“I would like, if I may, to take you on a strange journey.”
There’s no film that embodies the term “cult classic” more than The Rocky Horror Picture Show. Directed by Jim Sharman (Shock Treatment, The Night, the Prowler) and starring Tim Curry, Susan Sarandon, and Barry Bostwick, this delightfully deviant rock opera started showing in 1975 and saw its greatest success with midnight showings. Some theaters have been hosting midnight showings regularly since 1975, making this the longest theatrical release in history. This quirky film gathered a strong cult following and became a cultural phenomenon, and it’s widely regarded as one of the most successful independent films in history. Despite coming out in 1975 (with the original stage play coming out 1973), this is still sharper and edgier than most films being made today. It doesn’t really discuss controversial topics so much as celebrate them, and this is more fun than most other films from any era.
“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.
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.
“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.
“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.
“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.
“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.
“Err, bad breath, colorful language, feather duster. What do you think they’re gonna be armed with? GUNS, you tit!”
It’s said that there’s no honor among thieves, and I can’t think of any better example of this in action than British crime film Lock, Stock, and Two Smoking Barrels. This is the directorial debut of Guy Ritchie (Snatch, The Man from U.N.C.L.E.) and it stars Jason Flemyng, Dexter Fletcher, and Nick Moran. This is a story from the criminal underground of London, and it’s got lots of British charm and sensibility that makes this stand out from the crowded genre of American crime films. The script is also exceptionally smart, especially for a first feature film from the writer/director. If you like crime films but want something delightfully different, this will probably fit the bill.