Quickly, before we start this up again: I was reading through my progress, and I really haven't put much thought into the bottom 25. I know I already said as much in the introduction, but it's incredibly obvious when one reads through the list. No. 38 should be lower. Hell, so should No. 37. I should have already included an entry on "Fulltime Killer." Alright, onward.
No. 40 - “The Lord of the Rings: The Fellowship of the Ring” (2001)
Peter Jackson's adaptation of Tolkien's book is superior to his next two films, “The Two Towers” and “The Return of the King.” The main reason is that "The Fellowship of the Ring" carefully balances large-scale battles with character-based moments, whereas the other two movies are too hung up on CGI carnage to tell a great story. Moreover, “Fellowship” is not as fucking long and has more meaningful character deaths. And is Viggo Mortensen ever more interesting in the series? Hell, no. Honestly, you could probably strike this movie off the list, but I feel it deserves a place somewhere. (I'm not a Tolkien enthusiast, by the way. Some of his ideas were really dumb, like Sauron being nothing more than a big eye on fire, and I generally don't care for his slow writing.)
No. 39 - “The Pledge” (2001)
I have a strange opinion about Sean Penn. I think he should stick behind the camera. Jack Nicholson gives one of his most nuanced performances as a detective who puts solving a case for a mourning mother above everything else. Penn builds suspense and even throws in one of the scariest moments of the decade. The script is the movie's greatest weapon, though, offering a sobering ending and a theme involving chance (a precursor to what “Match Point” and “No Country For Old Men” would go on to do).
No. 38 - “JCVD” (2008)
Hell, I never thought I would be able to say a Jean-Claude Van Damme movie is great. You might have to watch “Bloodsport,” “Lionheart,” and “Kickboxer” to appreciate everything this film is about, but Van Damme's ability to make you feel for him is impressive, the script is funny and original, and director/writer Mabrouk El Mechri (let me know if you know the pronunciation) keeps the pacing tight. The surreality kicks into overdrive with a pleading monologue from Van Damme, a risk that seems pretty lame in theory, but the martial artist and Mechri pull it off.
No. 37 - “The Aristocrats” (2005)
There are two things I appreciate about this documentary. First, it's hilarious. George Carlin, Stephen Wright, the Smothers Brothers, Sarah Silverman, Jon Stewart, and dozens of other comedians share their thoughts and takes on a dirty inside joke about show biz. The joke in question is described as a jazz riff in the film, where a comedian takes the structure of the joke but makes the middle his or her own creation, whether improvised or planned. Second, it doesn't overstay its raunchy welcome, so if you have the sensibility for this type of humor, you're laughing for about 70 straight minutes. Admittedly, a few of the selected comedians are kinda shitty, but you can see how the joke evolves and devolves by teller, which serves the purpose of the film. I've watched “The Aristocrats” several times and still find its honesty refreshing.
No. 36 - “WALL-E” (2008)
This entry is bitchier than others, but the truth is I'm a bit disappointed I can't put this film higher on the list. The last 25 minutes or so of “WALL-E” aren't a complete disgrace, but they're nothing to be proud of, either. Pixar needed a hero, and a dumb fucking character inexplicably saves the day during a trite action sequence, complete with shit sliding down an unstable ship floor. Everyone soon cheers on Earth because humankind rules!
I wouldn't be as harsh on the final third of this film if the first hour hadn't snatched me by the balls. I remember seeing the previews at home and telling people the picture looked like a lame R2-D2 fantasy, but when the opening of “WALL-E” hit me with imagery and dissolves that evoke John Ford, I couldn't believe it. Wow. And the greatness didn't stop. The movie dares to go the route of little to no dialogue for quite a stretch. Not only did Pixar pull this off, but the studio was jeopardizing the commercial viability of the film … no talking isn't what you usually try to sell in a modern movie for the family, but Pixar keeps the kids entertained with the best sound effects since, fuck, a long time ago, and adults could chew on the eternal human theme of loneliness and brutally honest commentary on the environment of the planet. And I'm just now mentioning that the titular character is a visual masterpiece by itself that anyone of any age can appreciate.
The first hour or so was a jaw-dropping mixture of science fiction, romantic comedy, and satire, and I was in total shock. Was I watching one of the greatest movies of all time? Yes!
So while I'm still disappointed with Pixar eventually taking the familiar route, I am thankful for “WALL-E.” Besides being a masterpiece for about two-thirds of its running time, the movie showed me—more than any other—that my intuition can be embarrassingly off the mark.
No comments:
Post a Comment