![]() ![]() Yes, of course, we focus on the lift, the unchecked Swayze-ness, the wriggly hips, the PG-rated sexy times, watermelons, the putting of Baby in the corner. The perfect example of how omnipresence can obscure the potency and purpose of pop-cinema. Previously mentioned in my list on Wild Directorial Double Takes. It’s a technical masterpiece, its themes universally conveyed through the language of suspense filmmaking. Wolfgang Petersen forges masterful tension and plunges you into the depths alongside the enemy. The German sub thriller that places you behind enemy lines, earning your emotional connection. William Hurt, Holly Hunter, and Albert Brooks deliver an all-time ensemble performance. While Brooks’ script has been criticized for resembling a sitcom, I think this is because the production leaves the heavy lifting to the actors and shies away from directorial interference. Brooks’ 7-time Oscar nominated peek under the hood of a television news team almost feels like an afterthought. Proof of a standout year in cinema… when James L. The Princess Bride exists outside of time, the perfect cinematic celebration and dissection of the storybook fairy tale.Īnd while we’re on the subject let’s take a moment to consider the string of movies that began Rob Reiner’s directorial career: This is Spinal Tap (1984), The Sure Thing (1985), Stand by Me (1986), The Princess Bride (1987), When Harry Met Sally (1989), Misery (1990), and A Few Good Men (1992) – a list that ranks among the greatest and most varied strings of American commercial filmmaking.Īdventures in Babysitting (Chris Columbus, 1987)Ĭhris Columbus’ “one crazy night” suburban teens in the dark city adventure opens with Elisabeth Shue dancing around her room and lip-syncing to The Crystals’ “Then He Kissed Me,” and it’s one of the most beautifully 80’s things ever captured on film. To say that they don’t make movies like this anymore would be a gross misrepresentation. Mark Knopfler’s understated, underappreciated score. Reiner’s way with comic timing, putting every actor onto the same eccentric tone. When I say I “liked” The Princess Bride, that is to say I overlooked all of its beautiful subtleties. I’ve led this blurb astray to emphasize my consumption lacking in discrimination. I watched movies like they could be taken away from me at any moment. Old movies, new movies, foreign movies, good movies, bad movies. “Enlightened” as in my parents permitted me to watch anything this side of graphic sex. I was, after all, an “enlightened” pre-teen consumer of all manners of film. At the age of 10 or so, the fairy-tale construct might have seemed a little childish. Vibrant characters with clearly defined archetypes and a clearly defined quest. They’re simply confused about the nature of ice cream. ![]() *except those that claim to like The Ladykillers. And all of that without mentioning the exquisite lead performances from Nicolas Cage and Holly Hunter. Not only is it the Coens’ funniest film (and arguably their most observant and human), but Raising Arizona boasts some overlooked filmmaking technique – especially during the bank robbery sequence. ![]() ![]() Dave Kehr of the Chicago Tribute called it: “an episode of Hee Haw directed by an amphetamine-crazed Orson Welles.” Even though that blurb’s supposed to be a biting witticism, I’m still excited by that flavor of ice cream. At the time of its release, critics were divided. In Raising Arizona, the Coen’s second feature, the brothers set out to create a screwball, upbeat counterpoint to Blood Simple’s dour nihilism. Just like flavors of ice cream, everyone’s got a favorite Coen Brothers movie and nobody’s wrong* because, in the end, it’s all still ice cream. ![]()
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