… Batman.
Why is it great?
I almost went with Christopher Nolan’s excellent rival magicians movie The Prestige instead, but ultimately I’ve got to hand it to The Dark Knight. Sure the whole x-ray vision stuff was goofy and there were some problems with the plot, but it deserves a spot for a few reasons. 1) It marked the growing up of super hero movies. In his flick, Spiderman had to choose between saving Mary Jane or a trolley full of people. He pulled some web bullshit and voila, everyone’s fine. Batman was given the same choice and a main character died. 2) Hack movies like Babel get fawned over for insipid themes like “not communicating is bad.” The Dark Knight deals with dark thematic issues most movies never touch, like the West’s responsibility for terrorism, deceiving the masses for their own good, love not saving anyone and the impossibility of living up to heroic expectations. 3) Incredibly memorable moments, like the bank heist opening. 4) Heath Ledger's The Joker. Not just one of the two greatest villains of the decade, he's one of the best all-time movie bad guys.
Nana nana nana nana nana nana nana nana… Batman.
Why is it great?
I almost went with Christopher Nolan’s excellent rival magicians movie The Prestige instead, but ultimately I’ve got to hand it to The Dark Knight. Sure the whole x-ray vision stuff was goofy and there were some problems with the plot, but it deserves a spot for a few reasons. 1) It marked the growing up of super hero movies. In his flick, Spiderman had to choose between saving Mary Jane or a trolley full of people. He pulled some web bullshit and voila, everyone’s fine. Batman was given the same choice and a main character died. 2) Hack movies like Babel get fawned over for insipid themes like “not communicating is bad.” The Dark Knight deals with dark thematic issues most movies never touch, like the West’s responsibility for terrorism, deceiving the masses for their own good, love not saving anyone and the impossibility of living up to heroic expectations. 3) Incredibly memorable moments, like the bank heist opening. 4) Heath Ledger's The Joker. Not just one of the two greatest villains of the decade, he's one of the best all-time movie bad guys.
4. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
What is it?
A love story told backwards as it’s forgotten.
Why is it great?
Blah blah blah, Charlie Kaufman, blah blah, Michel Gondry, blah blah. By now everyone knows the praise for the script, visuals, and performances of this movie so I won’t rehash it here. Instead I’ll just say one thing I really respect about Eternal Sunshine is it resisted the urge to romanticize. Instead of waiting for the couple to figure out they’re obviously meant to be together, Eternal Sunshine gives us characters that probably aren’t right for each other and may well be doomed to repeat their mistakes. It’s this heavy dose of reality as much as the script and visuals that made this such a fresh viewing experience. And damn it, we’re all still rooting for Joel and Clementine.
A love story told backwards as it’s forgotten.
Why is it great?
Blah blah blah, Charlie Kaufman, blah blah, Michel Gondry, blah blah. By now everyone knows the praise for the script, visuals, and performances of this movie so I won’t rehash it here. Instead I’ll just say one thing I really respect about Eternal Sunshine is it resisted the urge to romanticize. Instead of waiting for the couple to figure out they’re obviously meant to be together, Eternal Sunshine gives us characters that probably aren’t right for each other and may well be doomed to repeat their mistakes. It’s this heavy dose of reality as much as the script and visuals that made this such a fresh viewing experience. And damn it, we’re all still rooting for Joel and Clementine.
5. 28 Days Later (Danny Boyle, 2002)
What is it?
A brilliantly stylized reinvention of the zombie genre from one of film's most versatile directors.
Why is great?
This is the second most important zombie movie of all time (after Night of the Living Dead, obviously). Where Romero invented the genre as we know it, Boyle reinvented it for the 21st century. But there’s so much more than just the “fast zombies” that makes this movie great. Just watch the beginning and by the haunting scene of Cilian Murphy wandering around an abandoned London you know you’ve got a classic. And yes, 28 Days Later does count as a zombie movie.
A brilliantly stylized reinvention of the zombie genre from one of film's most versatile directors.
Why is great?
This is the second most important zombie movie of all time (after Night of the Living Dead, obviously). Where Romero invented the genre as we know it, Boyle reinvented it for the 21st century. But there’s so much more than just the “fast zombies” that makes this movie great. Just watch the beginning and by the haunting scene of Cilian Murphy wandering around an abandoned London you know you’ve got a classic. And yes, 28 Days Later does count as a zombie movie.
THE CLASSIC MOVIE FROM MY POINT OF VIEW
THE INGLORIOUS BASTARDS (THE BEST)
In 1941, SS Colonel Hans Landa (Christoph Waltz) arrives at a dairy farm in France to interrogate Perrier LaPadite (Denis Menochet) about rumors he is hiding the Jewish Dreyfus family. Landa persuades the farmer to confess to hiding the family underneath his floor. Landa then orders the SS soldiers into the house to shoot the floorboards where they are hiding. The entire family is killed, except the teenage Shosanna (Mélanie Laurent), whom Landa allows to escape.
In the spring of 1944, Lt. Aldo Raine (Brad Pitt) recruits a team of eight Jewish-American soldiers in Italy for a mission to get behind enemy lines and bring fear to all German servicemen. He tells the soldiers that they each owe him a hundred Nazi scalps. They operate with a "take no prisoners" attitude and come to be known as the 'Basterds'. One survivor of an attack by the 'Basterds', Private Butz (Sönke Möhring), is interviewed by Adolf Hitler (Martin Wuttke). Butz's account of the attack is shown in flashback: his squad was ambushed and his Sergeant was beaten to death with a baseball bat by Sgt. Donny Donowitz (Eli Roth), known by the Germans as "The Bear Jew". Butz then reveals that Raine carved a swastika into his forehead with a knife.
In June 1944, Shosanna has assumed a new identity as 'Emmanuelle Mimieux' and is operating a cinema in Paris. She meets Fredrick Zoller (Daniel Brühl), a German sniper whose exploits are to be celebrated in a Nazi propaganda film, Stolz der Nation (Nation's Pride). Zoller is attracted to Shosanna and convinces Joseph Goebbels (Sylvester Groth) to hold the premiere of his film at Shosanna's cinema. Shosanna realizes that the presence of several high-ranking Nazi officials provides an opportunity for revenge and resolves to burn down the cinema during the premiere by using a large quantity of extremely flammable nitrate film. The British also learn of the premiere and dispatch Lt. Archie Hicox (Michael Fassbender) to infiltrate the event aided by the 'Basterds' and German film actress and double agent, Bridget von Hammersmark (Diane Kruger). Hicox and two of the 'Basterds' meet with von Hammersmark at a tavern where a SS Major (August Diehl) notices Hicox's odd accent and that he gives the wrong (non-German) three-fingered order for drinks. The resulting standoff erupts into a firefight, leaving everyone dead except von Hammersmark. Raine interrogates von Hammersmark, and upon learning that Hitler will be attending the premiere, devises a plan where he, Donny and Omar (Omar Doom) will pose as von Hammersmark's Italian escorts at the premiere. Landa later investigates the tavern, retrieving von Hammersmark's shoe and an autographed napkin. The turning point of the movie is the climax the director has ended the climax in the strange way, and finished the world war-2 in the different dimension.
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ReplyDeleteand change the font colour for the film stuff (not visible)