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britesparc · 3 years

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Weekend Top Ten #462

Top Ten Things That Hopefully Will Actually Happen in 2021

I mean, it’s got to be better than last year, hasn’t it? Just on law of averages. I know it’s not really the greatest start. Everything’s shut again but it’s colder now. We’ve not got a handle on this thing. The idiots are still in charge. But I still feel cautiously optimistic. There is a vaccine now, at least. Trump is gone, barring some cataclysmic last-minute kerfuffle. A new lockdown is required, so hopefully however painful it is right now it’ll be the death throws of this wretched virus. Will 2021 look like 2019? No, not a chance. But maybe by summer, by autumn, we’ll be well over the hill. 2022, hopefully, will be great.

Not that I’m writing off the new year altogether! No siree. I think this is the year we turn the corner and see the road before us. I think this year can be good, and I think that – outside of pandemic and politics – there is quite a lot to look forward to.

I’m not right now talking about personal ambitions or wider, geopolitical hopes and dreams. This is all about stuff that I want to see or play or whatever. Things that don’t really have any bearing on if the world keeps spinning or we all make it through another tumultuous twelvemonth relatively unscathed. Just, y’know, stuff that’d be nice.

Cinematic Superheroes: 2020 was a bonkers year, and one of the things that was bonkers as it unfolded was how all these huge movies kept getting pushed back. As a result, there were precisely no Marvel Cinematic Universe productions released. Like, at all. Thankfully – hopefully – that will change in 2021. As well as some Disney+ stuff (see below) there’ll also be the belated release of Wonder Woman 1984, which came out around Christmas but which I’ll probably stream this month; and, lockdown permitting, we should finally see the likes of Black Widow, The Eternals, and things that were already scheduled for ’21 such as DC’s The Batman and The Suicide Squad. And y’know what? I’m even looking forward to Zack Snyder’s Justice League. Yeah, maybe some more will slip, but I’m just glad that we’re finally getting some men in tights back in our lives.

Plus all these Great Shows: just before Christmas Disney outlined its slate of upcoming releases and by Crikey it was mega. And the best part is, so many of these shows and films are imminent! In a couple of weeks WandaVision will hit Disney+, and later this year we’ll also see (I do believe) The Falcon and the Winter Soldier, maybe Loki, The Book of Boba Fett, and maaaaaybe if we’re lucky Obi-Wan Kenobi. Even outside of the other movies and things that they announced, and even if we don’t look as far ahead as 2022, Disney+ has a hell of a lineup for this year, and even if lockdown closes the cinemas, we can still enjoy a nice good stream.

Starred Up: the arrival of Star, the “grown-up” channel on Disney+, was confirmed (and confirmed to be included in the existing sub, which was nice), and recently it was announced that it will go live on February 23rd. For some reason I was expecting it later, so that’s nice. It’ll be good to see some of the smuttier Marvel movies make their return (especially Fox’s X-masterpiece, Logan), but I’m more looking forward to having all the Die Hards and Aliens in one place. Even the crap ones.

Finally, Halo Infinite: I really like Halo; it’s pretty much the reason I ever bought a console in the first place. So I was incredibly excited for Halo Infinite, and – I must confess – a bit disappointed by its reveal. A delay is fine; take your time, do a good job, try to avoid crunch. I’ve got more than enough to play. But with my pretty new Series X installed next to my shiny new 4K TV, I’d love to get into a proper new Master Chief adventure once again. And finally it’ll happen! My Big Christmas Game for 2021 is sorted.

Return of the (Lego) Jedi: speaking of Big Games for 2021… I love the Lego games from Traveller’s Tales, and it all started with Lego Star Wars. With the release of The Rise of Skywalker in 2019, I kind of assumed they’d be making a new one, and they are: The Skywalker Saga. Much delayed (I think it was meant to come out last summer originally?), but finally making its debut at some point in 2021, it promises to be a more expansive effort than any previous Lego game, and also offers a fresh look at every film in the increasingly-inaccurately-named trilogy. My youngest is really getting into Star Wars and she loves the Lego games, so this is something we can really enjoy together.

2020’s Greatest Hits: yeah, lots of great things coming out in 2021, but I gotta say one thing I’m really looking forward to is catching up on all of the things that were supposed to come out in 2020. I’ve already mentioned the likes of Black Widow, but there’s Coming 2 America (on Prime Video in March), Dune (potentially still hitting cinemas), No Time to Die (God knows), Spielberg’s West Side Story (delayed a whole year!)… even smaller-scale things like the cool-looking Freaky have been pushed right back. And whilst I’m not exactly looking forward to it, pity poor Peter Rabbit 2, knocked from an early Easter slot when the first lockdown hit, only to have its February half-term run destroyed by Lockdown III. Maybe next year, eh, Peter?

Matrix of Leadership: The Matrix turns 22 this year, shockingly enough, and last time I watched it was still absolutely brilliant in one of those hardly-ever-happens ways. The sequels I could live without, although I’ll warrant they’re still stylish with nice action, but they were a huge disappointment (moreso for me than the often-lambasted Star Wars prequels). However, I am super excited for Lana Wachowski returning to direct a fourth Matrix movie. I don’t know why, but I just think it’ll be great; there’s twenty years’ worth of “internet stuff” and “games stuff” and “comics stuff” she can use as reference or in-joke, and let’s face it, Keanu Reeves has never kicked as much ass in his life as he does in the John Wick movies, so we don’t need to worry about that. What the hell will it be about? How can you make a sequel to what felt like a pretty definitive ending? I mean, half the characters died (spoiler!). But I don’t care about that, I just want to see it (hopefully at a cinema).

One (Other) Ring to Rule Them All: I ended up spending quite a bit of time in Middle-Earth in 2020, including reading The Hobbit to my girls, Unfinished Tales, and Ian Nathan’s book about the making of Peter Jackson’s trilogy, Anything You Can Imagine. So I am, shall we say, primed for Amazon’s new TV adaptation of J.R.R. Tolkien’s opus. The Lord of the Rings series – as I think it might still be called? – will be set a lot earlier than the more famous stories, and although there are a lot of potential hiccups and hurdles in the way, I hope the less-familiar period and setting will offer scope for a series to make its own unexpected journey, showing even those that have read The Silmarillion something they’ve not seen before. I hope they don’t try to make it into Game of Thrones, and I hope they don’t try to shoehorn in too many aspects of The Lord of the Rings (I mean, hobbits shouldn’t really feature too much into it, surely?), but the pedigree is strong and I’m very excited.

Sinful: Russell T. Davies’ last show, Years and Years, was a fascinating combination of terrifying apocalyptic sci-fi and domestic soap opera, and one of the best things that happened in 2019. His next show, It’s a Sin, is about something altogether more real but still apocalyptic: the AIDS crisis in the gay community of the 1980s. I imagine he’ll still be expertly combining soapy drama with casual gaggery and moments of utter heartbreak. Apparently this is a story very close to his heart that he’s been wanting to tell for – yes – years and years, so it’s sure to be one of the TV highlights of 2021.

The Unconfirmed: one of the great things at the start of the year is, you don’t know what you’re going to get. Sometimes you get, well, 2020. But sometimes you don’t! Sometimes you get a year in film like 1984 (Terminator! Ghostbusters! Gremlins!) or 1999 (Matrix! Fight Club! American Beauty!); sometimes you get a year in gaming like 1998 (Half-Life! Zelda! Grim Fandango!) or 2007 (Halo! BioShock! Crackdown!). What’s coming this year? Well, with the new consoles out, we’re going to finally start seeing some new games that wrestle with the hardware; not just the cross-generational likes of Halo or Horizon but some new games, some unannounced games. We’ll also, no doubt, see proper footage and trailers for stuff we do know – Hellblade, Fable, hopefully Perfect Dark. Taika Waititi’s got at least two films on the go; that’ll be good. Spielberg doesn’t usually rest on his laurels; he’s finished West Side Story, so what’s next? Bond will come out, somewhere, somehow; will we get the announcement of a new Bond? Speaking of recasting, is Jodie Whittaker really leaving Doctor Who? I’ve not been too fussed with the show the last couple of years, but I’m always rooting for her and will be sad to see her go; but does that mean we’re in for another New Doctor palaver later this year too? Will we see or hear anything of Rian Johnson’s Star Wars films or, even better, a Knives Out sequel? The new Stranger Things has got to be this year, hasn’t it? What about Star Trek – Picard season 2 and Discovery season 4 should be happening, but will we also see the Pike and Georgiou-focussed spin-offs? God knows! It’s all up in the air! And these are only the things that we know or can speculate a little bit about! But that’s what makes it so exciting.

Well, that’s it for now. As I write this, what can only be called a mob of white supremacist terrorists – idiot insurrectionists, if you will – have stormed the US Capitol. Truly terrifying scenes, given the added worry of the Twat in Chief using the crisis as some phony excuse to cling on to power. I have faith that it’ll be resolved, short-term, and that democracy – capital-D Democracy – will endure, for now. But it just goes to show how volatile everything is. The kids are being homeschooled again. London’s hospitals are teetering on the brink. There’s gunfire in the Senate. But the first Black Senator just got elected in Georgia. My wife’s playing Ooblets. Somewhere it’s sunny, somewhere else a kid’s catching snowflakes, and somewhere else again some lucky sod is getting to watch Nine to Five for the first time ever. Things are scary and often crap but on the whole I think the arc of the universe tilts ever so slightly towards Being Generally Okay.

Take care of yourselves, wear a bloody mask, and here’s to 2021 Being Generally Okay.

#top ten #films #tv #games #halo #xbox #star wars #marvel #mcu #dc #batman

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d-and-s-are-bord-blog · 4 years

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Better Late Than Never: 19 Must-See Movies from 1999

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From 19 movie lovers to one other, here are some of our favorites from 1999.

We get a lot of emails here at Film School Rniejects, and while most of them are split pretty evenly between people curious if Kieran Fisher is a “real” person and others asking Christopher Campbell, Esq. for nudes, some are actually complimentary enough towards the site to count as fan letters.

One such example came to us recently from a young woman in the UK hoping to celebrate turning 19 years old with a writing project about movies released in 1999. Her plan was to watch or re-watch films from that year and then write about each of them whether she connected with the movie or not. As a fan of FSR and One Perfect Shot she asked if we could offer a few suggestions as to what we consider to be the must-see movies of 1999.

“Hi, I figure this email is a long shot but I’d really love your help. My name is Ellie, I’m 18, a complete film geek and I could not live without Film School Rejects or One Perfect Shot. I’m starting a project that involves me trying to watch new or rewatch 19 films from 1999 by the time I’m 19 on June 2nd and I would really love any suggestions that I can add to my list. I know its small, but this project means a lot to me and I’d love to complete it and write up about all of them, whether I’m passionate about them or whether I detest them. It would mean the world to get some help on this.

Thank you thank you thank you!

Ellie

London, United Kingdom”

The smart, easy, and nice thing to do would have been for one of us to dash off a quick list of 1999’s best films so she’d have it in time for her birthday. Unfortunately, we here at FSR prefer to complicate things and miss deadlines whenever possible, so instead of a short list we’d like to present Ellie with 19 picks from 19 members of our team. Some might seem obvious, others less so, but it’s most definitely a broad spectrum highlighting not only our staff’s eclectic tastes but also the absolute wonder that is cinema’s breadth and scope.

We write about movies because we love movies (and because Disney pays so damn well for positive Marvel coverage, but that’s a bit off topic so forget I even said it), and we’re equally excited by any opportunity to share that love with others. There are so many amazing films out there, and like everyone else, we’re still discovering new favorites every day.

So happy belated birthday Ellie! We apologize for the tardiness of our reply, but hopefully you find something new to appreciate from our picks and that they add to your already growing love for the movies. (And, yes, we did add a bonus pick for an even twenty to get a jump on your 20th birthday…)

10 Things I Hate About You (directed by Gil Junger)

Perhaps the last great teen movie of the 20th century, 10 Things I Hate About You made its debut in 1999. It’s essential viewing for any rom-com fan, but especially for young women. Kat (Julia Stiles) is a badass feminist lead unlike many we see in romantic comedies who accepts an invitation to prom from class mystery man Patrick (Heath Ledger). There’s miscommunication, true love, and a Shakespeare enthusiast. The soundtrack is the perfect time capsule of 1999, but it still rocks today. It’s a fun and adorable movie I adored when I was nineteen! – Emily Kubincanek

All About My Mother (directed by Pedro Almodóvar)

Us film writers have a bad habit of using “melodrama” like it’s a dirty word. The thing is, melodrama is most often used as a crutch—blatant appeals to viewers’ emotions made in an attempt to distract audiences from other shortcomings. It takes a skilled filmmaker to remind us of how wrong we are in conflating melodrama’s potential with the underwhelming contents in which it is most often seen, and Pedro Almodóvar is perhaps the preeminent master of melodrama working today. Todo Sobre Mi Madre (All About My Mother) is stuffed to the brim with plotting straight from a soap opera, expertly condensing the twists and turns one might expect from an entire television season into less than two hours. Gorgeously vibrant and filled with innovative cinematography that will stick in your brain long afterward, the film is a much-needed reminder that melodrama and great cinema can absolutely be one and the same. And that you should always look both ways before crossing the road. – Ciara Wardlow

Analyze This (directed by Harold Ramis)

What is the best way to understand film genre? Apart from actually sitting down and immersing oneself in its finest examples, the answer is clear: genre parodies! An overlooked classic is Harold Ramis’ Analyze This. One sentence summary: Robert De Niro plays a mob boss and Billy Crystal is his psychiatrist. It’s a ton of fun! Also, it’s a thoughtful satire, one that raises deep questions about our understanding of masculinity, especially in films about Italian-American men. In Goodfellas, De Niro plays a mobster completely devoid of emotion; here, he plays one who struggles to admit he has emotions because he believes doing so would make him weak. It’s well-worth your time, plus, if you like it, there’s a sequel! – Will DiGravio

Audition (directed by Takashi Miike)

By the time you read this, Takashi Miike’s filmography will have surpassed 100 directorial outings and some change. The Japanese maverick is a workaholic who’s willing to make any project he gets offered, though when you look at the eclectic array of titles in his oeuvre, what you see is some of the boldest and most daring cinema of the last 20 years. Audition, which is based on Ryu Murakami’s novel of the same name, is one of his foremost masterworks, as well as an example of J-horror at its smartest and most sadistic. It tells the story of a widower who’s looking to get back into the dating game, but he gets more than he bargained for when he meets a woman with a mysterious past and a willingness to go the extra mile. Part romantic comedy, part stomach-churning nightmare, Audition serves as the perfect introduction to Miike’s demented world, and it’ll either make you want to delve in further or avoid it forever. – Kieran Fisher

The Blair Witch Project (directed by Daniel Myrick & Eduardo Sánchez)

Found footage movies get a bad wrap. Look, I get it. After the – ahem – foundational film The Blair Witch Project made its splash debut at Sundance Film Festival, screening at midnight to an unsuspecting crowd, studios every year have attempted to cash in on this low-cost way of filmmaking. But when done right, this POV format elicits a cinema verite quality that we so rarely see in the horror genre. And that’s what makes Blair Witch work so well. It just feels real. And in a time when the internet was just becoming what it is today, it was easy for the studios to really capitalize on that and make audiences believe that it was real. From the website that the filmmakers set up to the Sci-Fi Channel “documentary” The Curse of the Blair Witch that ran the week before the film released, they essentially made not only the first Augmented Reality game but also an immersive experience. Watching the film you feel like you are in the Black Hills Forest with Heather, Mike, and Josh slowly losing your sanity as the claustrophobic woods send chills down your spine. And when the woods finally come alive, the terror feels real. In a decade that was full of glossy excess, the simplistic DIY quality of The Blair Witch Project made it a breath of fresh air. This film didn’t have beautiful 20-somethings, pretending to still be in high school, running away from a hook hand or a ghost mask, this was a fear of the unknown. What’s right behind the door, or down that dark corridor. What we can’t even begin to comprehend, for fear we go mad. Often imitated, but never duplicated: The Blair Witch Project is real old-school horror. – Jacob Trussell

Dick (directed by Andrew Fleming)

After nearly 20 years, I still can’t believe Dick hasn’t become at least a cult classic. This movie has so many hilarious performances from its mix of Kids in the Hall and Saturday Night Live cast members, including Bruce McCullough and a not-yet-famous Will Ferrell as iconic journalists Carl Bernstein and Bob Woodward. Ryan Reynolds is here pre-fame, as well. The political satire mashed with teen comedy stars Michelle Williams and Kirsten Dunst on the edge of their transitions from child actresses to Oscar and Emmy worthy talents, and that’s a perfect spot for them to be in while they play bubbly girls in the midst, almost Forrest Gump-like, in one of America’s most notorious scandals. It’s a hip, lampooning introduction to the Nixon Administration and Watergate for young audiences with a wonderful portrayal of Tricky Dick by Dan Hedaya, and it’s a light and entertaining take on political corruption and the well-worn story of becoming disappointed with heroes and leaders. – Christopher Campbell

Election (directed by Alexander Payne)

Hear me out: Tracy Flick did nothing wrong. Over the years, Reese Witherspoon’s portrayal of an uncannily chipper, type-A teen who will stop at nothing to become student body president has been hailed as both a cultural icon and monstrous villain – but as a profoundly dorky and overachieving teenage girl who first saw Alexander Payne’s Election when I was Flick’s age, I’ve always felt a deep kinship with her. Matthew Broderick is disarmingly convincing as its (unreliable) protagonist, a beloved teacher who can only see Flick as a vindictive seductress after an affair with his married colleague (a situation we’d recognize today as statutory rape). In retrospect, it seems to occupy a strange in-between era of teen-media canon – its sour, biting portrait of high school politics takes after the pitch-black wit of Heathers, and yet its earnest idiosyncrasy also recalls later, weirder works like the great American Vandal. It’s the rare kind of comedy whose sense of humor is dazzlingly sharp and yet never feels mean-spirited. – Aline Dolinh

Eyes Wide Shut (directed by Stanley Kubrick)

Stanley Kubrick’s final film is a salacious peekaboo exploration of the sexual desires hidden within the minds of our significant other. We recognize the deep, dark secrets that lurk inside our own fantasies, but we dare not ask our partners what delights they crave. What’s the password? You do not want to know. Eyes Wide Shut peels the curtain back on the lust that fuels humanity. The film is made all the more dangerous by casting real-life married couple (at the time anyway) Tom Cruise and Nicole Kidman in the roles of the husband and wife reeling from the revelations laid bare after one admits their carnal wants. Their bedroom confrontation is an exposed vein that the audience both recoils from and salivates towards. We should not be privy to such horrendous intimacy. Kubrick’s passing and the prudish controversy surrounding the centerpiece orgy marred the initial response to the film. The longer I’ve sat with Eyes Wide Shut, the more time it has wormed its way into my relationships. Don’t wonder what’s going on in your lover’s head. Ask. Or suffer the torment. – Brad Gullickson

Fight Club (directed by David Fincher)

Before it became a stereotypical Film Bro signpost, this fantasia of runaway masculinity was a pulsating, bloody, controversial revelation. An essential entry into the filmographies of Brad Pitt, Edward Norton, and Helena Bonham Carter, it was also the movie that gave David Fincher his biggest early push toward his current label as a modern auteur filmmaker. Love it or hate it, Fight Club is a pop cultural touchstone, referenced for its quotable dark humor, brutal offhand violence, anti-Capitalist ideology, and above all else, its wildly surprising ending. First and foremost, though, I think Fight Club is an example of what filmmaking can look like at its most technically brilliant. It was the movie that made me fall in love with the aesthetic side of cinema, the technical aspects which separate film from other mediums of storytelling. As with Fincher’s later works, Fight Club makes use of sounds and sights, colors and cuts that flow seamlessly together, fluid and visually dynamic, to create a rich and distinctive moviegoing experience. – Valerie Ettenhofer

Galaxy Quest (directed by Dean Parisot)

1999 was a simpler time on the verge of being more complicated. It undeniably had its eye to the future, but its special effects and grasp of a swiftly changing technological landscape haven’t all aged amazingly. Galaxy Quest actually holds up surprisingly well, but it does make for interesting viewing 19 years later. In 1999 the internet was still a new phenomenon, not yet a place where everyone and their dog had an opinion on your favorite sci-fi show. The film’s main plot, that an alien species have mistaken a tv show for reality, is inherently clever and funny, but seen from 2018, when all-consuming fandom is more visible than ever, it doesn’t feel quite so… otherworldly. That’s what makes it obligatory viewing for the end of the millennium — now officially older than its long-canceled titular show, it offers a prescient view of the world that it almost certainly didn’t intend. It’s a time capsule of accidental speculation. It’s also a fun space adventure with a lot of heart and Alan Rickman, so if you’re not in the mood for reflecting on how the world has changed drastically since your birth, you can still have a great time. – Liz Baessler

Girl, Interrupted (directed by James Mangold)

There truly aren’t many films exploring the motives and psyches of teenage girls, but alongside other 1999 releases such as 10 Things I Hate About You and The Virgin Suicides, Girl, Interrupted furthered the presence and dimensions of young women on-screen. In classic Winona Ryder style, she undertakes the role of an interesting, intellectual, and misunderstood adolescent, namely Susanna Kaysen, an eighteen-year-old who has found herself admitted to a mental institution following an overdose. She finds the women around her (an incredible supporting cast in the form of Brittany Murphy, Elisabeth Moss, and Clea DuVall) both relatable and frightening, revealing the inner prejudices she holds within herself. The real challenge Susanna faces, however, is the charisma and allure of sociopath Lisa Rowe (Angelina Jolie’s Oscar-winner, and an icon on every teen’s Tumblr dashboard circa 2012). Underneath the powerhouse cast and vivid identities, however, is a focus on mental illness and coming-of-age that makes Girl, Interrupted a seminal piece for anyone trying to navigate their place in the world. Susanna is the narrator of the story in place of the audience’s inner monologue, skipping with us through the highs, and tugging us out of the lows. It shows, frankly, that with therapy, recovery is possible. It also emphasizes the importance of friendship and the solidarity of women, providing a depiction of troubled teenage years with an absorbing and truthful force. – Anya Hudson

The Iron Giant (directed by Brad Bird)

When Brad Bird’s directorial debut about a boy and his giant robot from outer space hit theatres on August 6th, 1999, it was a critical success. But Warner Brothers hadn’t had the first idea how to advertise it, and it opened in ninth place at the box office. And in all fairness, The Iron Giant doesn’t exactly fit into a marketable mold. That’s one of the film’s strengths. It’s based off a children’s story that Ted Huges wrote to comfort his children after the suicide of his wife, Sylvia Plath. It’s a Norman Rockwell-inspired political parable about a young boy befriending a metal monster who, despite his programming, doesn’t want to do harm. It had something to say about fear-mongering, violence betting violence, and the cost of peace—and it said all these things without talking down to young viewers. At its core, The Iron Giant is a story of empowerment, not as myth or destiny, but as a choice. You are who you choose to be. You can be gentle, you can defend, and you can be kind. You can be superman. – Meg Shields

Magnolia (directed by Paul Thomas Anderson)

Magnolia is significant in the 1999 canon for several reasons. It is arguably Paul Thomas Anderson’s best film. It has an ensemble cast that rivals some of the best actors and actresses of our time. And frankly, it contains one of the best performances from Tom Cruise. That alone would be a feat, but Magnolia is an untraditional epic that proves that nothing is written in stone. Anderson uses a short story to present audiences to the idea of strange phenomenon. An unsuccessful suicide turns into a murder by the most unlikely circumstances. That is the theme that runs through Magnolia, unlikely circumstances. Donnie Smith (William H. Macy) was a former quiz show winner whose moment of fame passed him by. The man who hosts that show, Jimmy Gator (Philip Baker Hall), has his own issues as he is slowly dying from cancer. And these two are connected to other members in the cast through coincidences. Anderson has waned back and forth on whether Magnolia is his masterpiece, but regardless of opinion, there is no denying the power of the film. Add in an iconic score by Aimee Mann — and did I already mention Tom Cruise’s performance? — and you have a movie experience quite unlike any other. – Max Covill

The Matrix (directed by The Wachowskis)

Notice how in almost every action movie there will be a slo-mo fight sequence where the protagonist is dodging bullets left and right? You can thank 1999’s The Matrix for that. Though, admittedly, later films may not exactly do it justice. Moving past those iconic visual effects (known more familiarly as “bullet time”, undeniably made most famous by The Matrix though it can be found in its predecessors) this movie is a wild ride that defined the action genre for years to come. The use of sophisticated fight scenes, heavily featuring a martial arts fighting style as per its Hong Kong cinema influence, along with incredibly complex and unique worldbuilding, The Matrix has firmly secured its spot in pop culture legend. What’s more, Keanu Reeves shines as hacker-turned-rebel against the machines, adding sci-fi badass to his already notable film career. His journey as Neo takes you from sympathizing with his 9 to 5 struggles (a good juxtaposition, as the side gig as a career cyber-criminal was probably less relatable) and seeing apart of yourself in a character going through the gray-tinged motions of a salaryman, to wanting to be him. Who wouldn’t want an alluring, mysterious stranger to plunge you into the realities of a dystopia, introducing you to a cyberpunk cult who gives you the choice to change your perception of the world forever? It seems much more appealing in The Matrix, I promise. The Wachowskis’ most famous achievement, this is a film much better viewed than dissected, particularly at the risk of revealing an amazing semi-plot twist. It’s more than just a pop culture phenomenon, still able to stand tall in 2018 as the perfect combination of action film technique and sci-fi storytelling prowess. While the gothic, cyberpunk look of the costumes and character style may admittedly date itself, the core and general appeal of the movie hold strong. Where else can you find Reeves entering a technological-underworld, filled with the expected futuristic elements coupled with a grungy exterior⎯ while also battling cryptic agents and practicing kung-fu. – Kendall Cromartie

The Mummy (directed by Stephen Sommers)

Two sequels, four Scorpion King spin-offs, and an ill-fated reboot may have diluted the Universal Mummy brand, but Stephen Sommers’ original summer blockbuster is still as ruggedly charming as its lead. Brendan Fraser is at the peak of his dopey charm here, and Sommers rips off Indiana Jones with freewheeling ease, forgoing scares in favor of all manner of swashbuckling adventure, complete with a climactic sword fight with an undead army. There’s no sweaty cinematic universe-building to be found in The Mummy, just good old-fashioned grave-robbing fun. – John DiLillo

Peppermint Candy (directed by Lee Chang-dong)

There are plenty of light and fluffy movies I love, both from the US and elsewhere, but my heart belongs to darkness. (On the screen at least… I’ll stick with light and fluffy in real life.) South Korean cinema is better than most at scratching this particular itch, and Lee Chang-dong’s beautiful but devastating look at his own country’s recent history does it in brilliant fashion. Like the more well-known Irreversible from three years later, Peppermint Candy magnifies the story’s drama and emotional effect by playing out in reverse chronological order. We start with a broken man screaming on a train track as the locomotive rushes toward him, and we work backward through his life to the young idealist he once was. It’s a personal tale of one man’s disappointment, but the events he experiences also tell the story of South Korea’s own growing pains as a young democracy. It’s a smartly crafted punch to the heart, and it’s one of 1999’s best films. – Rob Hunter

Ratcatcher (directed by Lynne Ramsay)

Too often in conversations of a year’s best films are international works forgotten. For this reason, if you’re looking at 1999 in movies, Scottish writer-director Lynne Ramsay’s feature film debut Ratcatcher is a must-see. The film is set in 1973 and tells the story of James, a young boy living with his family in a run-down housing scheme in Glasgow during the city-wide garbage strike, leaving the already dilapidated residential units in worse conditions ever. By exploring the minutiae of the sensitive James’ daily life, Ramsay creates a film that delivers an incredibly thoughtful and powerful meditation on ever-relevant themes of poverty, guilt, secret-keeping and human connection. – Madison Brek

Ravenous (directed by Antonia Bird)

It’s been a slow climb to respectability for Bird’s 19th-century cannibal classic. Universally panned on its release – the film was called a ‘stupid black comedy’ and ‘material that’s often better suited to a Monty Python skit’ – Ravenous has slowly risen in the esteem of horror fans and earned a spot as one of the better horror films of the last 20 years. And for good reason: not only does Ravenous feature the kind of onscreen talent normally reserved for high-profile chamber pieces, it also contains one of the most memorable soundtracks of any decade, a pop-infused cacophony of period instruments and chanting (co-written by Blur and Gorillaz frontman Damon Albarn). Equal parts black comedy and superhero-horror hybrid, Ravenous is the kind of movie that was meant to get better with time. Here’s to the cavalcade of anniversary pieces already scheduled for next spring. – Matthew Monagle

The Straight Story (directed by David Lynch)

There’s art-damaged David Lynch, there’s network TV David Lynch and even big studio David Lynch, but what if the best David Lynch is the one that Disney randomly bought at Cannes the summer of ’99 and which remains the director’s only G-rated entertainment? Shot along the route that notable Iowan Alvin Straight took by lawnmower to see his brother over in Wisconsin a few years before, The Straight Story tells this tale with the kind of look-in-your-eye sincerity that Lynch had for so long only been able to perform in various tediously ironic costumes. Richard Farnsworth, a stuntman who once played Matthew in Anne of Green Gables, is Straight, exalted here as an ordinary joe stubborn to the progress of time and old wounds. One finally triumphs over the other when Straight decides to reconcile with an estranged brother two states away, who appears, as-who-else but longtime chum Harry Dean Stanton. Because of Straight’s decimated vision, the local Man tells him he can’t drive and god knows no All-American will be caught dead on a bus in those 49 states, so Straight hitches up a lawnmower from the local John Deere affiliate and off he goes, with longtime Lynch collaborator Angelo Badalamenti scoring this to an ambient take on that era’s popular The Oregon Trail 3rd Ed.-music. What follows is an epic Odyssian tale that offers Oscar-nominated real pain and real country patois. It was perfect for the comedown from the summer of Woodstock ’99, and it’s perfect for right now, the clouds gathering and you can see them far-off if you look, before another summer of infinite bleakness. – Andrew Karpan

The Virgin Suicides (directed by Sophia Coppola)

Sofia Coppola is known for her vested interest in girlhood and female experiences, and she’s been committed to this since her debut film in 1999. The film is haunting and achingly beautiful in its depiction of the events that led up to the Lisbon sisters taking their own lives, all before they turned eighteen. It is intimate and empathetic, characteristics that Coppola frequently employs well, but unlike her other films that take the perspectives of her characters as they grapple with loss and disillusionment, The Virgin Suicides never fully breaks through to the Lisbon sisters, leaving them as mysteries without answers, asserting how difficult it is to know each other but how important it is that we try to. Every time I revisit the film I find a new detail that reminds me how much I love Coppola as a filmmaker and how grateful I am for her work. – Anna Swanson

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Posted by DemarioMarks on 2018-06-12 21:59:45

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