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Flickcharting #2 – Rocking my Top 100

Time for more Flickcharting! For those still unfamiliar with the website Flickchart, here’s the gist of it: You’re presented with two random movies. Pick the one you like the most. Repeat until the end of time.

Last time I did this, I had Flickchart pick movies out of all the films I’ve seen. This time, I’m restricting the selections to the films currently in my top 100 on Flickchart – based on all my previous rankings. This should lead to harder decisions, as these 10 match-ups will all be between movies that I love.

Take it away, Flickchart!

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Black Swan vs Bridge to Terabithia

Bridge to Terabithia always deserves more love than it currently has. Always. It may be my favorite movie about childhood, and watching it is a wonderful experience. It’s so much better than what the misleading marketing made it seem. So it’s with heavy heart that I can’t give it the win here. Black Swan is such an intense film, and a terrific production in all regards, from the cinematography to the acting. The final scene always leaves me breathless.
Winner: Black Swan

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Best Worst Movie vs Take Shelter

There are plenty of things that I like about Best Worst Movie, the documentary on the notoriously bad Troll 2 and its cult following, but one part that really stood out to me was when they visited Margo Prey, who played the mother in Troll 2. At first, I just laughed at how out there she was, but gradually, that gave way to thoughts of “Wow, she’s really in a bad state.” It’s quite the shift from the generally humorous tone of the rest of the documentary. And then you have the scene at the convention, where both the Troll 2 people and the viewers come out of the bubble and are reminded that cult following is not the same thing as wide-spread fame. Two great documentary moments. Now, Take Shelter is a nuanced and engaging movie with a powerhouse performance by Michael Shannon, but I had fonder reactions to BWM.
Winner: Best Worst Movie

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The Wrestler vs Little Miss Sunshine

I’ve gone back and forth a bit on Darren Aronofsky‘s The Wrestler since its release. I loved it when I first saw it, but on a subsequent rewatch, I felt the story was a wee bit too familiar, and I docked it a point in my review of it. Since then, my appreciation for it has risen again, largely due to how cleverly it uses its pro wrestling subject matter to create a different vibe from most sports dramas. “Sports”-wise, it’s not about a guy proving that he’s better than others; it’s about a guy willingly putting his health at risk because it’s all he knows how to do. It’s a unique beast, that film. That said, there is nothing in the movie quite as great as the rollercoaster of emotions that is Little Miss Sunshine’s climax, and while Mickey Rourke‘s performance in The Wrestler is worthy of all the praise it has gotten, there is a lot of fun to be had in the many ways the members of Little Miss Sunshine’s ensemble cast interact with each other. Plus, I’m a sucker for comedies.
Winner: Little Miss Sunshine

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Hero vs Stranger Than Fiction

This is a case of where I appreciate the two films for very different things: Hero for its jaw dropping visuals and twisty Rashomon-esque storytelling, Stranger Than Fiction for its performances and quirky plot. Hero wins though, because it’s pretty much the most gorgeous-looking movie ever.
Winner: Hero

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Life of Pi vs Groundhog Day

Life of Pi was the first movie I ever paid to see more than once in theaters. Like Hero above, it’s a stunning achievement in visual splendor, and the story it tells is one I adore for many reasons. It is, however, sadly lacking in Bill Murray at his best and snarkiest. Groundhog Day also has quite the nostalgia factor for me, which proves to be too much for Life of Pi to overcome.
Winner: Groundhog Day

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The Rules of Attraction vs Requiem for a Dream

Flickchart is in an Aronofsky kind of mood today, it seems. Three films in six match-ups so far. Funny, that. Roger Avary’s The Rules of Attraction is a film I enjoy championing, because it rarely gets the credit it deserves – especially next to that other Bret Easton Ellis adaptation American Psycho. It’s great, wickedly funny, kind of alcoholic, and has some real teeth to it. If you haven’t seen it, you’d do well to check it out. Not that it’s better than Requiem for a Dream or anything, however. I saw Requiem early in my cinematic awakening, and it was a real eye-opener to me in terms of what was possible to achieve with directing and editing, not to ention the story that had me totally reeling. As an aside, it’s fun to note that the Victor segment of The Rules of Attraction owes a lot to Requiem’s hip hop montage editing style.
Winner: Requiem for a Dream

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The 40-Year-Old Virgin vs Lost in Translation

One of my Flickchart philosophies is that there should be no “automatic” wins. Just because I call Lost in Translation my favorite movie doesn’t mean that the match-up shouldn’t warrant full consideration (in fact, I never would have realized that it was my favorite movie if not for this philosophy, as described here.) So let’s look at the opposition here. The 40-Year-Old Virgin is pretty much the cream of the crop of the Judd Apatow brand of comedy. It’s hilarious, the cast is hitting on all cylinders, and there’s real affection for the main character and his plight. I’d call it one of the finest laugh-out-loud comedies of the 2000s. There. Case made. Lost in Translation is still better. Its meditative nature and profound tale still strikes all the right chords for me, and it keeps growing all the more relevant to me for every year as I traverse the age gap between Charlotte and Bob.
Winner: Lost in Translation

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High Fidelity vs The Ice Storm

Two movies about relationships here. Well, kind of. High Fidelity very much is, whereas The Ice Storm focuses more on a specific time and place (70s American suburbia) and the way people and families operated during this era. The Ice Storm is arguably the deeper of the two, and its approach to its themes is impressive considering that it’s directed by non-American Ang Lee. Even so, High Fidelity is a movie I find more relatable, and its blend of outright comedy and introspection is handled wonderfully. Having read Nick Hornby‘s source novel, I’m also in awe of what a skillful adaptation it is. Oh, and it has Jack Black‘s best performance ever.
Winner: High Fidelity

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Man on the Moon vs Forrest Gump

Oh, this is a tough one. My gut reaction is to go with Forrest Gump due to its emotional and touching story, but the more I think about it, the more I lean towards the Andy Kaufman biopic. It’s the one movie where I can actually forget that I’m watching Jim Carrey, as he does a great job of inhabiting the Kaufman character. Compare this to Forrest Gump, which is more a case of “Tom Hanks is sure acting the hell out of this movie.”
Winner: Man on the Moon

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The Woodsman vs American Beauty

Remember how I said that Lost in Translation is the movie I tend to call my favorite? Well, that used to be American Beauty, which to this day holds a special place in my heart. The Woodsman, on the other hand, is the film that made me a certified Kevin Bacon fan through his stunning performance as Walter. Both movies deal with the touchy subject matter of adult men lusting after younger girls, with The Woodsman fully focused on this whereas American Beauty has this as just one aspect of main character Lester’s mid-life crisis – and said crisis is still just one part of everything 1999’s Best Picture winner deals with. This thematic multitasking is part of what I like so much about it. The Woodsman is a more harrowing film, and certainly the more fearless one, but superior to American Beauty it is not.
Winner: American Beauty

Agree? Disagree? Let me know in the comments!

 
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Posted by on 4 October, 2013 in Flickcharting, Misc.

 

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My Top 10 Favorite Movies of 1999

Perhaps the most noteworthy thing about the 10 films on this list is the abundance of directing newcomers on it. 7 of the movies were made by people who made their feature film directorial debuts, and while not all of these film-makers would go on to lasting greatness, it still makes for an impressive class of 1999. The other three films are made by two well-established masters and one quickly rising star. There’s also, as usual, a lot of comedy on here. This shouldn’t surprise you with my lists any more.

So far in this series of blog posts, I have chosen to largely abstain from making honorable mentions. This has largely been due to a stubborn adherence to principles; if one sets out to make a list of 10 films, one should not name 20 films. I have now realized that this is counter-productive to the aim of these lists, which is to give people an idea of what movies I like.

With that in mind, here are some 1999 films I really like that didn’t quite make my list. Honorable mentions, if you will. In alphabetical order:

Arlington Road, Beyond the Mat, Bringing Out the Dead, Girl Interrupted, The Green Mile, In China They Eat Dogs, Magnolia, Office Space, The Talented Mr. Ripley, Toy Story 2

Now on to the list proper. As usual, I’m going by IMDB’s year of release.

10 – EYES WIDE SHUT (Stanley Kubrick)

“No dream is ever just a dream.”

Equal parts nightmare sightseeing tour through New York City and meditation on infidelity, Stanley Kubrick finished off his career in great fashion with Eyes Wide Shut. Impeccably designed and shot – as is to be expected from Kubrick – and with one of Tom Cruise‘s best performances in the lead, this film is also helped by having a strong story, one that might seem simple and straight-forward on paper but that reveals more layers with each watch.

9 – THE BLAIR WITCH PROJECT (Daniel Myrick & Eduardo Sánchez)

“I’m afraid to close my eyes, I’m afraid to open them.”

While this movie didn’t invent the found footage genre of film (Cannibal Holocaust from 1980 seems to be the agreed-upon originator), The Blair Witch Project popularised it, paving the way for films like REC, Cloverfield, Paranormal Activity and many others. When I first watched it at home alone one night as a teen, it had me rattled to the core. Even today, it remains a highly effective horror film by making us fear what we can’t see, rather than throwing a monster right in our faces. A picture might say more than a thousand words, but in horror, so does a sound that shouldn’t be there.

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Posted by on 5 March, 2012 in Lists, Top 10 of a year

 

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