“Criminal lawyers see bad people at their best; divorce lawyers see good people at their worst.”
There are many films that tell entertaining or compelling stories, but there are far fewer that are so real that they hurt. Marriage Story, directed by Noah Baumbach (The Squid and the Whale, Frances Ha) and starring Adam Driver and Scarlett Johansson, is definitely real enough to hurt. It’s a story of a divorce—and Baumbach has done a so-real-it-hurts divorce movie before in The Squid and the Whale, but, where that one was emotionally brutal, this story has that raw emotional brutality, but it’s tempered with love and a touch of humor (there are a few laugh-out-loud funny scenes) that keep it from getting too depressing. So couple a smart script with what are perhaps the best performances of the two leads’ careers and you get an outstanding dramatic film on par with some of the hardest-hitting classics out there.
“This didn’t put an end to shit, you fucking retard! This is just the fucking start! Why don’t you put that on your Good Morning Missouri fucking wake-up broadcast, bitch?”
In the cinema world, even in films without action and adventure, we’re accustomed to heroes and villains. We have films with complex villains, problematic romantic leads, and even adventures without any discernible villains, but the audience just instinctively knows who to root for and who to jeer against. Three Billboards Outside Ebbing, Missouri, directed by Martin McDonagh (In Bruges, Seven Psychopaths) and starring Frances McDormand and Sam Rockwell, is different because it sets itself up as very black and white, with a slighted middle-aged woman and an angry, racist cop, but the film’s narrative goes to some interesting places and it really makes audiences question who they’re rooting for, and why. It’s also a solid, smart drama with effective darkly comedic elements. This is a film that gripped me, but left me thinking for a long time after the credits rolled, and that’s not an easy thing to do.
“Nowadays, young people, they don’t know who Jimmy Hoffa was. They don’t have a clue. I mean, maybe they know that he disappeared or something, but that’s about it. But back then, there wasn’t nobody in this country who didn’t know who Jimmy Hoffa was.”
The crime genre is a prolific one, with many masterpieces already on my list. Among crime film directors, Martin Scorsese (Taxi Driver, Goodfellas) is royalty. So when it was announced that Scorsese, now nearing the end of his career, would be making another crime epic with acting legends Al Pacino, Robert De Niro, and Joe Pesci (who came out of retirement for this film), film buffs collectively lost their shit. With Scorsese, Pacino, De Niro, and Pesci having so many great films to their names but nearing the end of their careers (and, let’s face it, nearing the end of their lives), this will probably be the last time we see this director and these actors put out a film like this. The Irishman is a fond farewell to those great crime films we grew up with and loved, and it’s fitting that it deals with aging career criminals coming to terms with their lives of crime and violence. We’ve seen great human depictions of criminals, most notably in The Godfather and its sequels, but there hasn’t been an in-depth look at what happens when these criminals start aging out of the systems they created. That’s a gap The Irishman fills, and it does a brilliant job of it.
“Did you ever have to find a way to survive, and you knew your choices were bad—but you had to survive?”
Most films go heavy on plot and light on characters, but I have to admit, I’m a sucker for strong characters even when the plot is not stellar. American Hustle, directed by David O. Russell (Silver Linings Playbook, I Heart Huckabees) and featuring an amazing all-star cast including Christian Bale, Amy Adams, Bradley Cooper, and Jennifer Lawrence, has amazing characters and performances, even if the plot meanders a bit more than it should. It’s also a ton of fun and a great slice of authentic 70s goodness, even though it came out in 2013. Every character, from the con man to his distant wife of convenience to his brilliant mistress and partner in crime to the overzealous FBI agent, has more vices than virtues, but they’re so complex and fleshed-out that I found myself mesmerized by the characters interacting on screen. If you want a complex and brilliant plot, go watch Chinatown; but if you want a fun film with great characters and style, look no further than American Hustle.
“I always spend New Year’s alone. In crowds. I’m not alone this year.”
In film, lesbians have almost always gotten the short end of the stick. On the one hand, you have the stereotypical butch lesbians, who exist as jokes; on the other hand, you have the stereotypical sexy lesbians, which exist mainly for the entertainment of men. Very rarely do you see a lesbian character in film that’s neither a joke nor a set piece, and when you do see a smartly-written lesbian character, she’s usually a background character with little bearing on the plot. That’s why the 2015 film Carol is so important. Directed by one of the pioneers of the New Queer Cinema, Todd Haynes (Velvet Goldmine, Far From Heaven) and starring Rooney Mara and Cate Blanchett, this is a smart romance between two women in the 1950s—a time that was not accepting of two women falling in love, but also a time that didn’t really accept the livelihood of women without men. The hardships they face are as big a part of the plot as the romance itself, and this is a touching but also heartbreaking tale of two women trying to find love.
“I’m becoming much more than they programmed. I’m excited!”
A man falls in love with his computer’s operating system. That’s the premise of Her, a film by Spike Jonze (Where the Wild Things Are, Adaptation) starring Joaquin Phoenix, Scarlett Johannson, and Amy Adams. I’ll admit, the premise sounded so dumb to me that I put off watching this film for a long time. Well, now that I’ve watched it, I’m sad that I did—this is a brilliant film that hits hard in the feelings department too. I don’t think it’s meant to be viewed literally, like most sci-fi films; instead, it’s more like a metaphor or allegory, commenting on what it means to be human and have human relationships by showing us the relationship that develops between a lonely human and this artificial intelligence. In fact, there are some noticeable holes in the science behind this film, so I’d be hesitant to call it a science fiction film at all. It’s a solid drama and romance, though, with some important philosophical things to say about human nature, human relationships, and, of course, love.
Every filmmaker was inspired by something. Quentin Tarantino (Pulp Fiction, Inglourious Basterds) has stated that his favorite film is the 60s spaghetti Western The Good, the Bad, and the Ugly, by iconic director Sergio Leone, and Leone’s influence can be seen in many of Tarantino’s films. In the 60s, Leone’s new style of Italian Westerns were a departure from the classic American Westerns Tarantino had grown up with, and in many ways signaled a change in filmmaking overall, away from the wholesome images of the 50s and the first part of the 60s, getting ready for the gritty realism of the 70s. Tarantino’s newest film, Once Upon a Time… in Hollywood touches on that while also being a love letter to the Hollywood from Tarantino’s formative years. Tarantino has said that this is his most personal film, and you can see the care who poured into this project. I personally loved the film and think it’s a great addition to his repertoire of work.
“Letting everyone down would be my greatest unhappiness.”
Marie Antoinette, the person, is someone I didn’t know a whole lot about, aside from the fact that France beheaded her and she allegedly told peasants to eat cake when they had no bread. Marie Antoinette, the 2006 film by Sofia Coppola (Lost in Translation, The Virgin Suicides), takes that vague historical figure and brings her to life, making her more human than a lot of fictional characters I see in film. Starring Kirsten Dunst and Jason Schwartzman, the humanity of Marie Antoinette and Louis XVI really is the focus of this film. Antoinette especially is made relatable to viewers today, even if the film is not 100% historically accurate—a very conscious decision on Coppola’s part. This is a film that I didn’t fully appreciate until my second viewing, as the true depth of the film evaded me on my first viewing because I was expecting something very different. The film has some great things to say about gender norms and societal expectations that elevate this from a breezy biopic into intelligent social commentary that’s surprisingly relatable.
“They made us all train for this day. ‘To be fearless and proud and alone. To need no one, just sacrifice. All for the Fatherland.’ Oh God, all just empty words. It’s not the way they said it was, is it? I just want someone to be with. The only thing I feel is afraid.”
War movies often comment on the nature of war, showing how horrible it can be, but there are always things that undermine or prevent a truly negative comment, such as patriotism and exciting depictions of war. Even films that showed us true horrors, such as Platoon and Full Metal Jacket, also gave us heroes and camaraderie. Das Boot is different. For one, it’s a German movie about World War II—a time that Germany fully admits was a terrible time in their history, so there is no patriotism or need to give us heroes. Directed by Wolfgang Petersen (Air Force One, The Neverending Story) and starring an all-German cast, this film gives us horror on top of nihilism, with some characters even making negative comments on the propaganda the German government was pumping into young men’s heads at the time. This is also probably the most tense war film I’ve ever seen, which is saying a lot considering how hard-hitting other war films have been. But even in a genre full of powerful movies, Das Boot hits hard and shows us, perhaps more than any other film, that war is hell.
The Godfather (parts 1 and 2) may be the top pick for the epic crime genre, but Sergio Leone’s Once Upon a Time in America deserves a mention both for its detailed look at its characters and the enormous scope of the film, covering 48 years of the lives of a few characters. Written and directed by Italian director Sergio Leone (Once Upon a Time in the West, The Good, the Bad, and the Ugly), who had originally been approached to direct The Godfather but turned it down and regretted it for the rest of his life, this was his attempt to recapture some of the greatness that he had passed up earlier in life. The Godfather was a thoughtful film about a crime family, but Once Upon a Time in America has a lot more heart and really shows us the deep connections that formed in the Jewish ghetto of New York City in 1920 and lasted nearly 50 years. This film is not perfect—some of the dialogue is clumsy, the time jumps can be confusing, and the characters are certainly not likable—but this film captures the humanity of getting into, and out of, a life a crime more than any other I’ve seen.