“I like to be in America, OK by me in America, everything free in America, for a small fee in America!”
Musicals have been declining in popularity since the 70s, but they used to be big business in the movie industry. Classics like Singing in the Rain, The Sound of Music, and even some that only recently got movie adaptations, like Les Miserables, are all revered as amazing films. West Side Story, a 1961 musical directed by Jerome Robbins and Robert Wise, comes from a changing era when the old classic musicals were still popular, but the world was changing and they were becoming less relevant. It attempts to bridge that gap by giving us a story set in inner-city New York about two rival gangs fighting for control of their turf. This is still every bit a classic musical, and having every gang fight take the form of a choreographed dance number does tend to understate the inherent danger, but this film does do a good job of remaining fully a classic musical while also addressing modern topics. It honestly does feel a bit dated today, but I still had fun watching it and many other modern viewers do too.
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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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“You all say that it’s only one god. I say, no… there are two gods. One is the one who created us all. The other one is the one created by people like you.”
I’m not an expert in Bollywood film—in fact, before this past weekend, I had never watched a real one all the way through—but the category is so big, I know I can’t ignore it. Some guys at work recommended to me PK, the highest-grossing Bollywood film of all time. I have to say: I absolutely loved it. Directed by Rajkumar Hirani (3 Idiots, Munna Bhai M.B.B.S.) and starring Aamir Khan and Anushka Sharma, this film shows us a classic scenario: an outsider comes to a familiar setting (in this case, the city Delhi, which may be foreign to American viewers) and shows us how absurd we can be. But PK delves into some more philosophical issues and begins asking deeper questions about life and religion that I haven’t really seen in film before. This is also a fun, quirky comedy that’s entertaining throughout. If you’re wanting to get started in Bollywood film, this is a great place to start.
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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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“‘I would never want to belong to any club that would have someone like me for a member.’ That’s the key joke of my adult life, in terms of my relationships with women.”
Clever movies are a bit of a dying art. Nowadays, studios keep things pretty simple so nothing flies over the heads of their audience. Annie Hall, written and directed by Woody Allen (Crimes and Misdemeanors, Manhattan) and starring Woody Allen and Diane Keaton, is a film that’s clever to a fault. Some have said this is the greatest romantic comedy of all time, but I disagree—it’s not perfect, but that’s kind of the point Allen is trying to make. Much like the lead character Alvy, the film is smart and funny, but can be a bit condescending and has trouble connecting with people. This film was somewhat autobiographical for Allen, but he doesn’t romanticize his quirks and neuroses—he shows how they can be endearing, but also how they can be destructive. Overall, the film is intelligent, witty, and surprisingly deep in some spots, filling an odd void in the cinema world: admitting that it’s possible to be too smart for your own good.
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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 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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“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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