My Favorite Movies

This film is about celebrity worship and casting Brad Pitt as the only really well known actor was a brilliant move. Casey Affleck's portrayal of Robert Ford is riveting; he plays him as creepy yet pitiful in his painfully pathetic attempts at being respected. The viewer can't help but cringe at Ford's desperation and lack of self-esteem. Apart from the fantastic acting, the film is a complete visual treat, putting a new twist on an old genre. Soft lighting and wide angles give the movie a Zen-like quality by capturing the beauty of the landscape as well as subtext in dialogue.

A biopic like no other, I'm Not There is an explosion of imagery shown in a variety of styles which perfectly mimic the kaleidoscopic life that is Dylan's. A bold project to say the least, Director Todd Haynes nails what is the essence of Bob Dylan as a man, an artist, a husband and a rock star. And he does so in a purely metaphorical, non-conformist fashion - exactly how Dylan would want it. Simply brilliant.

The hands that indeed built America, on the one hand this film is a testament to the dedication and sheer will power of early settlers to the untamed west, on the other, however, it's a cautionary tale about obsession and greed. Loaded with layers and subtext, this is a frightenging insight into a man so driven by the pursuit of power and capital, and its intoxicating effects, that he forsakes all else. Fairview's initial redeeming quality, as well as any sign of humanity, is in his love for his son, but by the end, he even manages to destroy this due to paranoia fuelled by alcoholism. Like Charles Foster Kane, by his twilight years, Fairview is nothing but a bitter and pathetic figure, who has shut himself away in his gilded cage. Day Lewis' performance is mesmerising and undeniably one of the most well-deserved Oscar wins of all time. Paul Dano holds his own as the slithery and shrewd Eli/Paul Sunday; not an easy feat when placed next to an artist such as Day Lewis. By the end, both characters are indeed finished.

It's out with the old and in with the new in the cut-throat world of show business. Mankiewicz's choice of opening with the end is brilliant. Like tabloids, he shows us a situation out of context and history. We immediately assume Margo's scorn towards pretty little Eve, and Karen's flustered expression, stems from jealously of the young starlet's newfound success. However, coming to the same scene the second time around, we see it for what it really is. Bette Davis' Margo is riveting and emotionally all encapsulating as she tries her best to hold on to her dignity in an industry that's constantly looking for young flesh. The more we get to know her, the more our heart aches for her. Anne Baxter's transformation from sweet, vulnerable Eve into a conniving vulture just waiting to pick at Margo's flesh is shocking. We love to hate her as she stops at nothing to get to the top, even if it means destroying her idol and taking her place. As much a story about obsession with fame, this is also about love for theatre. On stage, these women are goddesses revered and adored - they live for the applause. A seductress bar none, the stage destroys as quickly as she builds, and is herself seduced by youth and beauty which is always waiting in the wings. A perfect film if ever there was one.

Juliette Binoche's subtle yet impactful performance takes us on a rollercoaster ride of emotions as Director Krzysztof Kieslowski captures the human process of healing and survival. Original art direction and a beautiful score accompany the underlying message that one cannot give up on "life" forever... ultimately, life will come knocking on your door.

Cinematically beautiful thanks to Ridley Scott's dedication to detail, this film continues to hold its own against modern Sci-Fi's made with bigger budgets. An airtight story with no contrived moments, as well as very natural acting, makes its tenth viewing as thrilling as its first.

The quintessential 'monster movie', Jaws is perfection in storytelling. Spielberg's risky shark attack scenes and masterful editing completely submerge the viewer into the film, while John Williams' chilling score guarantees goosebumps. However, what elevates Jaws into more than merely a mindless adventure flick are the many cleverly smuggled in character moments speckled throughout; perhaps the most touching of which is Chief Brody being mimicked by his little boy at the dinner table. Spielberg takes his time in these scenes allowing us to become more invested in the characters while also getting a better understanding of their mindsets. Then just when we've settled into story, it suddenly shifts genres in the third act from thriller to action adventure as the three men set sail on their quest to hunt the beast. Whereas it's often risky to change the feel of a movie midway, in this case Spielberg totally pulls it off.

Quite possibly the scariest movie I have EVER seen. You're left with the feeling that a Mike Myers type character can be anywhere, anytime - maybe the guy you bumped into in the street or sat next to on the bus... Just goes to show you don't need hi-tech special effects to make a good story work. Truly chilling!

Easily one of the most original takes on horror of all time, there's no other film that has quite the look and feel of The Shining. Kubrick leaves much open to interpretation, never quite answering, one way or the other, if the ghosts are real or mere figments of unstable minds. Filmed during a time when the divorce rate in the U.S. was sky-rocketing, the success of the terror in this film lies in Kubrick's ability to tap into the core fears of dysfunctional families: a child hearing his parents argue, a wife on the brink of an abusive relationship, or even a husband who blames his family for his own shortcomings. Perfectly cast, Nicholson's character is as frightening and uncomfortable to watch as is Duvall's feeble and at times irritatingly spineless. An eerily haunting sound design and nervous anticipation keeps the viewer painfully riveted to the screen, while the quickly flashed images of horror linger in their mind's eye long after the film is over.

Providing an accessible insight into the fundamentals of existential philosophy, this film explores the concept of what it means to 'live'; is a life the pursuit of a goal, after completion of which, may be over? Or is it a specified time on earth which must be lived out until its natural date of expiry? Do we, after having achieved our life's objective, have the right to determine our individual moment of death? In the film, all three of the main players question their lives, or more so, the purpose of their lives in what becomes an incredibly intriguing character study, which explores not only character development, but also the complexities of human nature. One can go on and on about the many layers in each of the story lines, however one will only get the most out of them after fully understanding the film's bigger message and its philosophy about life. Utter brilliance.

Call it karma, call it destiny, this film is about dealing with unfinished business and taking responsibility for the wrongs committed to loved ones. A talented ensemble cast play an array of eclectic characters, each of whom are a product of their own horrors. Anderson cleverly disguises the heavy subject matter by his filmic flair, giving the viewer an adrenaline rush like no other. Brilliant filmmaking.

Go, Indy, go! Exotic locations and non-stop action keeps the viewer glued to the screen in this ageless and perfet adventure. The special effects still look cool and you can't take your eyes off Indy and Marion. From snakepits to submarines, Indiana Jones continues to take us on one hell of a ride!

A beautiful, emotionally intense character study of a group of flawed but very real individuals. It's definitely one of the most touching movies I've seen in a long time. Highly recommended.

Brilliant storytelling. A dark comedy which makes us question the idea of God, morality, guilt and justice in the world...or the lack thereof (after all, life's not a Hollywood movie, you know...)

A drama disguised as a comedy, Sideways has an unexpectedly profound message. The film deals with several issues including the human resiliency to move past rejection, and also the desire to strive for what's over the horizon rather than appreciating what's already in your grasp. At the centre of the movie are beautiful soliloquies by Paul Giamatti and Virginia Madsen's characters, which sum up the heart of the film: appreciation of the now... because that's all you really have.