“This is very cruel, Oskar. You’re giving them hope. You shouldn’t do that. That’s cruel!”
Schindler’s List is, without a doubt, one of the most important films of all time. If you don’t know, it’s probably the best and one of the most accurate films about the persecution of the Jews in Nazi Germany (and Nazi-occupied Poland) in World War II, and it’s based on real people and events. It’s one I had always known about, but had never seen—partly because I was intimidated by it. The Holocaust is not an easy thing to watch, and I was worried it would be, well, a bit too much. I’m happy to report that, while there were some awful things portrayed, it remains very accessible and I actually loved this powerful film. Director Steven Spielberg (E.T., Jurassic Park) had a tremendous amount of respect for the subject and was careful to make a film that stays true to history, no matter how dark, and honors the survivors, some of whom make an appearance in the final scene. There are some heartbreaking scenes, but this is a truly great film that doesn’t just rely on the historical significance of its subject matter.
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“What a loss to spend that much time with someone, only to find out that she’s a stranger.”
The manic-pixie dream girl is a common trope that pops up in a lot of movies. You know the ones, where there’s a guy who takes life too seriously and he meets this girl who’s wild and free and teaches him to have a new appreciation for life. Think Penny Lane in Almost Famous, or Holly Golightly in Breakfast at Tiffany’s, or Zooey Deschanel’s character in any movie she’s in. We always see the beginnings of the relationship and the transformation. But we never see how that plays out. We rarely see that while manic-pixie dream girls can be amazing, they can also be high maintenance, and it takes serious work to keep up the amazing aspects of the relationship—work that not every guy is willing to put in.
Eternal Sunshine of the Spotless Mind fills that gap by showing us a manic-pixie dream girl relationship after it has failed. Directed by Michel Gondry (The Science of Sleep, Be Kind Rewind) and starring Jim Carrey and Kate Winslet, this film offers a fresh look at what a romantic relationship really means and what it takes to make one work for imperfect people. It maintains a lot of that quirkiness from the other movies, but this one is layered with some heavy bittersweet moments as well. At times funny, at times sad, this is a great film about the ups and downs of love that doesn’t try to water down what makes relationships difficult, but still captures what makes them meaningful.
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“Ya know, I used to live like Robinson Crusoe—I mean, shipwrecked among 8 million people. And then one day I saw a footprint in the sand, and there you were.”
Many films that have tried to seamlessly blend tragedy and comedy together. This took off in the 90s and is still going strong today with films like Life is Beautiful, The Royal Tenenbaums, and Sideways. But in 1960, long before this was popular, The Apartment pulled it off beautifully. Directed by Billy Wilder (Some Like it Hot, Sunset Boulevard) and starring Jack Lemmon and Shirley MacLaine, this film is at times funny and silly and at other times dark and depressing, and the change is never jolting. It also deals with depression in a way that’s way ahead of its time. I had never seen this film before today, and it’s now one of my favorite classic films. If you like a little darkness with your comedy, this might be the perfect classic film for you.
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“If I said I was madly in love with you, you’d know I was lying.”
Gone with the Wind is a film that almost needs no introduction. Directed by Victor Fleming (The Wizard of Oz), who took over after George Cukor (My Fair Lady, The Philadelphia Story) was let go, this four-hour epic is widely heralded as one of the best films of all time, and, when adjusted by inflation, it’s the highest-grossing film of all time by a very wide margin—over seven billion dollars in 2018’s money. But I’ll be honest: I didn’t really understand much about it until I watched it today. I’d heard it was a romance, but that’s only partly true; it’s also about the disintegration of the old South and its culture in the aftermath of the American Civil War. And it’s told from the perspective of the Confederacy, showing an interesting, if somewhat misleading, perspective. The idea of a four-hour romance movie initially didn’t interest me, but this film is every bit as epic as it is romantic—which is to say a lot. The scope is grand, the characters are deep, and the conflict is much bigger than one relationship. I’m a little late coming to the party of reviewing this film, but I think this still holds up pretty well today. It really is that good.
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“I must be crazy to be in a loony bin like this.”
One Flew Over the Cuckoo’s Nest has been lifted up as a story of one man standing up against the establishment, leading a group of oppressed mental patients to freedom. Mine may be an unpopular opinion, but I don’t see it that way. Directed by Milos Forman (Amadeus, Hair) and starring Jack Nicholson and Louise Fletcher, this film swept the Oscars in 1975, becoming the second film in history to win the big five: Best Film, Best Actor, Best Actress, Best Director, and Best Screenplay. It’s a product of the cultural revolution of the 60s, which had become mainstream in the 70s, and I see it in relation to that era as Fight Club was to the 90s: a blatant rejection of the previous generation’s culture that seems heroic, but ultimately proves to be misguided and damaging.
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“I love you, but you don’t know what you’re talking about.”
Do you remember the first time you fell in love? That’s the feeling Wes Anderson tried to recreate with Moonrise Kingdom. It’s a story that focuses primarily on two kids—a rarity for Anderson. Even his children’s movie, Fantastic Mr. Fox, focused on the father of the family. The closest he’s come to this before was with Rushmore, which focused on a high school student. Moonrise Kingdom focuses on a pair of 13-year-olds, and it is, appropriately, filled with a sense of wonder and innocence that’s missing in most of his movies, which are more about disenfranchised adults who have trouble with relationships. Those adults are still here, but they’re in the background. The real story is in how these kids come together, although the relationships the adults have serve as a terrific foil for this. I wouldn’t say this is Anderson’s best film, but it’s probably his sweetest and most wholesome, and it absolutely deserves some attention.
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“I want you to go to the window, open it, stick your head out and yell: ‘I’m as mad as hell, and I’m not going to take this anymore!’ ”
It’s hilarious and a bit eerie when a satire becomes so close to reality that it seems like a documentary, but that’s exactly what happened with 1976’s movie Network. Directed by Sidney Lumet (12 Angry Men, Dog Day Afternoon) and starring Faye Dunaway, William Holden, and Peter Finch in what may be the best performances of their careers, this film shines a light not just on the dark side of the television industry, but of the American psyche as well. Television executives (as well as radio hosts, YouTube celebrities, and many others) will air anything that gets ratings, and Americans will put up with an alarming amount of craziness to hear what they want to hear. This film pokes some fun at testing those boundaries, but the result is uncomfortably close to what we deal with in media (and politics) today. This film is biting, hilarious, and more relevant now than ever.
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“I wish I could live through something.”
Cultural revolutions happen when a generation gets old enough to get their ideas out into the world. The baby boomers had their revolution in the 60s and 70s. Gen-Xers like me had ours in the 90s. Well, guess what? We’re due for a new revolution for the Millennials. Over the next 5-10 years, we’re going to start seeing media through the eyes of Millennials. Leading the charge in this revolution is the brilliant Greta Gerwig with her directorial debut, Lady Bird. Starring Saoirse Ronan and Laurie Metcalf, this film neatly encapsulates the gap between Millennials and Generation X, as well as the frustrations that Millennials faced in adolescence. It’s also a sweet, funny, and touching story about a daughter growing up with an overbearing mother. This film works equally well as a coming of age story and a metaphor for the coming of age of an entire generation, and you’d be hard-pressed to find a better Millennial anthem than this film.
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“The dream I must have had, I can never recall. But… the sensation that I’ve lost something lingers for a long time after I wake up.”
I’ve said it before, but I’ll say it again: I’m typically not a fan of anime, just like I’m typically not a fan of horror movies. But some movies, like Psycho and The Shining, are so good that they rose above the trappings of the horror genre. Your Name is a movie that rises way, way above the trappings of your typical anime. Directed by Makoto Shinkai (The Place Promised in our Early Days, 5 Centimeters per Second), this is the only anime movie to out-gross Spirited Away, which was a classic I’ve reviewed before. It’s one of the best love stories I think I’ve ever seen. There is a touch of the supernatural in this, but rather than that being the focus, it serves to enhance the drama and romance in the film that remain the focal point. This is a beautiful story beautifully told, and the fact that it’s an anime actually makes it better—that format tells the story better than any other would. Anime skeptics take heart: you will probably like this film.
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“It’s your job, right? The guy who kills me… I hope he does it because he hates my guts, not because it’s his job.”
They say truth is stranger than fiction, but you honestly don’t see that a lot. Most of the time, when I hear someone say truth is stranger than fiction, I just assume they don’t read a lot. Dog Day Afternoon captures that notion brilliantly, though, by telling the real-life story of a bank robbery more absurd than any heist movie I’ve ever seen. Directed by Sidney Lumet (12 Angry Men, Murder on the Orient Express) and starring Al Pacino and John Cazale, this film captures, almost in real time, a bank robbery as entertaining as they come. You’ll see a crime become a media circus. You’ll see a criminal become a folk hero. You’ll see what could be a very cliched and overdone plot made fresh—more so than most heist movies today—by a string of bizarre details about the culprits and situation. It’s smart, funny, and gripping, and it’s definitely the most entertaining heist movie I’ve ever seen.
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