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A Life In Movies

This is a post where I’m going to give a film for every year of my life. I got the idea from Red at Anomalous Material (read his post here), who in turn got it from Fandango Groovers. Let’s get started!

1987: Full Metal Jacket

Stanley Kubrick’s penultimate film is undoubtedly one of the best and most well-created war movies in film history. Lee Ermey, Vincent D’Onofrio and Adam Baldwin give the best performances of their career in this fantastic film.

1988: Spoorloos (The Vanishing)

George Sluizer’s flawless adaptation of Tim Krabbe’s fantastic novel The Golden Egg is also one of the most engaging films about kidnapping and the human mind and its reaction to grief. How much would you risk just to find out what happened to that inexplicably missing person, even if you couldn’t change their fate? A shocking ending left me breathless.

1989: Sex, Lies and Videotape

One of the most impressive and shocking debuts from a director is a champion of independant cinema and a film which deeply surprised me and shocked me with its brutally honest treatment of human emotion and relationships. James Spader is fantastic.

1990: Goodfellas

What else could I choose? Martin Scorsese’s masterpiece of gangster cinema is high up on the list of best films of the 90s decade, let alone the year. There’s not much more to say that hasn’t already been said about this Scorsese classic.

1991: The Silence of the Lambs

Jonathan Demme is a filmmaker who doesn’t get nearly enough respect as he should. I very rarely hear people talk about him, despite the fact he directed two of the greatest films ever made: Philadelphia and this. The definitive cat-and-mouse cop vs. criminal thriller, it crossed all boundaries into an area of its own.

1992: Reservoir Dogs

Quentin Tarantino’s first film is probably, all things considered, my favourite heist movie ever made. The dialogue is snappy and excellent, the plot structure is quick and perfectly paced and the acting is stunning, as well as a usual Tarantino soundtrack that is difficult to beat. What’s not to love?

1993: Short Cuts

Simultaneously my introduction to Robert Altman, the first Criterion DVD I ever owned and the beginning of an unending and continuous love of films with multiple storylines (see also, 1999 below), there were so many exciting and engaging elements to this great film.

1994: Three Colours: Red

Because this is such a tricky and expectant year, I thought I’d pick a film that no one else would pick. Kieslowski’s final film, and the conclusion to his fantastic Three Colours trilogy, this brilliant analysis of human behaviour, curiosity and relationships is simply stunning. And let’s not forget the astonishing ending. Watch the whole trilogy. Now. Please.

1995: Se7en

One of the first true thrillers I ever really loved, David Fincher’s famous cop vs. crim psychiatric thriller is gritty, ugly, but brilliant. Great writing, splendid acting and fantastic cinematography (Darius Khondji, we salute you), all lead up to a snappy and shocking ending which in itself demands required viewing.

1996: Fargo

“I guess that was your accomplice, in the woodchipper.” This was the first R-rated film I ever saw, and it has had a huge impact on the way I view films (especially thrillers). The amazing, subtle comedy and witty observations of Minnesotan attitude (“Minnesota Nice”) are key factors in the enjoyability of this clever movie.

1997: Boogie Nights

Paul Thomas Anderson catapulted himself to “big, bright shining star” fame with this two and a half hour long analysis of a rapidly changing industry, the key players involved and the little nuances of a changing time as the seventies became the eighties and everything changed. That’s right.

1998: The Big Lebowski

The second but not the last Coen brothers movie on this list, this endearing, funny story of mistakes, money, White Russians, Shomer Shabbas, Walter Sobchak, The Dude, The Jesus, floor-carpet urination and its unintended consequences, rich men and Mozart’s Requiem, Logjammin’, and of course, bowling is one of the cleverest films in terms of humour, ever made.

1999: Magnolia

If you’ve read my blog, 1999’s spot should be no question. A three hour masterpiece of interconnected storylines held together by stunning writing, flawless direction, a sweeping camera, great acting, epic music, and an ending of biblical proportions, it’s no question why this is my favourite movie of all time.

2000: Dancer in the Dark

Björk is fantastic in her acting debut as Selma, a near-blind woman saving up to save her son from the same hereditary fate. Lars von Trier, ever ready with a tool belt of DV cameras, a colourful imagination and swingin’ tunes, paints a touching, beautiful portrait of a life for the lesser fortunate, and a series of bad accidents which can lead to disaster. Warning, bring your hanky, this will make even the strongest of men cry.

2001: Mulholland Dr.

If someone asked me what the most accessible inaccessible movie ever made, I would complement them on the imagination of their question, and reply quickly with Mulholland Dr. It’s a simple enough storyline of a budding actress who moves to Hollywood and becomes caught up with a woman who can’t remember her past. The story moves along nicely, introducing more characters, and leading up to a finale which completely tricks you and beats any Christopher Nolan ending. Ever.

2002: Irreversible

Following his excellent film I Stand Alone, Gaspar Noe made another risky move, but turned the risk factor up to eleven. Graphic and extended rape and an equally graphic revenge sequence are part of the decoration of this Memento-like masterpiece which concludes with an uneventful but hugely emotional final scene on the grass in the park which is one of my favourite scenes of all time. Le Temps Detruit Tout: Time Destroys Everything.

2003: Oldboy

Quick action, a blindingly clever plot, and live squid consumption are just three of the many exciting and alluring things to be found in this excellent Korean thriller.

2004: Shaun of the Dead

A refreshing comedic break from the seriousness of this decade’s previous choices, Edgar Wright’s clever, observational ode to British humour and lifestyle, not to mention countless Romero zombie movies, is a smart and surprisingly hilarious film. The quick pace and delivery of the dialogue is a typical trait of British comedies (the early films of Guy Ritchie, particularly Lock, Stock and Two Smoking Barrels, are brought to mind) and is one of the various clever things which tie this rom-zom-com together.

2005: Caché

One of the strongest, most gripping, shocking and evocative thrillers ever created, Michael Haneke’s Caché is his masterpiece. It is the consequence of a career full of films examining secrets, violence and human behaviour. This film knocks all three out of the park with its spectacular observations of human jealousy and secrecy. Haneke’s directing is stunning, also, with countless stationary shots which continuously trick and deceive the viewer as well as a simple but thought-provoking ending.

2006: Babel

Alejandro Gonzales Iñárritu wins us over yet again with the third and final in a trilogy of excellent films examining human behaviour through the usage of multiple storylines. Proceeded by the equally excellent Amores Perros and 21 Grams, it is a beautiful and emotional conclusion to a series of films which have skilfully examined racism and hatred, among other things. Those two are the main focus of this film, which is riveting for the entire run time of 130-ish minutes.

2007: There Will Be Blood

Undeniably and beyond a shadow of a doubt the best film of the decade, all things considered, Paul Thomas Anderson’s epic tale of greed and self-destruction is portrayed through the innocent eyes of Daniel Day-Lewis, whose eyes turn scarily guilty as he plays a man whose inevitable path to pure hatred and selfishness is simultaneously shocking, riveting and absolutely breathtaking. Kudos also goes to Robert Elswit, whose Oscar-winning cinematography is a mighty and deserving feat indeed. I’m finished.

2008: The Wrestler

Darren Aronofsky strikes back after a softer turn with 2006’s The Fountain and reconnects yet again with that inner cycle of human emotion. This time he conveys it through the usage of an awesome Mickey Rourke, whose portrayal of an ageing wrestler is heartbreaking, sympathetic and distancing, all at the same time. Thanks also, Darren A, for the perfect Bruce Springsteen song played in the end credits.

2009: A Serious Man

A film that grows on me even more with each viewing, the Coen brothers’ much-awaited film about Jewish life, existence, meaning and feeling is their most realistic one yet. Each Coen film exists in a warped universe of its own, but this is the first to really be… earthly, for lack of a better word. We look at this film and see the world around us, in a way none of us were expecting. Forget plot, forget excitment, forget fast-pace. This is a film about humanity and the imperfections we all possess, and how, in the end, it never really matters in consideration of the bigger things yet to come.

2010: Black Swan

If The Wrestler was about the inner truths and frustrations of the male psyche, Black Swan deals with the female one. Sense is senseless and sanity is moot in this brutal, explicit tale of jealousy, greed, anger and personality. It’s something Aronofsky does well, and it’s a shame he didn’t get the Oscar. Portman gives her career-best performance, haunted by mirrors wherever she goes and shadowed by a fractured personality. Excellent.

So there it is. A film for each year of my life. Whew. I wonder what 2011’s will be. That remains to be seen, but I think it’s safe to say each of these films is, in my opinion, the best of its respective year. But opinions change, and everyone’s is different. Leave a comment below with what you thought of my choices, and let me know what some of yours are.

Thanks for reading.

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100 Things I Love About the Movies

Recently, John at The Droid You’re Looking For made a sequel to his hugely successful “100 Things I Love About the Movies” post, and being a fan of both posts, I’ve decided it’s about time I did my own. It was a very inspirational and thoughtful post, and if you read it yourself it might just make you want to do one of the same. For now, here’s mine:

1: Hi-hi-hi there, at last we meet.

2: The shaking fence in Evil Dead.

3: A rape depicted through the clever usage of a silent movie in Pedro Almodovar’s Talk to Her.

4: Qantas never crashed.

5: Whatever you want, Leo Getz.

6: The stunning ending to Lars von Trier’s Dogville.

7: Dave. Stop, Dave. I can feel it. My mind is going. There is no question about it.

8: The best movie cut of all history in Lawrence of Arabia.

9: The theme that plays when we see the man with the Harmonica in Once Upon a Time in the West.

10: Everybody’s Talkin’ At Me…

11: The abrupt ending of Bonnie and Clyde.

12: I’m a star. I’m a star, I’m a star, I’m a star. I’m a big bright shining star. That’s right.

13: The final perfect five minutes of Irreversible…

14: …and how The King’s Speech stole the music!

15: Ellen Burstyn’s monologue in Requiem for a Dream.

16: The hand emerging from the water in Deliverance.

17: The final half-hour of Audition.

18: Jimmy Schtewart.

19: The emotion and raw energy with which Kirk Douglas delivers this line in Paths of Glory: “I apologise to you, sir, for not informing you sooner that you’re a degenerate, sadistic old man, and you can go to Hell before I apologise to you now or ever again!”

20: John C. Reilly shining his flashlight into the camera in Magnolia.

21: Blood Simple to True Grit and everything in between.

22: Hello… Hello, Dimitri? I… I can’t hear, could you turn the music down? That’s great, you’re coming through fine. I’m coming through fine, too, am I? I agree with you, it’s great to be fine. Now then, Dimitri. One of our generals… he went a little funny in the head… you know, funny. And he went and did a silly thing.

23: Tracking shots. All of them.

24: The Monty Python movies (“I fart in your general direction!”)

25: Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television. Choose washing machines, cars, compact disc players and electrical tin openers. Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing, spirit crushing game shows, stuffing junk food into your mouth. Choose rotting away at the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourself. Choose your future. Choose life.

26: Jim Carrey in Liar, Liar.

27: Steve Martin in The Jerk.

28: Isabella Rossellini begging Kyle MacLachlan in Blue Velvet (“Hit me!”).

29: In Heaven… everything is fine.

30: Did You Know You Can Use Old Motor Oil to Fertilise Your Lawn?

31: That lucky occasion when you come across a really, really good TV movie (Indictment: The McMartin Trial)

32: Get away from her, you BITCH!

33: I am Death. I have long walked at your side.

34: The most striking and disturbing use of colour in any film, that of Sven Nykvist’s brilliant cinematography in Ingmar Bergman’s fantastic Cries and Whispers.

35: NOT LOVELY, LOVELY LUDWIG VAAAANNNN!!!!

36: The slow-paced and slightly comic final duel in Barry Lyndon.

37: The deadly silent arrival of Martin Sheen into Colonel Kurtz new jungle home, rudely interrupted by an obviously high Dennis Hopper in Apocalypse Now.

38: The first six or so minutes of Persona.

39: This is my rifle, this is my gun. This is for fighting, this is for fun.

40: The haunting piano music that plays throughout the latter half of Kubrick’s fantastic Eyes Wide Shut.

41: A surprise cameo from the greatest stand-up comedian of all time in a non-comedy role in Lost Highway.

42: Tom Cruise’s finest hour:

43: The perfect opening shot of Apocalypse Now.

44: Bernard Herrman’s shrieking violins.

45: Black and White movies in the era of Colour.

46: The nameless dystopian city in David Fincher’s Se7en.

47: Uncomfortably casual nudity in Short Cuts.

48: Marge Gunderson.

49: Nobody fucks with the Jesus.

50: Bring Out the Gimp.

51: Norma Desmond’s delusions of grandeur.

52: The drug deal scene in Boogie Nights.

53: I only got two things in this world: my balls and my word. And I don’t break em for nobody.

54: Robert Downey, Jr. in Natural Born Killers.

55: The “train going into the tunnel” at the very end of North by Northwest, a clever albeit overused sexual metaphor.

56: Ricky Gervais. Always. Always.

57: A movie set entirely within one room (i.e. Buried)

58: Rob Brydon’s cameo in Lock, Stock and Two Smoking Barrels.

59: Nothing’s wrong with it, Tommy. It’s tip top. I’m just not sure about the colour.

60: I am Jack’s _____ ______.

61: Sean Penn in Fast Times at Ridgemont High, oh, and while we’re at it…

62: 80s high school movies. All of them.

63: The epilogue of Pink Flamingos.

64: Clerks. ‘Nuff said.

65: Try getting a reservation at Dorsia now, you fucking stupid bastard!

66: Silencio.

67: Earn this. Earn it.

68: The final shot of the rat at the end of The Departed.

69: Extended Director’s Cuts.

70: I’m mad as Hell, and I’m not going to take this anymore!

71: The inability of Jack Lemmon to be able to watch Grand Hotel in The Apartment.

72: Memorable last lines in Billy Wilder movies.

73: We’re a loving couple that doesn’t touch.

74: Sunday nights, where I put aside a few hours to rewatch one of my favourite movies, no matter what it is or how many times I’ve seen it.

75: The creepy hidden camera shots in Michael Haneke’s Cache.

76: Amelie’s strange games with random people in the film of the same name.

77: Go round mums, deal with Phillip, grab Liz, go to the Winchester, have a nice cold pint and wait for all this to blow over.

78: Shelley Winters in The Poseidon Adventure: “In the water, I’m a very skinny lady.”

79: Sidney Lumet. Rest in Peace.

80: The final shocking moments of Planet of the Apes.

81: The meaning of Roger O. Thornhill’s middle initial.

82: Martin Scorsese’s cameo in Taxi Driver.

83: Gregory Peck’s powerful courtroom monologue in To Kill A Mockingbird…

84: …and the uniquely different but still subtly similar version presented by a suprisingly good Matthew McConaughey in A Time to Kill.

85: Dustin Hoffman’s moving turn as Ratso Rizzo in Midnight Cowboy…

86: …and the eerie subtle similarities between Jon Voight’s character in the same movie and Dirk Diggler in Boogie Nights.

87: Mr. Jingles.

88: I just wanted to hold the little baby.

89: You mean the man who inserted rubber fist in my anus was a homosexual?

90: The stunning revelation at the end of Spoorloos (The Vanishing).

91: How quickly a director can take my interest, and how stunningly tight their grip remains on me within the shortest of times, and how it can last seemingly forever, as evidenced by my recent delve into the films of Ingmar Bergman.

92: Hit Girl.

93: Bill Murray waking up to the same nauseatingly repetitive jingle every morning in Groundhog Day.

94: Reese Witherspoon humiliating a disfigured Kiefer Sutherland in Freeway.

95: The little bit of low-budget masterpiece that was Sex, Lies and Videotape.

96: Dogme 95.

97: The Criterion Collection.

98: The little things in movies that so few directors really think to care about.

99: How movies affect my everyday life, the way I do things, the little idiosyncrasies that people rarely notice, and how I think and perceive things.

100: “I’m finished.”