“What was I supposed to do—call him for cheating better than me, in front of the others?”
I love a good con. Most modern con movies are so obsessed with being intricate and overly complicated that they lose their touch with reality, with mythical characters with superhuman abilities, unrealistic technological devices that are closer to magic than reality, and eleven, twelve, or sometimes thirteen people essential to the plan. In 1973, The Sting brought the con back to its early cinema roots in the 1930s, and it’s everything I wanted to see in a con movie: cleverness, real danger, and humor. Directed by George Roy Hill (Slap Shot, Slaughterhouse Five) and starring Paul Newman and Robert Redford—reuniting the three of them for the first time since the hit comedy-Western Butch Cassidy and the Sundance Kid in 1969—this movie was a huge hit in its time, winning the Oscar for best picture as well as several others for cast and crew, and it holds up very well today. It’s intriguing, it’s well-constructed, and it’s fun—what more could you ask for in a con movie?
“I just can’t see God putting a gift like that in the hands of a man who would kill a child.”
When someone mentions a movie with miracles, that usually brings to mind some very specific images: a struggling family, an overly sentimental problem, and a religious leader, for instance. The Green Mile gives us a story showing that miracles can occur anywhere—even in a prison block reserved for inmates on death row, even in the midst of senseless brutality, even among people who can’t bring themselves to believe in a god at all. This film is adapted from a Stephen King novel and directed by Frank Darabont (The Shawshank Redemption, The Majestic), and it stars Tom Hanks, David Morse, and Michael Clarke Duncan. This is an outstanding drama that will stick with you long after the credits roll, but be prepared: it’s quite sad at times and downright disturbing in a few spots. In the end, though, it’s totally worth it.
“Because some men aren’t looking for anything logical, like money. They can’t be bought, bullied, reasoned, or negotiated with. Some men just want to watch the world burn.”
2008 was a good year for superhero films. Iron Man put the Marvel Cinematic Universe on the map, and The Incredible Hulk followed later that year; Hellboy II was a surprise hit; we even got Hancock, an interesting take on the superhero genre (even though it wasn’t that good). But The Dark Knight came along and it made the rest of these films look like child’s play. Best superhero movie of all time is a hotly debated title now, but back in 2008, The Dark Knight was the undisputed winner. Directed by Christopher Nolan (Inception, Interstellar) and starring Christian Bale and Heath Ledger, this is a smart crime film and a competent action film in addition to a superb superhero film, and it, along with Iron Man, showed the world that superhero movies could have an appeal beyond comic book fans, being artful blockbusters in their own right. This is a brilliant entry in the superhero genre and it will be remembered as one of its great classics.
“There’s never been a black cop in this city. We think you might be the man to open things up around here.”
There are a lot of films that are good, but far fewer that are both good and important: timely, thought-provoking, painfully honest, and still entertaining. BlacKkKlansman, directed by Spike Lee (Do the Right Thing, Malcolm X) and starring John David Washington and Kylo Ren, is an entertaining film that really spells out how racism in America took its current form and went mainstream, starting in the 70s. The script is clever and it has some hilarious moments, some genuinely touching moments, and some suspenseful moments to keep it from getting dull. But the real genius of the film is how it tackles such a difficult and misunderstood topic and breaks it down and makes it easy to follow, tracing the idea’s lineage from years in the past to today. The blatant racism can be difficult to watch, but this film is undoubtedly one of the most important of recent years, especially in today’s political climate.
“A guy told me one time, don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.”
Leonardo da Vinci once said, “Details make perfection, and perfection is not a detail.” Heat is close to the perfect crime film, in large part because it gets all the details right. Written and directed by Michael Mann (Ali, The Last of the Mohicans) and starring crime film legends Al Pacino and Robert de Niro, this film spends just as much time developing the antagonist as the protagonist—an idea which influenced the crime genre for at least a decade afterward. But the film got a lot of things right, from police procedures during a bank robbery and mannerisms of actual career criminals to the minutiae of failing marriages and relationships torn apart by reckless spending and substance abuse, and it did it through careful research and attention to detail that you really don’t see in most other films. This isn’t quite the most brilliant crime movie out there, but it’s probably the most detailed and it still makes for a very entertaining watch.
“I’m sorry for calling you an inanimate object. I was upset.”
There are many films about hitmen, but In Bruges is different. It doesn’t show a slice of life like similar films do. Instead, it uses light allegory, dark humor, and razor-sharp wit to tell a story of growth and atonement for two distinct characters who both happen to be hitmen. Written and directed by Martin McDonagh (Three Billboards Outside Ebbing, Missouri, Seven Psychopaths) and starring Colin Farrell and Brendan Gleeson, this film is at times funny and at other times depressing, and it goes way deeper than telling the story of a string of contracted hits. This film hits the deepest parts of the soul for these two flawed protagonists as they struggle emotionally with the lives they live. This film is funny, poignant, and definitely worth a watch.
“And for what? For a little bit of money? There’s more to life than a little money, you know.”
Picture in your head a plot where a man hires two criminals to kidnap his wife so he can keep most of the ransom money paid by her father. There’s murder and a big investigation. Unless you’ve seen Fargo, I highly doubt the picture in your mind is set in small-town Minnesota. Written and directed by Ethan and Joel Coen (True Grit, The Big Lebowski) and starring Frances McDormand, William H. Macy, Steve Buscemi, and Peter Stormare, Fargo turns the normal police-investigating-a-string-of-murders plot on its head by focusing on simple, conservative small-town folks and largely incompetent, unsympathetic characters. These aren’t people in the dark underbelly of some large city, these are people who get excited when new stamp designs come out. Under the hood, this is a black comedy as well as a crime drama, and the writing is top-notch. If you’re looking for something different and clever without being over-the-top, this might be it.
“Here are just a few of the key ingredients: dynamite, pole vaulting, laughing gas, choppers—can you see how incredible this is going to be?—hang gliding, come on!”
In 1996, before Wes Anderson was really making Wes Anderson movies, he made his debut with Bottle Rocket. He involved some of his friends, including Luke and Owen Wilson, neither of whom had acted before. This film is far from perfect and is definitely not Anderson’s best, but it was enough to crown him the new king of indie filmmaking and put Luke and Owen Wilson on the map. Woven into the story, you’ll see the themes that are so prominent in Anderson’s later works: subtle ennui, loneliness, and chronic abnormality, all glazed over with quirky humor and a rebellious streak. For his first feature film, this is actually a very impressive feat. The writing is clever, the story is memorable, and the soundtrack is killer. Overall, this is a pretty impressive indie comedy that’s a great glimpse into the formative years of Wes Anderson’s career in filmmaking.
“After that, my guess is that you will never hear from him again. The greatest trick the devil ever pulled was convincing the world he did not exist. And like that… he is gone.”
A good mystery will leave the viewer clues throughout that point the ultimate revelation, and The Usual Suspects does exactly that. Directed by Bryan Singer (X-Men, Superman Returns) and starring Kevin Spacey, Gabriel Byrne, and Chazz Palminteri, this is an extremely intricate film that rewards multiple viewings and in-depth analysis. Some have criticized it as gimmicky, but I wholeheartedly disagree. The performances are excellent, the details that hint at the ending are subtle but very intentional, and the script is brilliant. This is an independent film, and that’s a great thing—Hollywood studios would have dumbed this down to make it much more obvious for average viewers. I’m glad they didn’t—as it is, this film is a masterpiece.
“It was like a message from God: ‘Honesty doesn’t pay, sucker.’ ”
I’m fortunate to have been born with options: education options, occupation options, food options, and social 0ptions. City of God is a film about people who have very few, if any, options in life. Directed by Brazilian directors Fernando Meirelles (Blindness, The Constant Gardener) and Kátia Lund (News from a Personal War) and starring a whole host of locals with little to no acting experience, this was a fantastic film that was very eye-opening for me as a middle-class American. It’s not all doom and gloom, though—there are some fun scenes and characters, and I really enjoyed this rather than simply thinking it was important. The film is in Portuguese with subtitles, but that didn’t really hurt the experience. I’ll admit, I’m not really an expert on films coming out of South America, but I really loved this one.