Tag: adaptation

Noah (2014)

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Before this film came out I told any family member who expressed an interest in it that Darren Aronofsky’s Noah probably wasn’t going to be exactly what they were expecting. This wasn’t going to be a “rise and shine and build an arky arky” kind of thing. And it isn’t, but it also kind of is. No, you probably don’t remember the rock angels from your Sunday school classes and Russell Crowe’s Noah is a heck of a lot more dour and brooding than the nice 900 year old man from the story, but the bones are there. Aronofsky has just put his own kind of meat on them. As such, it’s a pretty successful movie for film fans and religious moviegoers alike, so long as each keeps an open mind about what the other might want and enjoy from a movie such as this.

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There is apparently some controversy involved in the fact that Noah doesn’t ever use the word God to refer to a central character in the story’s narrative. Instead, Noah and his family and his distant cousins, the sinful sons and daughters of Cain who want to get a piece of his sweet salvation, use The Creator to refer to the entity whose biggest act to this point had been the creation of the universe. Doesn’t seem like that bad a compromise, as there was no real organized religion at this point in “history” and therefore no name to be named. It also underlines the dramatic irony of the whole situation. We know what happens to man during this story, our great destruction is at the very center of the film, so to call God “The Creator” calls attention to the fact that he’s about to do the opposite of that moniker quite soon.

It’s also telling that two of the film’s best sequences come back to back which tell parallel stories of destruction and creation, first as the flood waters rise and those rock angels protect the ark for just long enough to allow Noah to achieve his goal and then, as Noah and his family listen to the dying cries of humanity – a haunting and terrifying sound with one equally scary visual representation – Noah tells his sons and daughter the first story, the creation of the universe. This is done in the most spectacular of ways: a montage of short 3-4 frame bursts of motion that at  first follow the Big Bang and then zoom into Earth as the seas die down and life begins to form inside them, starting as a single cell which splits into many and then eventually forms fish who sprout legs and walk on land and so on and so forth. It’s imagery that you can see watching Cosmos, but the frantic energy wrought by the staccato editing enlivens and invigorates the otherwise overly familiar story. The montage ends with the legacy of Cain as two silhouetted warriors meet on an almost-pop-out-book battlefield and enact the history of warfare with all the technological advances in killing that have happened throughout history using the same rapid-fire editing. It is brilliant filmmaking and storytelling combined into one outstanding package.

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But for all of the large scale things that must happen in a Noah story, the heartbeat of Aronofsky’s film comes in the more intimate – but no less intense – second half. When it’s just Noah and his family the impact of what has just happened becomes almost too much to bear. Noah becomes convinced that not only must all the descendants of Cain die, but also his descendants, those of Seth, the other brother of Abel. Even his own daughter’s child might need to be eliminated, should it be a girl, because the sin of humanity might still live on in her and her offspring. Everybody else on board disagrees and there is much family drama. Like I said, not the Noah of the Arky Arky song. Noah’s relationship with The Creator is a rough one; he often looks to the heavens and sees only the sky. Aronofsky’s God is mostly absent, or at least deliberately hiding. It is then up to Noah to overcome his survivor’s guilt and try to see the good that humanity can be. Does he? Well, it’s a Noah story, but also an Aronofsky movie. He has a penchant for killing off his main characters. You’ll have to see it yourself.

Top 100 Films (2013 Edition): Part 4 of 5

40. The Grapes of Wrath

I’ll be all around in the dark – I’ll be everywhere. Wherever you can look – wherever there’s a fight, so hungry people can eat, I’ll be there. Wherever there’s a cop beatin’ up a guy, I’ll be there. I’ll be in the way guys yell when they’re mad. I’ll be in the way kids laugh when they’re hungry and they know supper’s ready, and when the people are eatin’ the stuff they raise and livin’ in the houses they build – I’ll be there, too.

The quotes will be getting longer, probably, as this and the next entry go along because the movies are getting better and the scripts are usually a large part of that for me. That isn’t to say that the director has little say, of course, and this being the third John Ford movie on the list it’s pretty clear that I like the guy. I like this movie better than the book upon which it is based, in fact, because Ford brings his understanding of the harsh surroundings for which family is the only salve to the table and does so wonderfully. And you can’t go wrong with Henry Fonda as Tom Joad.

39. Sunshine

At the end of time, a moment will come when just one man remains. Then the moment will pass. Man will be gone. There will be nothing to show that we were ever here… but stardust.

How fantastic are the visuals for this film? They’re so great that the oft-maligned third act is redeemed by the last five minutes based on their beauty alone. A film about the immense power of the Sun and our understanding of our place in nature being thrown off balance by it must make channel that power effectively to work and Sunshine does through the use of some amazing visuals and clever sound design.

38. Halloween

I- I- I watched him for fifteen years, sitting in a room, staring at a wall, not seeing the wall, looking past the wall – looking at this night, inhumanly patient, waiting for some secret, silent alarm to trigger him off. Death has come to your little town, Sheriff. Now you can either ignore it, or you can help me to stop it.

Last year I watched the predecessor to this film, the real start to the slasher genre, Black Christmas. That film has a lot of fun elements and some which are clearly given homage four years later in Halloween, including the first person perspective for the opening sequence and the young woman protagonists. Still, Halloween is a much more accomplished film, one which gets many of its scares not from loud noises nor sudden appearances but rather solid filmmaking and a constant sense of dread. There’s a reason why it is often shown on the holiday that gives it its name, and it’s not just the coincidence. The movie gets the feeling of the season very right and is maybe the quintessential fall movie.

37. I’m Not There.

You know, saying ’cause of peace’, it’s like saying, ‘hunk of butter’, you know, I don’t want you to listen to anybody who wants you to believe is dedicated to the hunk and not the butter.

Bob Dylan deserves no less than this films fractured portrayal for his biographical film. The man has undergone so many transformations that each of the seven characters here could play dual roles and still not cover all of his bases. Highlights include everyone, plus the excellent soundtrack with covers by modern indie bands. Each of the versions also gets a genre of their own to play around in, echoing Dylan’s own dalliances in various sounds and spaces.

36. Scream

Did we ever find out why Hannibal Lector liked to eat people? DON’T THINK SO. See it’s a lot scarier when there’s no motive.

Scream not only works quite well as one of those slasher films inspired by Halloween and its ilk, it also effectively and hilariously skewers them and their audiences with a good dose of post-modern commentary provided by the media saturated characters in the film itself. There’s so much greatness underneath the surface that it’s sometimes easy to forget just how much fun the film is and how scary some scenes are. The movie even follows in its predecessor’s footsteps by having several sequels which pale in comparison to the film that started it all.

35. The Night of the Hunter

I can hear you whisperin’ children, so I know you’re down there. I can feel myself gettin’ awful mad. I’m out of patience children. I’m coming to find you now.

Perhaps the biggest cinematic mistake was the critical drubbing this movie received upon its release which warned Charles Laughton to stay away from directing any other movies. It’s a shame that this wonder of a first film was never followed up since Laughton shows a clear skill for making fairy tale stories in an expressive and dangerous style, and for getting great performances from some kids and the likes of Robert Mitchum and Lillian Gish as opposing forces in those kids lives. The dark shadows and artificially beautiful sets heighten the fantastic vibe that pulses throughout this film.

34. 12 Monkeys

Telephone call? Telephone call? That’s communication with the outside world. Doctor’s discretion. Nuh-uh. Look, hey – all of these nuts could just make phone calls, they could spread insanity, oozing through telephone cables, oozing into the ears of all these poor sane people, infecting them. Wackos everywhere, plague of madness.

Terry Gilliam is a director that doesn’t hold back, ever. Sometimes this is a good thing and sometimes you get Tideland, which I couldn’t stand for longer than 20 minutes. 12 Monkeys is one of the good times. It uses Gilliam’s penchant for wackiness to its advantage by presenting the “present” to an outsider, a time traveler, so he can be just as confused and scared as we probably should be at some of the insane things that we just ignore on a daily basis. It’s also a really great time travel movie and has an early standout performance from Brad Pitt.

33. Punch-Drunk Love

I didn’t do anything. I’m a nice man. I mind my own business. So you tell me ‘that’s that’ before I beat the hell from you. I have so much strength in me you have no idea. I have a love in my life. It makes me stronger than anything you can imagine. I would say ‘that’s that’, Mattress Man.

What could be seen as a small detour between the sprawling movies early in his career and the more focused but no less epic later two films is actually an astute character study by Paul Thomas Anderson which takes a character that might be at home in Magnolia and treats him like Daniel Plainview or either of the two men at the center of The Master. It works as a bridge between those later, more serious films and the wide-eyed energy of the earlier movies and features a spectacular romance that basically takes the cop-and-druggie story from Magnolia and blows it up to feature length. It’s so great.

32. The World’s End

I remember sitting up there, blood on my knuckles, beer down my shirt, sick on my shoes and seeing the orange glow of a new dawn break and knowing in my heart life would never feel this good again. And you know what? It never did.

Yes, all three of the Cornetto trilogy of films directed by Edgar Wright and starring Simon Pegg and Nick Frost made my list this year, including this year’s entry, the sci-fi action/buddy comedy of The World’s End. It’s the strongest of the three films when it comes to style and theme, and the characters are just perfectly played and written. The beginning of the film tells you exactly what’s going to happen and it’s still a delight to go along with this ride. And the action is spectacular.

31. 2001: A Space Odyssey 

I know I’ve made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. I’ve still got the greatest enthusiasm and confidence in the mission. And I want to help you.

Though it took 45 years to happen, Gravity finally improved upon Kubrick’s vision of space. That film is a spectacle of the highest order but it lacks the absurdly brilliant thematic and story concerns that lift 2001 above the rest of the field. It’s a truly singular film, tracing technological warfare and humanity’s reaction to things it doesn’t understand throughout history and into the future. And if HAL singing about a bicycle fit for two while slowly ceasing to exist isn’t horror I don’t know what is.

30. A Serious Man

You understand the dead cat? But… you… you can’t really understand the physics without understanding the math. The math tells how it really works. That’s the real thing; the stories I give you in class are just illustrative; they’re like, fables, say, to help give you a picture. An imperfect model. I mean – even I don’t understand the dead cat. The math is how it really works.

A not-entirely serious movie, A Serious Man is the Coen brothers at their very best. It’s so well studied in its time and place and the characters are at once unique and relatable. A man’s marriage is falling apart, along with the rest of his life and everybody to whom he reaches for support is unhelpful or actively working against him. No Country for Old Men won all the awards, but A Serious Man remains their best movie in a decade.

29. Jaws

So, eleven hundred men went in the water, three hundred and sixteen men come out, the sharks took the rest, June the 29, 1945. Anyway, we delivered the bomb.

What is left to be said about Jaws? It’s nearly perfectly constructed and spawned a whole new kind of movie, the summer blockbuster. It’s horror and adventure and a bit of family drama all wrapped up in one, and it’s shot with an impeccable eye. I don’t think Spielberg has ever reached this level of iconic, painterly composition again since the summer of ’75.

28. Three Comrades

I drink to us, the three of us. Not from day to day now. From year to year.

This is not the first Borzage movie to make the list nor will it be his last. Three Comrades is the best of his talkies and is a wonderful little movie about friendship and romance and life changing circumstances. Margaret Sullavan (in her third appearance on this list) is typically great and Robert Young does a wonderful job. It’s so lovely and sad.

27. The Thing

I know what you mean, Blair. Trust’s a tough thing to come by these days. Tell you what – why don’t you just trust in the Lord?

Isolation and an inability to trust anybody will lead to the most intense paranoia captured on film if John Carpenter is to be relied upon for such things. The Thing maintains that high-strung tension throughout its runtime and continues to scare 30 years later thanks to his wonderful direction and some of the best creature design I’ve ever seen. And Kurt Russell armed with a flamethrower and an awesome hat is nothing to scoff at, either.

26. Before Midnight

I am giving you my whole life ok? I got nothing larger to give, I’m not giving it to anybody else. If you’re looking for permission to disqualify me, I’m not gonna give it to you. Ok? I love you. And I’m not in conflict about it. Okay? But if what you want is like a laundry list of all the things that piss me off, I can give it to you.

Three movies released this year might be blasphemous on other lists but I take no time considerations into account. If I see a movie that I think is great, I’m going to put it on my list, not wait a few years to see how it’ll settle. If Before Midnight slides off of this list, or off of it, in the coming years, so be it. But the 2013 list is a reflection of the movies I loved in 2013, and Before Midnight, the third of the Before trilogy which follows the young love, reunion, and now the ramifications of a marriage with kids and time taking their tolls on Celine and Jesse, is one of the movies that I love right now.

25. The Lion in Winter

I’ve snapped and plotted all my life. There’s no other way to be alive, king, and fifty all at once.

Like Doubt, an earlier entry on this list, The Lion in Winter is a shouty movie based on a play that takes a certain historical scenario and turns it into a fountain of ideas battling through words instead of swords. Peter O’Toole and Katherine Hepburn are amazing as the feuding royal family heads, each jockeying for their favorite son to take control of the throne. The words and the way that these actors say them are the real treats of this film, it’s almost too much fun to watch this family tear each other apart.

24. The Royal Tenenbaums

I think we’re just gonna to have to be secretly in love with each other and leave it at that, Richie.

And look, another family in turmoil. Though this one was never really together to begin with. It’s the first Wes Anderson movie I ever saw and I can’t say I liked it. I revisited the film after appreciating Anderson’s later works and the scales fell from my eyes or something like that. Anyways, I really liked the movie and could finally get into Anderson’s persnickety style of filmmaking and writing.

23. Alien

I can’t lie to you about your chances, but… you have my sympathies.

The title of this film doesn’t just refer the the killing machine that terrorizes the crew of the Nostromo for much of the movie. It’s also a reference to the cold, inhospitable nature of space and the environments in which these weak humans find themselves. No, nothing here is ordinary. Ridley Scott creates an uncommon sense of terror based around superb sound design and his background as a set designer. The world of Alien feels real and alive, though that life is murderous

22. Adaptation. 

Yeah but it’s easier for plants. I mean they have no memory. They just move on to whatever’s next. With a person though, adapting almost shameful. It’s like running away.

Given the task of adapting Susan Orlean’s book, The Orchid Thief, Charlie Kaufman found himself at a loss. So instead of presenting her story at face value, he wrote a movie which starred him and Susan and his imaginary twin brother and folded in on itself a few times. It’s a brilliantly confusing work, but it also has a beating heart which shines through the murk of cleverness. The emotions are real, which makes all the silliness surrounding them even more effective and astounding.

21. Jurassic Park

John, the kind of control you’re attempting simply is… it’s not possible. If there is one thing the history of evolution has taught us it’s that life will not be contained. Life breaks free, it expands to new territories and crashes through barriers, painfully, maybe even dangerously, but, uh… well, there it is.

Earlier in this section I stated that Jaws was Spielberg’s best movie, formally speaking. While that is likely true, it’s still doesn’t compare to the feat he pulled off with Jurassic Park. The sheer imagination and cine-craft that went into bringing the dinosaurs to life for this movie combine to illustrate exactly why movies are so wonderful. They give us pictures and sounds we can believe in, if done well enough, and can show us things that can’t or haven’t or couldn’t exist. I finally got to see this movie on the big screen this year thanks to a 3D re-release and it was everything I ever wanted from a movie.

Top 100 Films List (2013): Movies about Brothers and Sisters

Time to come down to earth a little bit. After the portion of this list presented earlier in the week about God(s), my focus now turns to brothers and sisters. I have one of each and the relationships that form between brothers and sisters are some of the weirdest and sometimes strongest that we build in our lives. This is our family, and different though we may be, we are generally forced to live with each other for the developmental periods of our lives. Neither my brother nor my sister are very much like me, though I can see myself in facets of each of them. It’s this relationship that fascinates me and forms the basis of this part of the list. Some of these films will just be about brothers, or just about sisters, but they’re all about how these people that we don’t choose to affiliate ourselves with have a profound and lasting influence on our lives. And now, the poll.

Now that the voting is out of the way (you did vote for your favorite, right?), let’s get into the meat of it all. I don’t think I included any cannibal brothers or sisters here, but let’s start with the more strained relationships. Some of these are small in scope, take the snowball fight in Where the Wild Things Are as an example of a very minor but very important scene of brother and sister fighting. It’s a scene that provides a very grounded basis for the rest of the film, and also a scene likely acted out by every brother and sister in the known universe. A young boy spies on his older sister and her friends as she leaves the house to hang out. He goes into attack mode and tosses some snowballs at them while they are getting into a beat up old car and when she and her friends retaliate it all seems like a good time. That is, until one friend goes too far and jumps on top of the snow cave the brother built. What was fun turns instantly into a sad, angry scene as the brother gathers up some snow and throws it on her bed after she leaves. It’s almost too real a scene to be included in a fiction movie, but it’s that scene that sets in motion the rest of the film’s fantastical-if-sadly-strange wonderland. There’s a similar scene in Punch-Drunk Love, where Barry, a weird and lonely man, is invited to have dinner with his multitude of sisters. What starts as a nice, if forced, dinner conversation turns into a typical rage fit for Barry after all of his sisters pile on and pester him about his weirdness. It’s the ugly side of sibling relationships, but they do exist.

Even twins have antagonistic tendencies. Adaptation is a weird movie about a weird man trying to write a weird movie about a weird book. He becomes a character in his own film, and his twin (who doesn’t exist in real life) tries to be like him but fails spectacularly, writing all the wrong things and falling into all the screenwriting traps he is trying to avoid. Melancholia features, in its first half, the wedding of a young depressed girl. Her sister is organizing everything and as the wedding falls apart thanks to the bride’s depression, the sister gets more and more exasperated. All of these sibling rivalry type relationships are pretty obvious in their construction, but I think they say important things about the way we treat those that are related to us. Perhaps the biggest, and certainly the loudest, example of this is from The Lion in Winter, a movie based entirely around familial bickering over important and not so important things. On the important side, which of three brothers will take over as King of England, on the not so important side, which of the brothers is loved more by which parent. And then, to take it one step further, Halloween features an older brother who goes crazy and kills one sister and then spends the rest of the film trying to kill another. This relationship isn’t revealed until the second film, so it’s a bit of a cheat, but it’s too fun to keep off this portion of the list.

Of course, not all brothers and sisters want to kill each other. Sometimes they’re the only source of hope and the only people one can rely on in rough situations. The Night of the Hunter features a ferocious performance by Robert Mitchum as an evil step-father who tries to extract the location of stolen money hidden by the father of the young brother and sister at the center of the film. His evilness is elaborated upon as the film goes on, which only serves to bring the two kids closer together as everybody around them that should be their protectors are revealed to be ineffective.  The dinosaurs in Jurassic Park are a little more obviously and immediately life threatening and as such the brother and sister in that film don’t demonstrate much beyond some playful jabs at each other’s nerdiness, and they learn just how resourceful they can be when the other is in danger. The Proposition‘s Australian outlaw brother trio is as messed up as they can be, and yet their relationship grows stronger and deeper the further into trouble they get. The titular family in The Royal Tenenbaums is falling apart and at the outset this movie would seem like it should go more in the first category of unfriendly siblings, but as the film develops the second generation comes together, puts aside their petty fights and hidden jealousies to save their family from dissolution. It’s a group of true and real relationships painted with Wes Anderson’s typical style, which elevates the movie into greatness. Similarly, Pan’s Labyrinth features a girl who’s mother is pregnant, and whose pregnancy is jeopardized by health risks and an evil stepfather (noticing a trend?). At first Ofelia is angry at her soon-to-be-sister for endangering her mother but once she grows up a little she realizes how much this relationship will mean and tries her best to save the recently-born child. Not all fathers must be evil, of course. Terrence Mallick’s The Tree of Life might seem at first to feature an evil father but repeat viewings reveal Brad Pitt’s father to be a loving, flawed human being. Still, the brothers often find themselves uniting against him and going on young boy quests through the wilds of the mid-century mid-west. Fanny and Alexander again features an evil stepfather and a brother and sister who team up to weather any abuse they must endure while their mother fights her own battles against the tyrannical man she married.

Some of the more observant of my readers might notice a few films on this list that seem like they shouldn’t fit the topic at first glance. What brothers or sisters are there in Blade Runner, for example? Well, if you’ll allow, I extend the idea of siblings into friends that have a tighter relationship than the norm. So the similarly created robots in Blade Runner share an impending death and they fight the system that tries to keep them less than human. The World’s End, too, features friends that, at the beginning, have fallen out with each other thanks to the destructive habits of their leader. Still, that leader succeeds in bringing them back together as they fight an evil extraterrestrial threat (and try to drink 12 pints from 12 different pubs at the same time). In Never Let Me Go the nature of the relationship between all of the characters in the film is left a mystery for much of the run time, but their strange situation brings them together and they form bonds that act similarly to the brother and sister relationship. There’s always the other side of that coin, though. The rival magicians in The Prestige know each other so well that they develop a deep jealousy which turns murderous. There Will Be Blood seems like a movie that features a real brother-brother relationship, with the introduction of Henry, a man who says he’s Daniel Plainview’s long lost brother (turns out, no) and the brothers that hate each other, Paul and Eli Sunday. The two young basketball players with dreams of going to the NBA in Hoop Dreams aren’t related by blood, but they nevertheless support and cheer for each other through high and low.

And then there are the siblings torn apart by circumstance. The Mortal Storm begins with a strong family bond which breaks as Hitler declares war on the rest of Europe. The older brothers become surprisingly fascist and leave to join Hitler’s fight while the only sister, the incomparable Margaret Sullavan, stays behind to help her elderly and disgraced father retain some kind of dignity. Later in the film she goes to one of her older brothers to ask for his help in escaping their country for one that has been kept out of the war. The conflict between his duty and his family is strong and quite affecting which, after several rewatches, is elevated to being at least as moving as the love story at the film’s center. Anna Karenina spends the first part of her movie trying to help her lecherous brother through an affair but turns into an adulterer herself as she leaves him to figure out his own issues. The sibling rivalry in City of God gets to quite destructive ends, as one brother tries desperately to stay out of the gangs that rule the slums and the other tries just as hard to get into one, to his ultimate demise. The problem between brother and sister in The Quiet Man isn’t quite life or death. Maureen O’Hara’s crazy older brother is dead set against her betrothal to John Wayne and gets into a hilariously long (in both time and distance senses of the word) fight scene over her. I guess that’s some kind of love. And, though they call themselves a family, the organization in The Godfather is a kind that says it’s all about loyalty at the front and will turn with jealousy at the drop of a hat. The secrets and lies that boil underneath the relationship between the two sisters in A Streetcar Named Desire are what leads to that film’s climactic battle of words.

Brothers and sisters are a strange bunch. Through love and jealousy and hatred and reverence they idolize and vilify each other. A port of refuge in a storm or a strong wind that sets the other adrift, the relationship between siblings, blood or otherwise, is difficult to get right. These 26 movies do, and for that I salute them.

That’s all for now. If you have another movie you like about brothers and sisters, leave a comment for me! If you haven’t voted for your favorite from my list, go do that. And if you’re on Letterboxd (and you should be), check out this list there and be sure to check off all that you have seen. And tune in sometime next week for the next installment of this ongoing series. It’ll be another familial relationship. Or not! Who knows!

Top 100 Films List (2012 edition)

Surprise bonus list! Every year I revise my top movies list and this year I didn’t spend much time on the ordering, outside adding in ten new movies and dropping out ten old movies. The new movies are underlined. Click the movie title if it’s a link for a full review. I decided to not go into the full detail that I did last year, because those are still available for you to peruse at your leisure. I did pick out a new quote for each entry, though, so I hope you still enjoy it. Here we go.

100. Scream

“Sidney, how does it feel to be almost brutally butchered? People want to know. They have a right to know! How does it feel?”

99. This is Spinal Tap

“May I start by saying how thrilled we are to have you here. We are such fans of your music and all of your records. I’m not speaking of yours personally, but the whole genre of the rock and roll.”

98. A Serious Man

“You understand the dead cat? But… you… you can’t really understand the physics without understanding the math. The math tells how it really works. That’s the real thing; the stories I give you in class are just illustrative; they’re like, fables, say, to help give you a picture. An imperfect model. I mean – even I don’t understand the dead cat. The math is how it really works.”

97. The Lion in Winter

“You’re so deceitful you can’t ask for water when you’re thirsty. We could tangle spiders in the webs you weave.”

96. The Fly

“I’m saying… I’m saying I – I’m an insect who dreamt he was a man and loved it. But now the dream is over… and the insect is awake.”

95. All the President’s Men

“You’re both paranoid. She’s afraid of John Mitchell, and you’re afraid of Walter Cronkite.”

94. The Texas Chain Saw Massacre

“You could have dinner with us… my brother makes good head cheese! You like head cheese?”

93. Mother

“There’s a meridian point that can loosen the knots in your heart and clear all horrible memories from you mind.”

92. Days of Heaven

“You know how people are. You tell them something, they start talking.”

91. Exit Through the Gift Shop

“I think the joke is on… I don’t know who the joke’s on – really. I don’t even know if there is a joke.”

90. To Kill a Mockingbird

“There just didn’t seem to be anyone or anything Atticus couldn’t explain. Though it wasn’t a talent that would arouse the admiration of any of our friends, Jem and I had to admit he was very good at that – but that was *all* he was good at… we thought.”

89. Apocalypto

“I am Jaguar Paw, son of Flint Sky. My Father hunted this forest before me. My name is Jaguar Paw. I am a hunter. This is my forest. And my sons will hunt it with their sons after I am gone.”

88. Once

“What’s the Czech for “Do you love him”?”

87. How Green Was My Valley

“Everything I ever learnt as a small boy came from my father, and I never found anything he ever told me to be wrong or worthless. The simple lessons he taught me are as sharp and clear in my mind as if I had heard them only yesterday.”

86. Punch-Drunk Love

“I have to get more pudding for this trip to Hawaii. As I just said that out loud I realize it sounded a little strange but it’s not.”

85. Paths of Glory

“I apologize… for not being entirely honest with you. I apologize for not revealing my true feelings. I apologize, sir, for not telling you sooner that you’re a degenerate, sadistic old man. And you can go to hell before I apologize to you now or ever again!”

84. Harry Potter and the Order of the Phoenix

“Maybe you don’t have to do this all by yourself, mate.”

83. Manhattan

“I had a mad impulse to throw you down on the lunar surface and commit interstellar perversion.”

82. In Bruges

“Number One, why aren’t you in when I fucking told you to be in? Number Two, why doesn’t this hotel have phones with fucking voicemail and not have to leave messages with the fucking receptionist? Number Three, you better fucking be in tomorrow night when I fucking call again or there’ll be fucking hell to pay. I’m fucking telling you – Harry.”

81. The Godfather

“You talk about vengeance. Is vengeance going to bring your son back to you or my boy to me?”

80. Metropolis

“There can be no understanding between the hand and the brain unless the heart acts as mediator.”

79. A Fish Called Wanda

“To call you stupid would be an insult to stupid people! I’ve known sheep that could outwit you. I’ve worn dresses with higher IQs. But you think you’re an intellectual, don’t you, ape?”

78. The Proposition

“I know where Arthur Burns is. It is a God-forsaken place. The blacks won’t go there, not the tracks; not even wild men. I suppose, in time, the bounty hunters will get him. But I have other plans, I aim to bring him down – I aim to show that he’s a man like any other. I aim to hurt him.”

77. Repulsion

“I must get this crack mended.”

76. The Shop Around the Corner

“Well I really wouldn’t care to scratch your surface, Mr. Kralik, because I know exactly what I’d find. Instead of a heart, a hand-bag. Instead of a soul, a suitcase. And instead of an intellect, a cigarette lighter… which doesn’t work.”

75. Hot Fuzz

“You wanna be a big cop in a small town? Fuck off up the model village.”

74. The Conversation

“I’m not following you, I’m looking for you. There’s a big difference.”

73. RoboCop

“Let me make something clear to you. He doesn’t have a name. He has a program. He’s product.”

72. Young Mr. Lincoln

“I may not know much of law Mr. Felder, but I know what’s right and what’s wrong. And I know what you’re asking is wrong.”

71. Brazil

“Listen, this old system of yours could be on fire and I couldn’t even turn on the kitchen tap without filling out a 27b/6… Bloody paperwork.”

70. Eyes Wide Shut

“I have seen one or two things in my life but never, never anything like this.”

69. The General

“Heroes of the day.”

68. Catch Me If You Can

“For the last six months, he’s gone to Harvard and Berkeley. I’m betting he can get a passport.”

67. A Streetcar Named Desire

“But some things are not forgivable. Deliberate cruelty is not forgivable! It is the one unforgivable thing, in my opinion, and the one thing of which I have never, never been guilty.”

66. Synecdoche, New York

“I know how to do the play now. It will all take place over the course of one day. And that day will be the day before you died. That day was the happiest day of my life. Then I’ll be able to live it forever. See you soon.”

65. Moonrise Kingdom

“I love you, but you have no idea what you’re talking about.”

64. The Mortal Storm

“I’ve never prized safety, Erich, either for myself or my children. I prized courage.”

63. The Truman Show

“If his was more than just a vague ambition, if he was absolutely determined to discover the truth, there’s no way we could prevent him.”

62. The Night of the Living Dead

“We may not enjoy living together, but dying together isn’t going to solve anything.”

61. The Brothers Bloom

“This was a story about a girl who could find infinite beauty in anything, any little thing, and even love the person she was trapped with. And i told myself this story until it became true. Now, did doing this help me escape a wasted life? Or did it blind me so I didn’t want to escape it? I don’t know, but either way I was the one telling my own story…”

60. The Wicker Man

“You’ll simply never understand the true nature of sacrifice.”

59. Children of Men

“And now one for all the nostalgics out there. A blast from the past all the way back from 2003, that beautiful time when people refused to accept that the future was just around the corner.”

58. Hellboy II: The Golden Army

“Demon! What are you waiting for? This is what you want, isn’t it? Look at it. The last of its kind. Like you and I. If you destroy it, the world will never see its kind again… You have more in common with us than with them.”

57. The Quiet Man

“No patty-fingers, if you please. The proprieties at all times. Hold on to your hats.”

56. Fantastic Mr. Fox

“Why a fox? Why not a horse, or a beetle, or a bald eagle? I’m saying this more as, like, existentialism, you know? Who am I? And how can a fox ever be happy without, you’ll forgive the expression, a chicken in its teeth?”

55. 7th Heaven

“I work in a sewer but I live near the stars.”

54. 2001: A Space Odyssey

“I know I’ve made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. I’ve still got the greatest enthusiasm and confidence in the mission. And I want to help you.”

53. The Incredibles

“No matter how many times you save the world, it always manages to get back in jeopardy again. Sometimes I just want it to stay saved! You know, for a little bit? I feel like the maid; I just cleaned up this mess! Can we keep it clean for… for ten minutes!”

52. A History of Violence

“This isn’t a completely dead eye, it still works a bit. The problem is, the only thing I can see with it is Joey Cusack, and it can see right through him… right through your husband, Edie. I see what’s inside him, what makes him tick. He’s still the same guy. He’s still crazy fucking Joey! And you know it, don’t you? How much do you really know about your husband, Edie? Where he’s from, where he’s been, his life before he met you some 20 years ago?”

51. Mulholland Dr.

“It’ll be just like in the movies. Pretending to be somebody else.”

50. Out of Sight

“I’ve, uh, vertically integrated myself. You know, diversified and shit, and now I’m into the occasional grand larceny, home invasion… shit like that.”

49. The Diving Bell and the Butterfly

“Hold fast to the human inside of you, and you’ll survive”

48. The Grapes of Wrath

“Tom, you gotta learn like I’m learnin’. I don’t know it right yet myself. That’s why I can’t ever be a preacher again. Preachers gotta know. I don’t know. I gotta ask.”

47. The Social Network

“I think if your clients want to sit on my shoulders and call themselves tall, they have the right to give it a try – but there’s no requirement that I enjoy sitting here listening to people lie. You have part of my attention – you have the minimum amount. The rest of my attention is back at the offices of Facebook, where my colleagues and I are doing things that no one in this room, including and especially your clients, are intellectually or creatively capable of doing.”

46. The Prestige

“You never understood, why we did this. The audience knows the truth: the world is simple. It’s miserable, solid all the way through. But if you could fool them, even for a second, then you can make them wonder, and then you… then you got to see something really special… you really don’t know?… it was… it was the look on their faces…”

45. Die Hard

“You know my name but who are you? Just another American who saw too many movies as a child? Another orphan of a bankrupt culture who thinks he’s John Wayne? Rambo? Marshal Dillon?”

44. Chinatown

“After you’ve worked with a man a certain length of time, you come to know his habits, his values – you come to know him – and either he’s the kind who chases after women or he isn’t.”

43. Where the Wild Things Are

“Happiness isn’t always the best way to be happy.”

42. Throne of Blood

“Admirable, my Lord. You, who would soon rule the world, allow a ghost to frighten you.”

41. My Darling Clementine

“I ain’t gonna kill you. I hope you live a hundred years… so you’ll feel just a little what my pa’s gonna feel. Now get out of town – start wandering!”

40. 12 Angry Men

“Well, I’m not used to supposin’. I’m just a workin’ man. My boss does all the supposin’ – but I’ll try one. Supposin’ you talk us all out of this and, uh, the kid really did knife his father?”

39. Black Swan

“Perfect? I’m not perfect. I’m nothing.”

38. Reservoir Dogs

“If you shoot this man, you die next. Repeat. If you shoot this man, you die next.”

37. Zodiac

“Do you know more people die in the East Bay commute every three months than that idiot ever killed? He offed a few citizens, wrote a few letters, then faded into footnote… Not that I haven’t been sitting here idly, waiting for you to drop by and reinvigorate my sense of purpose”

36. Kiss Kiss, Bang Bang

“I tell him about destiny; he’s shaking his head. About dreamgirls; he doesn’t care. I mention the underwear thing? He has a *fucking conniption*. And you? How ’bout it, filmgoer? Have you solved the case of the – the dead people in L.A.? Times Square audiences, please don’t shout at the screen, and stop picking at that, it’ll just get worse.”

35. The Thing

“I dunno what the hell’s in there, but it’s weird and pissed off, whatever it is.”

34. North by Northwest

“Now you listen to me, I’m an advertising man, not a red herring. I’ve got a job, a secretary, a mother, two ex-wives and several bartenders that depend upon me, and I don’t intend to disappoint them all by getting myself “slightly” killed.”

33. Princess Mononoke

“Look, everyone! This is what hatred looks like! This is what it does when it catches hold of you! It’s eating me alive, and very soon now it will kill me! Fear and anger only make it grow faster!”

32. The Man Who Shot Liberty Valance

“Liberty Valance defeated. D-E-F-E-E… T-E-D? The unsteady hand betrays. What’s the matter, Mr. Peabody? Are you afraid? The answer is indub… yes. No courage left. Well, courage can be purchased at yon tavern. But have we credit? That is the question. Have we credit? Well, credit is cheap. Wait for me, old servant of the public wheel. Our shining hour is yet to come. As for you, Horace Greeley, go west, old man, and grow young with the country.”

31. Hoop Dreams

“Four years ago that’s all I used to dream about was playing in the NBA. I don’t really dream about it like that anymore. You know, even through I love playing basketball, you know I want to do other things with my life too.”

30. 127 Hours

“Aron from Loser Canyon, Utah. How do you know so much? Well, I’ll tell you how I know so much. I volunteer for the rescue service. You see, I’m something of a… well, a big fucking hard hero. And I can do everything on my own, you see? I do see! Now… Is it true that despite, or maybe because you’re a big fucking hard hero… you didn’t tell anyone where you were going? Yeah. That’s absolutely correct. Anyone…? Anyone. Oops… Oops. Oops.”

29. The Night of the Hunter

“You know, when you’re little, you have more endurance than God is ever to grant you again. Children are man at his strongest. They abide.”

28. Fargo

“There’s more to life than a little money, you know. Don’tcha know that? And here ya are, and it’s a beautiful day. Well. I just don’t understand it.”

27. Sunshine

“For seven years I spoke with God. He told me to take us all to Heaven.”

26. Inglourious Basterds

“I love rumors! Facts can be so misleading, where rumors, true or false, are often revealing.”

25. Halloween

“I watched him for fifteen years, sitting in a room, staring at a wall, not seeing the wall, looking past the wall – looking at this night, inhumanly patient, waiting for some secret, silent alarm to trigger him off. Death has come to your little town, Sheriff. Now you can either ignore it, or you can help me to stop it.”

24. The Assassination of Jesse James by the Coward Robert Ford

“Well, if you’ll pardon my saying so, I guess it is interesting, the many ways you and I overlap and whatnot. You begin with our Daddies. Your daddy was a pastor of the New Hope Baptist Church; my daddy was a pastor of a church at Excelsior Springs. Um. You’re the youngest of the three James boys; I’m the youngest of the five Ford boys. Between Charley and me, is another brother, Wilbur here, with six letters in his name; between Frank and you was a brother, Robert, also with six letters. Robert is my Christian name. You have blue eyes; I have blue eyes. You’re five feet eight inches tall. I’m five feet eight inches tall. Oh me, I must’ve had a list as long as your nightshirt when I was twelve, but I’ve lost some curiosities over the years.”

23. Shaun of the Dead

“Lizzy, how can you put your faith in a man you spectacularly binned for being unreliable? A man whose idea of a romantic nightspot and an impenetrable fortress are the same thing? It’s… This is a pub! We are in a pub! What are we going to do now?”

22. Fantasia

“What you will see on the screen is a picture of the various abstract images that might pass through your mind if you sat in a concert hall listening to this music. At first, you’re more or less conscious of the orchestra. So our picture opens with a series of impressions of the conductor and the players. Then the music begins to suggest other things to your imagination. They might be, oh, just masses of color or they may be cloud forms or great landscapes or vague shadows or geometrical objects floating in space”

21. The Lady Eve

“You don’t happen to be a mouthpiece, do you? You talk like a law school.”

20. Toy Story 3

“Now Woody, he’s been my pal for as long as I can remember. He’s brave, like a cowboy should be. And kind, and smart. But the thing that makes Woody special, is he’ll never give up on you… ever. He’ll be there for you, no matter what.”

19. His Girl Friday

“Walter, you’re wonderful, in a loathsome sort of way.”

18. The Exorcist

“Have you ever heard of exorcism? Well, it’s a stylized ritual in which the rabbi or the priest try to drive out the so-called invading spirit. It’s been pretty much discarded these days except by the Catholics who keep it in the closet as a sort of an embarrassment, but uh, it has worked. In fact, although not for the reasons they think, of course. It’s purely a force of suggestion. The victim’s belief in possession is what helped cause it, so in that same way, a belief in the power of exorcism can make it disappear.”

17. The Long Day Closes

“Erosion is the cumulative effect of a great variety of processes – full stop. In general, these can be divided into five groups. One. River erosion. Two. Rain erosion. Three. Glacial erosion. Four. Wind erosion. And five. marine erosion. Life also cooperates in the work of destruction.”

16. The Fall

“What a mystery this world, one day you love them and the next day you want to kill them a thousand times over.”

15. Three Comrades

“So long as you don’t give in, you’re bigger than what happens to you.”

14. Miller’s Crossing

“All in all not a bad guy – if looks, brains and personality don’t count.”

13. Adaptation

“You and I share the same DNA. Is there anything more lonely than that?”

12. Jaws

“You know that was the time I was most frightened… waitin’ for my turn. I’ll never put on a lifejacket again. So, eleven hundred men went in the water; 316 men come out and the sharks took the rest, June the 29th, 1945. Anyway, we delivered the bomb.”

11. City of God

“A kid? I smoke, I snort. I’ve killed and robbed. I’m a man.”

10. The Searchers

“Well, Reverend, that tears it! From now on, you stay out of this. All of ya. I don’t want you with me. I don’t need ya for what I got to do.”

9. Alien

“I admire its purity. A survivor… unclouded by conscience, remorse, or delusions of morality.”

8. Lucky Star

“You’re a cannibal and a dirty, no-good low-down little thief!”

7. Jurassic Park

“You never had control, that’s the illusion! I was overwhelmed by the power of this place. But I made a mistake, too, I didn’t have enough respect for that power and it’s out now. The only thing that matters now are the people we love. Alan and Lex and Tim. John, they’re out there where people are dying.”

6. The Shining

“I think a lot of things happened right here in this particular hotel over the years. And not all of ’em was good.”

5. There Will Be Blood

“Drainage! Drainage, Eli! Drained dry, you boy! If you have a milkshake and I have a milkshake and I have a straw and my straw reaches across the room and starts to drink your milkshake. I drink your milkshake! I drink it up!”

4. Blade Runner

“Not very sporting to fire on an unarmed opponent. I thought you were supposed to be good. Aren’t you the “good” man? C’mon, Deckard. Show me what you’re made of.”

3. Raiders of the Lost Ark

“You and I are very much alike. Archeology is our religion, yet we have both fallen from the pure faith. Our methods have not differed as much as you pretend. I am but a shadowy reflection of you. It would take only a nudge to make you like me. To push you out of the light.”

2. Pan’s Labyrinth

“You’re getting older, and you’ll see that life isn’t like your fairy tales. The world is a cruel place. And you’ll learn that, even if it hurts.”

1. Magnolia

“Want to know the common element for the entire group?… I’ll tell you the answer: I’ll tell you, ’cause I had that one. I had that question… Carbon. Carbon. In pencil lead, it’s in the form of graphite and in coal, it’s mixed up with other impurities and in the diamond it’s in hard form. “Well… all we were asking was the common element, Donnie… but thank you for all that unnecessary knowledge… haha, kids! Heads so full of useless knowledge. Thank you. Thank you.” And the book says: “We may be through with the past… but the past is not through with us!” And… no, it is not dangerous to confuse children with angels!”

Movie Review: Coriolanus

You common cry of curs! whose breath I hate

As reek o’the rotten fens, whose loves I prize

As the dead carcases of unburied men

That do corrupt my air.

I’m going to do my Shakespeare on film marathon one of these days. It’s going to be the greatest thing ever done, rivaling the Bards work itself. It will be epic and humanistic at the same time. Grand and personal. Anyways, this movie will have to be in it because it is the only theatrical version of the play. Coriolanus is a history, probably the least popular of the three genres that Shakes wrote in but it is equally rich ground as the comedies and tragedies. It tells the rise and fall and re-rise and then whatever of a military general who is elevated to the highest level of public office because of his war record and scars but cares little for the people he is supposed to be governing. The dynamic is set up early and often, he’s a proud man but feels he’s above nearly everybody else on the planet including his rival, an insurgency leader who is clearly not the equal of the mighty Coriolanus.

Watching this movie, which transposes the action to a modern-day version of Rome (kinda, it’s got a few minor issues here but the modernization mostly works), I got a strong feeling of deja vu, though I had never even heard of this play before seeing the trailer. It’s all political dealing and manuvering outside of one action scene for the whole first hour. What it felt like was Game of Thrones. The big players are big and bombastic (Fiennes spits a lot, which is gross but fun) but there are also these side characters that plot and scheme to keep the people they don’t like out of power. In this film it’s Brian Cox trying to put Ralph Fiennes into the seat of power and James Nesbit trying to keep him out. It’s a fun dynamic. They both manipulate the populace into thinking one way and then the other, rabble rousing the poor starving people. A lot is made of literally and metaphorically showing Fiennes’ battle scars and there seems to be a custom of going out into the people and asking them to endorse a candidate and it’s fun to see that play out, even if it doesn’t quite make sense with the scope of the film (the 40 or so people don’t quite make for a majority, do they?) So Fiennes rises and falls and is exiled on national tv. That’s fun. You know, Shakespeare is pretty damned good at this whole writing thing. Coriolanus gets mad very quickly and its fun to watch Fiennes bluster at everybody. Then he’s offscreen for five minutes and has gone from bald to scruffy seemingly overnight. Time compression!

Shakespeare has been studied endlessly and his depiction of women probably takes up half of the papers written about him. Here we have Jessica Chastain (of course) playing Coriolanus’ faithful but worried wife and Vanessa Redgrave as his fierce and powerful mother. Chastain is fine, but doesn’t get a whole ton to do. Redgrave, on the other hand, is awesome. You can very clearly see how Coriolanus came from her. Everything he is is because of her. She propels him, emboldens him. Chastises him, defends him, and, ultimately, defeats him. Not with a knife, of course, even Gerard Butler, Mr. 300 himself, couldn’t beat Coriolanus with a knife. No, she beats him with words, first groveling then shaming him and his decisions. She’s brokering for peace between him and his former country but it is only through their personal connection that she gets through to him. There’s gotta be a paper in there somewhere, right?

This is one of those movies that follows the play pretty closely (I assume). No lines of dialogue are spoken that aren’t in the play and anything depicting an invented scene lacks words. This is a convention that I get, I understand, but I don’t really know if I care about it. Are his words that revered that nobody can deign to change them? The Lion King works just fine as an adaption of Hamlet without all of the silly conventions that these filmmakers put upon themselves. It doesn’t hurt the film, I just don’t know if it helps. I wouldn’t want to get rid of the dialogue or remove its olde tyme flavor, because it works pretty well, but don’t feel beholden to some dead guy.

Ok, that sidetrack is over now. Finally, I just want to comment on the shaky cam that Fiennes (wearing his director hat) uses. It feels immediate without making me nauseous, which is good. It doesn’t detract from the few action scenes nor the more intimate moments. It gives great power to Coriolanus’ monologue right after he is banished from Rome. It’s shot in one take but he moves around and addresses the crowd and the camera follows him, not quite sure where he’s going to go next nor what he is going to do when he gets there. Often these adaptations end up feeling very stiff, with the actors struggling to get out the words and the camera not complicating matters with anything beyond kinda boring setups. Fiennes imbues the camera with an immediacy, a modern aesthetic that makes the movie come alive. It’s nothing groundbreaking or unusual, just look at half the action movies and a quarter of the drama films today, but it is nice to see him do something unexpected with Shakes. Take chances, make mistakes. Do whatever you want with his stuff. It worked out for him and I’m glad, but I’m even more glad he tried.

B+.