“You don’t make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it.”
With the newfound freedom afforded by loosened censorship laws, the 70s were a Renaissance of crime films. In 1972, The Godfather made a crime family as familiar as your next-door neighbors. In 1973, Martin Scorsese (Goodfellas, Taxi Driver) released Mean Streets, which brought crime from a family affair back to the streets, where it was untamed, unsafe, and unpredictable. Starring Harvey Keitel and Robert De Niro, this film had a brilliant script, strong performances by lead actors, and some innovative cinematography that made the film seem more real than many of the earlier crime films, as well as many modern ones. This is admittedly not the best work in Scorsese’s stellar career, but it was his first masterpiece, and it holds a place in crime film history, paving the way for many later brilliant films.
“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.
“Just because she likes the same bizzaro crap you do doesn’t mean she’s your soulmate.”
Are you sick of romantic comedies? You know, boy meets girl, there’s some cute awkwardness, and then they live happily ever after? The “nice guy” with horrible romantic luck eventually meets the quirky, beautiful girl of his dreams? 500 Days of Summer may be the cure. It’s a smart comedy (I hesitate to call it truly romantic) about what happens when a character buys into that ideal, but the reality doesn’t match. In fact, the lead character, Tom, is so bought into the ideal romance that he completely ignores the woman he’s dating and the real romance right in front of him. Directed by Marc Webb (The Amazing Spider-Man) and starring Zooey Deschanel and Joseph Gordon-Levitt, this film is intelligent, insightful, and oozing with hipster style.
I was in college when Donnie Darko came out. Just about everyone around my age had that one friend who would not shut up about this film, how it was deep and mysterious. I didn’t get around to watching this film until the end of 2016, 15 years after its release. I’ll admit, on my first viewing, I wasn’t that impressed. There seemed to be too many loose ends and unexplained mysteries for me to take it seriously. I’m revising my review after a second viewing, not because I’ve figured out the many mysteries here, but because I think I’ve figured out why they’re in there. Is this a great film? I won’t say it’s one of the best on my list, but it’s unique and thought-provoking, to say the least.
Written and directed by Richard Kelly (Southland Tales, The Box) and starring Jake Gyllenhaal, Jena Malone, and Maggie Gyllenhaal, this is an independent sci-fi film that takes some serious risks. Some of them pay off, and some of them don’t, but this is markedly different than most other films out there, sci-fi or otherwise. There’s also a lot of depth lurking underneath the surface of this film, although some of it is buried a little too deep to make sense of. Is it brilliant? Is it nonsense? I think that’s really open to interpretation. That said, I’ll give you my take on it.
“If you get shown a problem, but have no idea how to control it, then you just decide to get used to the problem.”
Sorry to Bother You is a hell of a movie. Before watching it, I’d heard it described as Office Space for Millennials, but that’s only partly true. Much like Office Space, it goes beyond office humor and very succinctly details all of the generation’s frustrations with the workforce, and it’s very funny to watch; however, Sorry to Bother You goes beyond the office and also comments on race, politics, and capitalism. Office Space was an anthem for Generation X people who were entering the workforce (like myself), but Sorry to Bother You is one of the smartest and most daring satires I’ve ever seen on any topic. Written and directed by Boots Riley and starring Lakeith Stanfield and Tessa Thompson, this is sharp, funny, at times shocking, and perhaps above all else, thought-provoking, and that’s a tall order for any movie, let alone one that’s as entertaining as this one.
“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.
“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.
“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.