Pi - the film is absolutely riveting. From beginning to end, witnessing a man's struggle internally amidst deciphering his external dispute, real or imagined: it's great cinema.
Jurassic Park - I don't think that the idea is inspirational, but the execution of it is great. I like the character placement and the general idea concerning perpetual human fear of descending - in terms of pecking order - the food chain. That type of awareness and how the different beings cope with it is interesting to see.
The Maltese Falcon - I loved this film because it's lying to you from the minute it starts. It's the first film I ever saw where the characters were so deviously cynical. They were all predators and I loved it. The finale is brilliant imo because it doesn't provide a definitive conclusion and it's very enlightening about the effects of greed. Primarily, it was stealing the lives of several of the major players. Shade was the only one who used greed to his advantage as opposed to letting it control him.
Guys and Dolls - I enjoyed the effortless showmanship. When it's forced, it's noticeable and usually awkward. Here, the timing of it is really admirable.
A Clockwork Orange - I love films that remain steadfast to their own brand of ideology as opposed to catering to the viewer. This film tells a story from the perspective of the character as opposed to the popular contemporary practice of placating to the audience. Plus the raw nature of the random attacks was pretty hysterical imo.
Castaway - I'm a fan of the isolation aspect and how the character goes about keeping his sanity. Allegedly, prolonged isolation causes mental degradation, but the man created 'Wilson', and in it, a way to continuously communicate. Also, a suburbanite who arguably had little or no survival experience was able to survive abandonment and eventually return home. Although: screw the ending.
The 25th Hour - I like how it delves into the subject of freedom and how precious it is. When it's taken away or it's slipping away, how does one react? I enjoyed the logical aspect of the ending because no free being simply "throws it away" because it's the law.
The Talented Mr. Ripley - Damon was officially on my radar after I saw this film. I'd viewed his work prior to this(Rounders and some of his smaller roles) but I had never seen such a clever film about obsession/murder because it unfolds in a unique way. It balanced the humanizing of it with the maniacal side. I always love a film that takes me until the 3rd act to fully realize its conclusion.
Shawshank Redemption: I don't think I've ever rooted for a character more than I did for Robbin's 'Andy'. When the gravity of his situation finally hit him, I like how his adaptation ensued and also how he was patient enough to bide his time until he could take advantage.
I despise most comedies and I'm not a Matthew Broderick fan per-say, but
'Ferris Bueller's Day Off' is comedic gold. A certifiably disgruntled principal with that 'my life is hell so I'll burn you' mentality. A clueless, monotone teacher, a gullible friend, a guy/his girl, and the prospect of ignoring what you should do for what you want to do. It appealed to me. That, and the hilarity of having a dog potentially feast on a school authority who, in turn, is forced to ride a school bus at the end. The facial expressions of the kids who stare at him as he boards the bus are priceless.
The Godfather II: I loved the two intertwined stories. The character interactions are great, yet subdued. I like how Vito's story unfolded. His reasons for forming a mob of sorts dealt with his need to protect his family and friends. His son, Michael, assumed this position without fully understanding it. At the end, when he's at the height of his power, but alone, it's a paramount statement about whether or not it was worth it. He loses a lot. For what? It made me think about what Vito wanted for Michael - the family dinner where he brainstormed about what Michael could become. Michael just wanted to become like his father, a man he didn't understand and ultimately failed to realize.
The Matrix: The first time I watched Morpheus' jump, it was amazing to see a new kind of visual flair onscreen. The Wachowski siblings may not always create coherent films, but their approach to films is very respectable. They simply get the art form, and I like how the action in this film was a fluid part of the story as opposed to an unnecessary additive. Great subject matter about the nature of privacy and also choices.
Terminator II:
This film rocks on so many levels. The story is crisp and flows smoothly. Arnold is used perfectly as a silent presence who speaks through his weapon and implications of a future that no character fully understands makes the threat that much more dangerous. . .and realistic.
Do the Right Thing: It's one of the most honest films I've ever seen. To think that someone had the balls to visually capture so much racial tension and hatred amongst all ethnicities is ambitious. I like how the climax ends in murder, but the feelings behind what occurred don't really change, so the problem continues. It's not a 'happily ever after' kind of film, and I'm glad it wasn't disrespectfully portrayed in that way.
The Dark Knight: Summer of '08 was a very weak movie time for me. I was really hoping that this film lived up to the massive hoopla and hype surrounding it. When Ledger died, I think that the first time I actually felt bad about the death of someone whom I didn't know. I'm not talking about the bs: aw, condolences, or RIP, but I actually felt a
sad in a certain respect. Going into this film, I was happy to see that it delivered on all fronts for me. The continuous psychological battle between the Joker and everyone around him was perfect to me. He's in a constant battle of chess versus everyone, save for his lack of rules. It's a visual treat and Nolan was dead accurate when he said that he wanted to create a film that would make the audience feel like kids again. I also respect the film for respecting every cast member by giving them memorable lines and scenes. Not an easy thing to pull off with this type of ensemble piece. Also, I believe that the success of this film will rewrite how we see villains in the future. We can have more than one dynamic evil in a successful film. There were many in this one including the battle within.
Spider-Man: It's my favorite Spider-man film and the only one I personally believe that Raimi 'got right'. <personally, I still believe that the 90's animated cartoon is still a better portrayal of Parker/Spider-Man, but that's just my two cents>The scenes of him learning how to use his new found abilities compounded with the atmosphere of the flick made me want more. I also liked the underlying tension between Harry and Peter. (I felt that should've been explored in part 2: leaving Ock himself for 3 or another incarnation. Wrapping that arc up in the 3rd one seemed forced and awkward. The issue was also screwed by the emergence of Venom and Sandman: poorly mishandled.) The Gwen Stacy story arc was a great way to introduce the franchise. The ending of the film is great for me also.
The Shootist: Westerns are a great genre for me. We need more quality in the ones we have today. This film unfolds in a different way than other Wayne films. Maybe because it was his last, I dunno. I don't like all of his films, but this one is so good for me because a man facing death actually invites it. He has cancer and he's hellbent on dying from a bullet as opposed to suffering the other way. I'm kind of a sucker for mortality issues, so to watch the character take his journey is fantastic.
Finally,
Black Hawk Down: Hey, hey, whaddayaknow? A film that doesn't glorify war, but unapologetically showcases how brutal and relentless armed confrontation can be. Those scenes are some of the most intensely honest scenes that I've ever come across in a war film.
I'm not sure if these films
inspire me as much as they allow me to observe and review some wonderful approaches to the creative process. The works all strike me in a significant way for their structure, portrayal, and the overall effect. There are many more that I could name, but this post is very long, so that's it. For now.
<I'm not even bothering to check my grammar, so excuse the mistakes as usual.>
, Bram Stoker's Dracula! I've always wanted to write a story/paint a picture/make a film set in the Victorian age where the foggy rooftops sit under a dirty sky...'
