The cinematography, the art direction, and the chopped storyline of thousands of other movies owe their derivation to this original piece.
American Film Institute Ranking: #1/100 Academy Awards: Received nine nominations, but only winning for Best Writing (Original Screenplay). My Rating:
So the best movie of all-time, eh?
A movie with that distinction has rightfully been sliced and diced from a million different angles, and with having such an interesting figure in the middle of it all (Orson Welles) there is plenty of of wood to stoke the fire when discussing this piece of significant Americana.
First and foremost, the movie is very enjoyable. From the get go you realize this isn’t run-of-the-mill, early Hollywood; the movie opens up with an electric use of film angles and art direction, creating amazing intrigue with nothing more than ingenious camera work. This is followed with an inverted story, jumping back and forth between present and past in a way Quinten Tarantino would approve. Then, the fascinating main engine that keeps everything runningL the search for what “Rosebud” means.
What materializes is a move that has a little bit of everything: an intriguing story, well-written characters, a period piece of 1940s America, and a commentary on life, capitalism, power and fulfillment.
The moment you’ve been waiting for finally comes 4/5ths through the movie, but it all seems too late and anti-climatic.
American Film Institutes Ranking: #98/100 Academy Awards: Nominated for several: best picture, actor, screenplay, director, supporting actor. Won for supporting actor (Gene Hackman), Director (Clint Eastwood) and Picture. My Rating:
I’m okay with Westerns. My favorite book of all time happens to be a Western (Lonesome Dove). Older generations who display the red,white and blue at every door and buy cars made only in Detroit view Westerns as a quintessential American representation. The West represents the idyllic egalitarian society with no centralized government and each small community creating their own standards for law and acceptable behavior — no need for big government here!
It all works out for you as long as you are the swashbuckling cowboy and not one of the the characters regelated to the edges such as women, children, seniors, and those not willing to be violent. Unforgiven continues with this deconstruction of the Western narrative, focusing on a protagonist that isn’t glistening with moral righteousness while showing the real toll of vigilante justice. So while Unforgiven is certainly a Western, it tries to butt up against the glorification of the genre.
My problem is that in the process of flipping the script, you lose connection with the characters leaving a resolution that is ultimately unsatisfying.
Featuring the Mario cast in an RPG format, this game is a throwback to when Nintendo and Square were on good terms and more so when Square was THE company for anything Role playing.
Sydlexia’s Ranking: #5/100 My Rating:
Mario was once just pixels on a screen — he moved from side-to-side and displayed a powerful red and blue sartorial combo, but you couldn’t really say you knew anything beyond that. The early Mario games were point A to B side-scrollers, and like how chess pieces have unique moves but no personality, you simply were scooting your square of pixelated art across the screen.
The Final Fantasy franchise made a killing on the Super Nintendo by turning those mundane patches of color into meaning. Final Fantasy 3/6 was the pinnacle point of characterization for the SNES (and maybe video games in general): there were 14 playable characters, each with their own motivations, fears and personalities. At the end of those games, you almost felt like you were saying goodbye to your friends since they had done such a good job at fleshing out those characters.
So who else would Nintendo trust when they wanted to turn their silent movie star into something more?
Completely exposed, Joni Mitchell touches a nerve featuring all textures of a relationship. Her infatuation, longing, loneliness, and heartbreak is cracked open for all of us to see.
Rolling Stone’s Ranking: #30/100 My Rating:
The first two CDs I ever owned were Lou Bega’s Mumbo Number 5 and Joni Mitchell’s Blue. What do you want — I was a weird kid. Riding around on bus #22, I jammed out to the folk goodness of Joni Mitchell as we caravanned down cow-covered patches in western Hanover in Virginia.
I shouldn’t say I owned it; I overheard it being played by my sister and my mother, and after one of them left it in the CD drive, I got in the habit of listening to it while playing some of my favorite browser-based games (Archmage or Sissyfight anyone?). As a 13 year old, I did not exactly catch what all the lyrics were about. I much more appreciated the solid tunes and the earthy tones of the singer-song writer genre that was pretty absent from my 90s music diet.
Listening to this as a thirty year old is quite a different experience — past people and places bubbling to the surface with each track.
A front row seat to the underbelly of Mafia crime, the movie about the Corleone family has plenty of malevolent retribution to enjoy.
American Film Institutes Ranking: #3/100 Awards: Nominated for eleven awards with one being revoked and winning Best Picture, Best Actor and Best Adapted Screenplay. My Rating:
This is one of the heavy hitters of film, obvious by how high it is ranked (#3!) but also by its universal acclaim. Unfortunately, I’m not 100% on the bandwagon. Don’t get me wrong. I find this movie very good and enjoyable, but I’m not quite sure I would put it in my top five movies of all time.
There is something intoxicating about seeing the inner workings of the mafia, and Francis Ford Coppola’s movie does a wonderful job of characterization — there are rememberable people, interactions, and changes amongst the cast over the course of the movie. The fact that no one is safe from the violence adds an additional level of intrigue, never knowing who might be the next one to “sleep with the fishes.”
Science fiction at its best: taking advantage of temporal-spatial qualities to take advantage of our intuitions.
I really think science fiction, the genre as a whole, is under appreciated. There is some really good writing out there, and just because the settings might be geeky, futuristic, or entail allusions to higher level math, it gets disregarded. The format allows authors to explore things that just wouldn’t otherwise be possible; when you don’t have to worry about what is plausible, you are free to explore the human condition unabated without typical restraints.
Where this can go awry is that things can get too zany when authors get drunk off the power of not having to tell a tightly-knit story. This can be a delicate thing to balance, using the unconstrained conventions of the genre but still having to tell a coherent narrative that can be appreciated.
Fortunately, Ubik does both of these well and gets the most out of both sides.
Even with a slightly white-washed script, “To Kill a Mockingbird” can swell the spirit and can recreate the magic from the book.
American Film Institute Ranking: #34/100 Academy Awards: Nominated for eight, including best picture and director, while winning three for Best Actor (Gregory Peck), Best Adapted Screenplay (Horton Foote), and Best Art Direction. My Rating:
First, I think it has to be appreciated the challenge this director and screen writer faced: they had to take one of the most beloved pieces of literature and transmute it onto the silver screen. This was no small task.
Their approach was to put more focus on Atticus Finch than Scout which is a pretty-big deviation from the book. There are both positives and negatives because of this narrative change, and people’s feelings about this movie can usually be tracked back to how they view this slight of hand. Atticus is such a beloved figure of moral inspiration that having him be the center brings his edifying persona to the forefront, allowing fans of the book to get more of a favorite character. The downside is that the story strikes an odd tone, being almost silent on the African American plight.