My Favorite Movies

Without a doubt this is my favorite film. The idea of a crime thriller set in a place as colloquial as Minnesota is film gold in of itstelf, but to have such a fine cast as William H. Macy, Frances McDormand and Steve Buscemi as well just takes Fargo to the next level. No wonder it picked up several oscars in 1996. The woodchipper scene is worth the money alone.

Undoubtedly, the greatest horror/thriller ever made. There isn't a single modern day horror film maker who can hold a candle to Hitchock for producing sheer mind numbing terror.

If I had to recommend one Tim Burton movie other than Edward Scissorhands it would always be Sleepy Hollow. The film possesses all the hallmarks of a horror classic: a period style with a heavy focus on gothic art, a whodunit mystery narrative and enough OTT props and set pieces to keep mainstream fans happy whilst putting traditional Burton fans in hog heaven. Repeated viewing also reveals a hidden quality which is prevalent in all of Burton's work: subtle wry humor. The richest example of this comes with the over emphasis on deliberately falsified blood, which is not only true of the Hammer Horror classics to which the film pays homage but also acts as a clever social commentary on the horror genre's growing over dependence on gore. True, the film does not stay at all true to Washington Irving's novel, but does that really matter? Along with Edward Scissorhands, Ed Wood both Batman films, Sleepy Hollow is yet another essential addition to Burton's live action cannon.

I first watched American Beauty when I was just entering my teens, and it changed my life...Sam Mendes has yet to top this truly amazing piece of arthouse cinema that is as emotionally moving as it is visually stunning. The very nature of the simplicity and attention to detail that is expressed through the film's screenplay alone is enough to make this an essential addition to my own personal cannon of favorites. With a tour-de-force performance from Kevin Spacey and Chris Cooper and a wonderfully intriquate Mise-en-scene, American Beauty rises above other alternative romance films purely through it's argument that true beauty is all around us, whether it be the poetry of a plastic bag caught in an updraft, the tragedy of a dead bird or the sexual beauty of a girl's breasts. A classic without question.

Ghost In The Shell was the film that formerly introduced me to the feature length anime. It's exceedingly positive view of the future and lack of techno-phobia is as uplifting as it is refreshing. Whoever said that animation is for kids never saw this.

Undoubtedly, one of the greatest pieces of claymation cinema ever concieved. Dripping with Tim Burton's own classic mix of melodrama, alienation and neo-gothic charm, The Nightmare Before Christmas is an essential addition to any body's Tim Burton collection and a welcome alternative from the usual seasonal crap!

Christian Bale in his greatest ever role. Just thinking about it makes me want to read the book. The thought of seeing Bale tear into that guy with an axe to the sound of Huey Lewis and the News is so wonderfully twisted that it easily cemented a place in my favorite films of all time.

Undoubtedly Oliver Stone's best film. Nuff Said!

Quentin Tarantino's postmodern Neo-noir is an auteuristic gem. More elaborate than Reservoir Dogs, Pulp Fiction builds on everything his first film started. With it's supreme mix of intertextuality, violence and philosophy Pulp Fiction seems to have something for all. It also brought John Travolta back into the frame, launched Uma Thurman into the big time and ensured Samuel L. Jackson's place as the coolest guy in recent film history. An instant classic.

Simplistic, twisted and genius all in the same breath. That is the best way to describe what is widely accepted as Tim Burton's largest critical success. Like Burton, I too was an advocate of classic Universal Horror. Therefore, I greatly appreciate his desire to portray Johnny Depp's titular mechanical manchild with the same level of tragedy and pathos that James Whale gave to Boris Karloff's Frankenstein monster. Burton's critical acclaim comes as no surprise when one considers just how much the introverted auteur manages to squease into the space of a two hour film. Edward is perhaps the ultimate figure of alienation; spending the majority of his life as a recluse and feeling unable to form proper relationships for fear of hurting others. Also of relevance is the way that the consevative, near-psychotic pastel visage of suburbia tries to impose on him as its people attempt to manipulate his rare talents to their own ends. Ultimately this proves that people are not intrisinically good and although it provokes backlash from censors, execs and conservative critics, I find it relevent that Burton feels able to tell the world just how hard it is to be an introvert in a society that demands people be open-books. If Edward Scissorhands doesn't move you to the point of tears, then you are not human. A landmark title for both Depp and Burton.

Another truly amazing piece of stand alone art, inspired by the work of Alan Moore. Natalie Portman hasn't been as emotionally moving since the Leon: The Professional and Hugo Weaving is once again super-cool as thespionic swashbuckler, V. A must for comic fans and cinephiles alike!

The film that robbed me of my innocence. Undoubtedly hosting the most agonising werewolf transformation ever, this will forever be a landmark title for what is an often under-appreciated horror sub genre.

David Fincher's neo-noir goes deep into the heart of the human condition. Brad Pitt and Morgan Freeman have exellent chemistry in their almost buddy movie relationship as they investigate a series of increasingly sauded biblical murders. Although the entire film is outstanding, my personal favorite is the third act, leading to the shocking climax that explores the nature of morality and questions whether right and wrong still exists in th emodern world. The grubby, rusted, industrial setting is awesome too.

Terry Gilliam's tragi-comic Orwellian dystopia is one of the defining films of the post-modern age. Poking as much fun at modernist Sci-Fi films like Metropolis as it does the concept of futurism itself, Brazil combines mind bending psychological intensity with 1984's themes of dehumanisation and repression which makes this film yet another crucial addition to the conspiracy theorists list of resources. Considering our current day and age, credit has to be given to Gilliam for his scathing opinions of how people let it sink into the background, prefering to focus on life's mundane irrelevance, as is his absurdist critique of the dependance on cosmetic surgery. Such fire and passion to explore these themes is rare these days and it is pleasing to believe that such films can still act as a reminder of what we need to stay in touch. Brazil was also the first film to bring Jonathan Pryce to my attention. Although he has never had a lead role since, he is on top form as bumbling, neurotic beauraucrat Sam Lowry. In short order, Brazil is a masterpiece and proof of Gilliam's extreme surrealism which has made the former Python one of the late twentieth century's premier auteurs. Five stars undoubtedly.

Secretary is the film that started my secret love affair with Maggie Gyllenhaal. Contrary to what you may think, Secretary is not a porno! Director Steven Shainberg seems to have anticipated this concern very methodically by saving the film's only nude scenes till the end so that he could focus on the story (a wise move in my opinion). It also showcases some of the funniest slapstick in film history (e.g. the water cooler scene) and some exellent cinematography. The opening scene, filmed entirely in one shot using as a steadycam, stands alone as testament to the greatness of Steven Shainberg's artistist talent. If you can see past the subject matter, then you should enjoy this modern classic. If only all romantic comedies were this good.

A very interesting little horror/thriller that continues the recent trend of gripping Korean cinema. Touching on feelings of lonliness, child abuse, guilt and mental health, A Tale of Two Sisters is a true gem of a film. The dilapitated guest house in which the film is set looks so unwelcoming that there is surprise that it is not yet condemned. As for the stark imagery of ghostly figures, vicious matriachs and dead animals, it all helps to conjure up a sense that all hope has left the lives of the protagonists Su-Mi and Su-Yeon. All the while the audience asks questions: why does the father let the girls suffer? How come he hardly never speaks? Why are the girls so afraid of their bedroom wardrobe? This is why A Tale of Two Sisters shares the top spot with Oldboy in the new wave of Korean cinema.

When I first saw the Frighteners, I had no idea who Peter Jackson was, but I knew that he was a master of his craft. With a career best by Michael J. Fox, Weta's advanced SFX, a hilarious cameo by Lee Ermy and that cool song by Blue Oyster Cult, the Frigheners might be the least appreciated of Peter Jackson's early works but it is also one of his finest.

A modern horror film that doesn't completely rely on gore to give the thrills. 70% Australian, 30% Hollywood, 100% Nasty! This film surpasses also rans like Hostel and Wolf Creek because of it's references to the paranoia of panopticism and a twisted mystery that has an ending that'll make your blood run cold. Screenwriter Leigh Whannel and director James Wan are the future of modern horror, so the world should quickly stand up and take notice.

Undoubtedly, Luc Besson's most amazing picture. Leon showcases Besson's own unique blend of French arthouse sensibility and Hollywood violence better than any other film in his career. It is therefore little wonder that the film cemented both Jean Reno's reputation as one of histories coolest actors and the career of V for Vendetta star Natalie Portman. As with V for Vendetta, Leon is an emotional rollercoaster. Portman (who in 1994 was only a girl of 12) offers the same emotional complexity that she later displays both as Jane/Alice in Closer and as Evey Hammond, apparently doing so with frightening ease. Reno is also highly astute at portraying the heavy character archs required of such characters as Besson's titular hitman. The complete 180 made by Leon, starting out as a cold callous killing machine and ending as a kind, emotional man would be near impossible for a lesser talent but Reno succeeds in this task with flying colours. Throw in Besson favorite Gary Oldman as psychopathic, crooked police officer Norman Stansfield to add that extra boost of intensity and we have a very rare film indeed. With Besson now devoting more time to producing, and with news of his retirement now circulating amongst his fans, it is unlikely that he will direct another film of such asteemed quality or artistic brilliance as Leon. His talents will be sorely missed.

This film is ace. End of story. A retro noir which allows both adolescent boys and critics to revel in it's greatness. This film finally assured that graphic novels got the respect they deserved I don't think any one will ever look at Elijah wood the same way again. Clive Owen, Mickey Rourke and Bruce Willis were also top notch. Best film of 2005. Bar none!!!!

Undoubtedly, Michael Moore's best work. Aside from the obvious narcessism of the film's pseudo-chivalrous ending, this film surpasses Farenheit 9/11 because it is indeed less partial toward its subject matter. By combining post 9/11 politics, Marylin Manson and the plight of his win beloved Flint Michigan, Bowling For Columbine has the same tour-de-force charm that only truly appears in films such as Pulp Fiction or Gladiator. In short, this is both a wonderful piece of journalism and great entertainment from a REAL American hero. Good show sir!

The mighty acting powerhouse that is Johnny Depp succeeds in bringing the Legend of Hunter S. Thompson stunningly to life in this cinematic adaptation of what is perhaps his most famous piece of journalism. Whilst it is widely accepted that Terry Gilliam did not truly do sufficient justice to Thomspon's book, the film still succeeds as a stand alone piece for the most part because of Depp's frighteningly realistic and devilishly comic portrayal of the man himself, even going as far as to share a scene with the real Thompson who cameos during a flashback. Depp's greatness aside, I also believe it unfair to say that Gilliam didn't try his utmost to bring the intense drug induced imagery of Thompson's psyche to life (the carniverous reptiles in the bar alone are proof of this) but merely that he held back on occasions where lack of restraint would be appreciated. This restriction is a minimal formality and consequently only costs the film half a star. After all, only a true auteur like Gilliam could take source material as wierd as Fear and Loathing and do as good a job as he did. It also has quite a nice bit role for the always dilectable Christina Ricci. Be warned, however. Whilst this extremely absurdist comedy makes Thompson fans out of everyone who likes it, the imagery may be too stark and the occurences too harsh for those of a squeahish or nervous dispositon.

This is perhaps the only film in the Rambo series worth considering. Following the late 70's, early 80's trend of exploring the psychologically damging effects of wars like Vietnam, First Blood scores points not only for the way it simplifies the complexity of PTSD but also for the surprising good on screen chemistry between Sylvester Stallone and Brian Denahy.

Undoubtedly, one of my all time personal favorites. What really makes Tremors gold is the chemistry between Fred Ward and Kevin Bacon, and the colourful cast of characters which get eaten, maimed and destroyed as the carniverous worms tear apart the City of Perfection. That is ultimately what makes Tremors great and is the main reason why the sequals are so shit.

One of the many reasons that I'm glad I don't live in 19th Century NYC. Dynamite performances from both Leo DiCaprio and Daniel Day Lewis, wonderfully detailed set design and a viciously gritty revenge narrative. The opening battle between Lewis' natives and Liam Neeson's immagrants has a level of graphic atrocity matched only by Gladiator and Saving Private Ryan, to which Gangs of New York easily eaquals.

If Leon made Natalie Portman cute and Star wars turned her into a freaky geisha, then Closer takes the actress to the next step by making her sexy. Whilst the play on which the film was adapted is very much an exploration of the darkly twisted nature of human sexuality, it is nice to see that director Mike Nichols directs his version of closer with the conservative subtlty you rarely see in film these days. Clive Owen also continues what is a fairly good run of performances. No body can do a morally questionable male stereotype quite like him. However, it would have been nice if Portman had taken the line literally when she says "Lying is the most fun a girl can have without taking her clothes off, but its better if she does". That would have been the icing on a very dilectable erotic cake.

Peter Weir should be very proud of this film. The Truman Show at last calls into question the synthetic routine of suburban 20th century life and the political fears of living in an over-controlled, panoptic world. It also revealled to us a new side to Jim Carrey: that of a serious emotive and experienced acting talent. Arguably, this side of him is far better than it's zany alter ego...not that I don't think he's funny mind you.