My Favorite Movies

The best movie ever made. End of.

Daesu Oh is a drunk and a philanderer, but otherwise a fairly typical husband and father. That is until one day he is kidnapped and imprisoned in a cell for 15 years with only a TV set for company and no word of explanation. One day he wakes up on the outside with only a wallet and a phone, and he sets out on a single-minded quest to find out why he was imprisoned and extract bloody vengeance on those responsible. The second part of the Vengeance Trilogy by Chan-wook Park, Oldboy is a bizarre and brilliant film. It constantly wrong foots you and messes with your perceptions, and contains the kind of revelation that makes the kind of so-called plot "twists" of most films look gimmicky and inane. This is the kind of film that blows you away and makes you realise you've been watching the WHOLE THING from the wrong standpoint. As for Min-sik Choi's performance, astonishing is the only word for it...the way such intense emotions and motivations are constantly shifting without ever feeling contrived or forced is just spellbinding. It combines art and extreme violence in a way that reminded me of A Clockwork Orange, but BETTER. It's also stylistically on the same level as Fight Club and is absolutely riveting from beginning to end. A totally flawless modern masterpiece.

A dream-like journey through the horrors and absurdities of Vietnam, this exceptional film is head and shoulders the best war film ever made. Dark, disturbing, intense, intelligent and provocative. The Redux version is an interesting companion piece, although the reasons why the extra scenes ended up on the cutting room floor are obvious. Still, it's a bit like seeing a different side of an old friend for the first time.

Toshiro Mifune plays a wandering samurai who chances upon a small town in which two rival gangs are squabbling for control and decides to manipulate them into killing each other off. Possibly the greatest director in cinema collaborating once more with one of the greatest actors on a script filled with nuance and timeless photography. Mifune's performance is filled with subtlety and charisma as his initial disdain of these big fish in a small pond turns to brutal retribution after his suffering a vicious beating at their hands when he makes the mistake of becoming personally involved. Kurosawa's sense of period and atmosphere is second to none, and his trademark use of composition is breathtaking. Often copied, never bettered.

Intelligent, witty and visually inventive. Not what I was expecting at all! Probably the first movie that made me think of Brad Pitt as a serious actor...

Pulp Fiction skillfully blends the stories of Jules and Vincent, a pair of wise cracking hitmen and their stash of unidentified merchandise, Marsellus Wallace the criminal kingpin they work for, his coke snorting wife Mia, scheming prizefighter Butch Coolidge who double crosses him and a pair of smalltime hold up artists. Upon the success of Reservoir Dogs, opinion was heavily divided as to Quentin's merit as a film maker, many condemning him as nothing more than a plagiarist passing off the ideas of better film makers as his own. Pulp Fiction silenced these critics and scooped the Palm d'Or at Cannes and by rights should have won best picture at the Oscars of that year. As you can probably tell, there is enough material here to make three films, but Tarantino's brilliantly economical script (hard) boils the constituent elements into a brilliant homage to exploitation flicks through the decades. The disjointed timeline works magnificently and the film constantly surprises on first viewing and consistently entertains thereafter. Many speak of memorable scenes and memorable lines from certain films, but EVERY scene, EVERY character and nearly every line in this film has become iconic. It boasts an unequaled ensemble cast of the coolest of the cool actors, a similarly iconic soundtrack and it captured the imagination of an entire generation. This film is, and always wil be, entrenched in my top ten favourite films of all time.

Brilliant plot, fascinatingly told in reverse that kept me guessing til the very end.

Superb ensemble cast in a film that keeps you guessing right til the best ending ever written.

DeNiro and Pacino together in one the the best heist movies ever made. Intelligent script, fascinating characters, and surely one of the best gun battles committed to celluloid

A rural village in feudal Japan decides to fight back against the bandits who have been raiding them by hiring samurai from a nearby town. One of the many remarkable things about Akira Kurosawa's astonishing historical epic is the fact that at nearly 3 and a half hours it never drags for a single second of it's length. Not one bit. That fact alone is testament to Kurosawa's incredible skill as both writer and director. The balance of artful visuals and narrative is perfect, and every character is fascinating and perfectly played, especially Toshiro Mifune's gleeful and almost feral glory hound and Takashi Shimura's good hearted but wily Ronin. And if, like me, you still wanted more after it's not inconsiderable running time, it's Hollywood remake, The Magnificent Seven is a damn fine film in it's own right. One of the pinnacles of world cinema.

What can I say that hasn't already been said? An acting and directorial tour-de-force.

Lester Burnham is undergoing a serious midlife crisis; pining for his lost youth and obsessing over a teenage cheerleader, he's married to a joyless go-getter who encloses herself in an armour of sarcasm and self-help and has a daughter who he cannot communicate with and clearly hates his guts. Most of the laughs in this film are provided by Lester's social rebellion, but it's communication (or the lack of) is what this wonderful film is all about. Full of people who feel suffocated by their own apparently meaningless lives, it's a story of ordinary people full of wants and needs but unable to express them because of the overwhelming feeling that they must do what is expected of them; they must at least APPEAR to be "normal". Lester's fantasies about the young girl are just projections of what he feels is missing from his life, just as his wife's desperate need for "success" are. The cast are all perfect, the multi-layered script sparkles with witty dialogue and it's full of memorable moments, culminating in a deeply moving, insightful and thought provoking finale. Genuinely beautiful.

Francis Ford Coppola's classic gangster saga is the story of a criminal dynasty headed by Marlon Brando in one of his most iconic roles. Coppola's direction is deceptively simple in that he uses no gimmicks or stylistic tricks; he merely allows the story to unfold and lets the superb cast do their thing. Brando's mumbling family and loyalty obsessed don has since become part of popular culture folklore (along with the classic score), and all other accompanying performances are top notch, from James Caan's hot headed Santino to Robert Duval's purely business orientated adviser. But this film is really the story of Michael's transition from honest war hero to shadowy underworld figure, played by Al Pacino in his finest role. The pivotal scene in which his newborn godson is baptised while Michael himself, the newborn "Godfather", is baptised in blood is an all time great. This is the birth of the modern gangster film, and with the possible exception of Goodfellas, it is still to be surpassed.

At the beginning of the nineties, Kurt Cobain and Nirvana looked in disgust at the formulaic, soulless lumbering cash cow guitar music had become, and using cues from grittier, purer classics of the past singlehandedly swept away the self serving excesses of the genre and revolutionised it forever. Quentin Tarantino did exactly the same thing with cinematic crime drama. He examined the logistics of both being an undercover cop and planning a heist and introduced believable characters who spoke like real people; they weren't just posturing stereotypes punctuating another set of pointless explosions and car chases. He created an ensemble cast of actors for their charisma and ability, not their box office drawing power. He scored it with wit using obscure music from the past that complimented the action rather than trying to make a fast buck selling yet another insipid rock ballad to people who don't listen to music. Tarantino has often been accused of plagiarism, and this script does 'borrow' from City On Fire and The Taking Of Pelham 123. But if you ask me, an original but bad film is still a bad film, while an unoriginal but brilliant film is still a BRILLIANT film.

Stunning deconstruction of the myth of the old west featuring an all-star cast of the best in the business

Following the blizzard (ahem) of hype surrounding the Coen brothers' latest, I thought I'd revisit an old favourite. The Coens once again revisit noir, but at their most playful which is obvious from the opening screen that proclaims "THIS IS A TRUE STORY". It isn't. It deconstructs the genre, transporting it's elements from the shadowy streets of the big city to the bright white snow covered open spaces of Minnesota. The crime is investigated by Marge Gundersson, a waddling, heavily pregnant housewife whose cheery agony aunt approach to the investigation is a million miles from the hard-nosed tough guys we are used to. The crime is planned not by a criminal mastermind, but a cowardly used car salesman with ideas above his station, and perpetrated by a pair of inept and seedy small time crooks. The crime is solved not by a convoluted set of crosses and double crosses, but by a common sense investigation full of amusingly mundane idiosyncrasies which contrasts with the gruesome murders that result. "And all for what? For a little bit of money. I just don't understand." If you don't love it, you just don't get it.

Akira Kurasawa can even do Shakespeare better than we can! Incredible.

Utterly remarkable and deeply harrowing depiction of one of the worst atrocities is human history. Outstanding in every department.

Stunning bio pic and probably Scorsese's best non-gangster related piece. De Niro is remarkable as the thoroughly unlikeable LaMotta, living the excesses and emptiness of the american dream. The boxing scenes are particularly gripping and brutal, and capture the violence and ugliness of the sport that feelgood flagwavers such as Rocky always gloss over.

The movie that made sci-fi a genre to be taken seriously. Visually stunning, thought provoking and awe-inspiring. And anyone who claims it is incomprehensible:
a. Read the book. It's very straightforward...
b. Watch Lost Highway. Then you'll understand the meaning of the word!

An absolute feast for the senses. I was entranced from beginning to end; surely the best looking movie ever made.

Extremely restrained and intelligent examination of the cycle of racial hatred and violence in america, shown from the perspective of two brothers who learn the hard way that the world is not so black and white. Incredibly moving and thought provoking, especially considering the ugly subject matter, and more relevant now than ever in the post 9/11 era.

It's difficult for me to think of this as a sequel per se. It's a true and natural continuation of the original and one of the best films ever made in it's own right. The way the story flits between the story of Vito's humble beginnings when Sonny, Fredo and Michael were infants and compares and contrasts where their lives have brought them is magnificent, the relationship between Fredo and Michael being particularly poignant. We see how Vito used violence to settle scores and remove the opposition, where an increasingly cold and hard Michael uses it as matter of factly as a business tool, even on his own friends and family. Coppolla's uses of light breaks with tradition, choosing to contrast the outside world with the Corleone's dark underworld which is constantly steeped in blackest shadow. This is one of Pacino's best performances, complimented perfectly by Duvall, DeNiro (who makes a very believable young Vito) and Cazale. Complex, sophisticated, and more an experience than mere entertainment.

The second part of the story is rather less action-orientated, and has the feel of film noir cum spaghetti western rather than the out and out chop socky action of volume one, but at the end of the day
they are not really meant to be seen apart. Here we see more of the back story as Beatrix brings her quest for vengeance to it's bloody conclusion. I can easily watch both of these films in one sitting and still come back for more, while so many of the worthy but oh-so-dull film "classics" that pompous and self important film crtitcs consider to be so superior bore me to tears within half an hour. A film for fellow film lovers everywhere made with an understanding of and appreciation for cult film that is unsurpassed.

Tarantino has often been accused of plagiarism in the past, and Kill Bill not only happily acknowledges his many homages it positively revels in them, right from the "Shawscope" intro screen. His films are clearly a labour of love, and every reference, every shot, every song on the wittily compiled soundtrack, even every sound effect has been carefully selected. Tarantino's films are not, as many po-faced critical snobs suggest, style over substance because the style IS the substance.This is a movie for the movie lover, and Tarantino's skill is in his ability to seemlessly blend so many genres, from anime to martial arts to samurai to film noir to spaghetti western to blaxploitation, and create something entirely his own. If his audience dried up, I'm in no doubt that he would continue making films even if it cost him his last dollar, for the sheer pleasure of it. And if it ever came down to that, I'd happily chip in.

Probably the best of the "serial killer" sub-genre. Beautifully shot, dark, bleak and menacing, with far more atmosphere than the over-rated Silence of the Lambs.

The Elephant Man tells the true life story of John Merrick, a man dreadfully deformed from birth who was saved from a freak show by a kindly doctor to become the toast of Victorian society. The kind of visual gimmickry you'd expect from David Lynch is glaringly absent from this beautiful biopic, he instead tells the story through atmosphere and sensitive character study. It truly is an acting masterclass, with remarkable performances from some of the best British actors ever to tread the boards but it is John Hurt's deeply moving portrayal of the man himself that rightfully takes centre stage. It shows both the heights of kindness and depths of cruelty the human animal is capable of, and instills real emotion and empathy from the viewer without the kind of cynical manipulation and button pushing that most directors resort to. To my mnd, this is still Lynch's best film and anyone who does not shed a tear during its duration is surely made of stone.

Classic science fiction with one of the great movie endings. Don't bother with the increasingly dreadful sequels or chronically disappointing and nonsensical Tim Burton remake though...

The crew of commercial towing vehicle Nostromo investigate a signal from an unexplored planet and unleash a hostile organism. Once again, Ridley Scott creates a totally believable future environment and another classic of modern cinema. Scott uses suspense and atmosphere to gain the desired effect, and it is an object lesson to gore-obsessed horror directors everywhere; less is definitely more. Considering the "alien" is essentially a stunt man in a rubber suit, Scott's use of lighting and sparse screen time for the creature makes it far more terrifying than a hundred CG monsters. Giger's designs are more akin to sculpted works of art than mere special effects, and the crew feel like real people having real conversations, who just happen to also be on a spaceship; even the obviously now antiquated technology has a functionality about it so it still does not look out of place. Scott also employs an element of sexuality to the attacks on the crew, creating a sense of anxiety on many levels; the victims are not only attacked, but violated in various ways. Sigourney Weaver's Ripley is also one of the first "action heroines", always ready to take charge and deal with the situations she finds herself in rather than running around screaming, and Scott also pioneers the now familiar "first person" viewpoint making the film a real groundbreaker. The DVD also features some interesting deleted scenes, particularly the cocoon scene that is expanded upon so effectively by James Cameron in the sequel Aliens. Yet another reason why Scott is one of the most respected director's working today.

In the pursuit of the gleefully sadistic yet cowardly Scorpio killer, played to perfection by Andy Robinson, Detective Inspector Harry Callahan manages to step on the toes of every one of the bureaucratic superiors he holds in so much disdain. The man with no name may have been the character that made Clint a star, but it was Harry Callahan that made him an icon; he is the personification of tough guy charisma in one of the all-time classic cop thrillers. Don Siegel directs with incredible economy, encapsulating Callahan's character in a brief exchange with the mayor and his methods in the classic bank heist shoot out all within the first 15 minutes. No car chases, no explosions, no romantic interest. Just a brilliantly written, perfectly executed hard-boiled crime thriller scored wonderfully by best of the best, Lalo Schifrin. Nigh on perfect.

Steven Spielberg's classic monster movie is a supremely accomplished slice of popular entertainment and one of my enduring favourites. His directorial expertise shines as he perfectly manipulates the mood of the film aided by John Williams frankly perfect score. He contrasts the ferocious attacks with their broiling red stained surf and hysterical screaming with the serene peacefulness of the lapping moonlit waves from the very first scene, and uses misdirection and comic asides to engineer a tangible sense of tension as you wait for the shark to appear. Of course, the clunkily mechanical beast that completely fails to recreate the grace of the real animals is easy to criticise, but for the most part Jaws' presence is hinted at through a clever combination of first person camera work, reappearing barrels and Williams' music intercut with real shark footage and it works brilliantly. The characters are also fantastic, particularly during the bonding scene when Quint intensely recounts his experience of the USS Indianapolis, and there are so many wonderfully quotable lines I could probably recite the entire film from beginning to end. Another of the few films that I could never tire of seeing.

The kind of bleak, self-destructive and tragic love story that's usually the proviso of the French! Alternately funny, sad and moving.

Brilliant revisitation of the classic Film Noirs of the 40s and 50s. Spacey, Crowe and Pearce are all excellent.

Robert DeNiro and Joe Pesci reunite with Martin Scorcese to tell the story of Sam Rothstein, egotistical boss of a fledgling gambling empire in Las Vegas. The pairing of DeNiro and Pesci is once again electrifying, each personifying the flashier, more respectable surface and seedier, brutal underbelly of the mob controlled casino respectively but ultimately it is their own egoism that becomes their undoing. Comparison with Goodfellas is inevitable, and it does not quite match the quality of Scorcese's masterpiece but then again, not much does. It is rather glossier and less gritty, at least until the brutal climax and for me it concentrated a little too much on Rothstein's homelife but having said that, Sharon Stone is a revelation as his cynical gold-digging wife. A reliable formula executed with panache by an unmatched pairing of acting and directorial talent.

The final part of the man with no name trilogy sees Clint competing with his erstwhile partner and a coldly vicious mercenary for some buried stolen loot. The remarkable thing about Leone's series is the fact that even the best film trilogies (ie The Godfather, the original Star Wars et al) good as they were, never quite captured the magic of the original. Leone's however began brilliantly, and just kept getting better. The trio are introduced in highly effective opening scenes once again, often using only eye contact and body language to convey their personalities; it's actually 10 full minutes into the film before a single syllable is uttered. Leone continues the theme of the old west as an environment of "every man for himself" as the characters are constantly backstabbing and lying to each other, even "the good" is an immoral con man who betrays his partner as soon as it is convenient (but I guess "The bad, the bad and the bad" didn't have the same ring to it!) All of this is set to a backdrop of the American Civil war which is treated in a way that has far more in common with Apocalypse Now than John Ford. The scene in which a drunken Union captain prays for the destruction of a vital bridge to end the carnage is particularly memorable. But it is Eli Wallach's Tuco that virtually steals the film out from under Clint; his immoral and cowardly double crosser brings a lot of humour to the film and was surely a big influence on Johnny Depp whilst creating the character of Captain Jack. My only gripe is that Morricone's otherwise excellent score gets a little sappy in the middle, but that's really just a matter of taste. A clear contender for the best western ever made.

Very stagey courtroom drama by Sidney Lumet, starring Henry Fonda in his preferred type as a morally courageous individual standing up for what's right. Virtually the entire film takes place in the same room; it is the conflict between the characters and their differing motives that creates the drama. Superb.

In a great britain of the near future, a right wing politician has swept to power on the crest of a wave of Daily Mail inspired conservative nazism. Using a combination of spin and propaganda through the media, he has convinced the populace to sign away their rights and liberties until one masked man decides to fight back. Thank god I don't REALLY live in a britain like that...I was expecting great things from this film, it's combination of politics, imagery and stylised action is exactly the kind of thing that appeals to me. Unfortunately, this level of expectation can often lead to disappointment. What I was presented with was a thoughtful, intelligent and wonderfully written "superhero" film in which the hero has no special powers or magic tricks; he is just an ordinary man who decides that an individual CAN make a difference. Hugo Weaving has great presence for a character who never shows his face, and the dialogue is wonderfully florid and literary. There are no unnecessary, overblown set pieces, and the beautifully stylised action sequences are just enough to fulfil their purpose in facilitating the story, and John Hurt is as masterful as the Big Brother figure as he was as it's victim in 1984. I was looking forward to this one immensely, and for once I was not disappointed. Brilliant.

The epitome of ultra-violent chic. John Woo at his very best

I thought this was absolutely stunning. Brilliant performances, grittily filmed in a pseudo-documentary style. What Training Day should have been