“Have you ever noticed how it just keeps destroying everything in its path but it never looks down?”
Mark Twain once said, “If you send a damned fool to St. Louis, and you don’t tell them he’s a damned fool, they’ll never find out.” Now, Mark Twain clearly had something against St. Louis, but that’s not my point. My point is that if you’re ignorant about something and you live in a place where nobody is going to point that out to you, you’re likely to remain ignorant about that your entire life. I lived in small-town Florida for most of my adolescent and young adult life, and let me tell you: in those towns, it is very hard to come by people who will challenge you to think outside of the microcosm of small towns in America.
Colossal, written and directed by Nacho Vigalondo (Timecrimes, Extraterrestrial) and starring Anne Hathaway and Jason Sudeikis, is a high-concept film with a lot to say about life in a small town. It’s very metaphorical, but it’s hard to pin down exactly what it’s trying to say. That’s not a bad thing, because it has a lot to say and it will probably speak differently to different people. It’s kind of a dark comedy, kind of a story of redemption, and kind of a giant monster movie (in a literal sense). It got some bad reviews from people who likely missed the points it was trying to make and saw it as an ill-conceived monster movie, but there’s a lot here for people who are willing to dig into the film a bit more.
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“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.
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“Oh captain, my captain.”
The 80s were a time of great financial growth, but also great greed, and Generation X was getting old enough to have an opinion about it. Gen X started their own cultural movement in the 90s and basically torched everything to the ground, but it started with some general unease in the 90s. Dead Poets Society, directed by Peter Weir (The Truman Show, Witness) and starring Robin Williams and a host of young talent, makes an interesting statement to the emerging Gen X ideology by showing how their parents dealt with that same problem of greed and success at the detriment of truth and beauty in the 1950s. This is admittedly not a universal movie—it delves deeply into Romantic and Transcendentalist ideologies and definitely appeals to lovers of old books more than the general population. But there’s a lot here that teenagers of any age will relate to. Whether you agree with Walt Whitman and Henry David Thoreau or not, there’s plenty to think about and plenty to like in this film.
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“I can see it. This one moment when you know you’re not a sad story. You are alive, and you stand up and see the lights on the buildings and everything that makes you wonder. And you’re listening to that song and that drive with the people you love most in this world. And in this moment I swear, we are infinite.”
Teen movies usually paint with a pretty broad brush, trying to capture the feeling of youth for as many people as possible. I look at other films like Say Anything or The Breakfast Club and I feel like most of us can relate to what was going on. The Perks of Being a Wallflower breaks this mold by showing us a very distinct subculture of intellectual misfits trying to figure out life while surviving high school. Written and directed by Stephen Chbosky (who also wrote the novel on which this is based, as well as Wonder) and starring Logan Lerman, Emma Watson, Ezra Miller, this is a sharp departure from the feel-good teen movies I grew up with in the 80s and 90s. Depression, abuse, and trauma are just a few of the subjects touched on, and these things have marked each of the main characters, although the film makes a great effort to show that hurting people still manage to live mostly normal lives. This is a different kind of teen movie that probably doesn’t have the wide appeal of some of the others, but it’s a beautiful story that hit pretty close to home for me. I absolutely loved this film.
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“What I really want to do with my life—what I want to do for a living—is I want to be with your daughter. I’m good at it.”
Scruffy underdog wins the heart of the most popular girl in school. That’s a story that played out a lot in the 80s and 90s, but Say Anything manages to go deeper than most other films that follow this formula. Directed by Cameron Crowe (Almost Famous, Jerry Maguire) and starring John Cusack and Ione Skye, this film is simultaneously a teen love story and a metaphor for Generation X coming of age. It was for Gen X what The Graduate was for Baby Boomers and what Lady Bird was for Millennials: a chance for them to define their relationship with the previous generation, on their terms. The 80s were a time of great financial growth and security, but also rampant corporate greed and some unscrupulous actions, and Gen X had become old enough to say something about it. But it’s also a great teen love story with emotional depth and humor. Is this the perfect teen movie? If not, it’s awfully close.
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“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.
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“America. They want someone to love, but they want someone to hate. I mean, come on! What kind of frigging person bashes in their friend’s knee? Who would do that to a friend?”
Biopic films have, to me, always seemed like pieces of a far-off history, far removed from my actual life. It’s very rare that one hits as close to home as I, Tonya did. Directed by Craig Gillespie (Lars and the Real Girl, The Finest Hours) and starring Margot Robbie, Sebastian Stan, and Allison Janney, this tells the real-life story of Tonya Harding, the infamous figure skater whose scandal rocked the world in the 90s. It’s a story I got a periphery glance at, through media headlines and rumors passed around school, but I never knew Tonya—only the scandal. This film lets you know Tonya, and it does an amazing job of bringing her to life in a way that’s not only sympathetic but also tragic. In-between tragic events are darkly funny happenings and self-aware humor that keep this from getting too depressing. This is a great story that adds some depth to events that I remember from my childhood, and it’s definitely one of the best biopics I’ve ever seen.
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“I don’t want realism—I want magic! Yes, yes, magic. I try to give that to people. I do misrepresent things. I don’t tell truths; I tell what ought to be truth.”
When I think of the 50s, I often think of the picture-perfect, Leave it to Beaver life put forth in popular entertainment. And of course it wasn’t really like that. They were still recovering from World War II, and there were a lot of not-so-great things happening. The popular response was to sweep all that under the rug and focus on the positive, and that shaped much of the entertainment to come out of the 50s. But there was a strong counterculture movement dedicated to realism, no matter how harsh it may be.
In the 1951 novel The Catcher in the Rye, Holden Caulfield railed against “phonies,” and that cognitive dissonance eventually landed him in a mental institution. Also in 1951, A Streetcar Named Desire showed us two worldviews coming to clash: one of romanticized ideals that ignored the horrible things that were going on, and one of brutal realism that was authentic to a fault, becoming an embedded part of everything wrong with the world. Directed by Elia Kazan (On the Waterfront, East of Eden) and starring Vivien Leigh and Marlon Brando, this is a brutal look at the two mindsets inevitably coming head to head. It admittedly got off to a somewhat slow start, but very quickly in, I was hooked. Few films do drama as well as this one, and the tension builds throughout the film into an explosion near the end.
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“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.
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“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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