The Best Time Travel Films of All Time

2013_05_07 Predestination_0407.tif

There’s currently a film on VOD called Predestination, which has to be one of the trippiest time travel flicks I have ever seen.  Based on the Robert Heinlein short story “All You Zombies,” directed by the Spierig Brothers (don’t worry, I didn’t know who they were before this either) and starring Ethan Hawke and Sarah Snook (if there is any justice, a star should be born here) as two temporal cops hopping through time to stop the crimes of the Fizzle Bomber, it blew my mind that this had not been given a major theatrical release.  Had the similarly minded Wachowski Siblings made this right after The Matrix, it would’ve been a huge hit and they would probably be remembered today for the latter and not the former.  But it blew my mind more for what it was able to achieve in storytelling.  It’s impossible to talk about what happens in detail without giving away major plot points.  Early on I had a hunch what might be happening, but I was totally floored by the depth of what was happening and how the filmmakers dragged us down deeper and deeper into this endless temporal loop.  It makes no sense while simultaneously it makes beautiful sense in its own twisted logic.  It made me wonder…could this actually be one of the greatest time travel movies ever made?  Only time will tell…

…for the purpose of this musing list, let’s be optimistic on its lasting impression and notch it at number 10.  Let the rest of the countdown begin:

Somewhere in Time

9.  Somewhere in Time (Jeannot Szwarc, 1980) – Legend has it this was one of the first films to find success in the early days of video cassette rentals (ahhh…somewhere in time indeed).  I remember making my parents let me watch it with them when I was very young (maybe 6 or 7) because Superman (Christopher Reeve) was in it, and it left me confused as I didn’t understand how one of King Henry’s wives (Jane Seymour) was still alive and acting in movies.  Also during this timeframe in my life I was similarly confused as to how a medieval Saint (Joan Van Arc) ended up staring on TV’s Knots Landing.  At any rate…lush visuals, haunting music, a beautiful setting and a love story beyond time has made this a huge cult hit, and rightfully so.

Happy Accidents

8. Happy Accidents (Brad Anderson, 2000) – This is not a romantic comedy.  I repeat: this is not a romantic comedy.  It’s actually one of the best time travel movies ever made.  It’s a shame Brad Anderson has never really found the huge success he deserved after delivering a trio of thoughtful, well done genre pieces (this, Session 9 and The Machinist).  This one is also a bit of a miracle as it made the always annoying Vincent D’Onofrio actually likable for once in his miserable acting life.  Oh yeah, and Marisa Tomei is lovely here, too. Continue reading

The 9th Annual Davies Awards in Film

 

A Look Back at 2014:

Cinematically 2014 was a long, bizarre year that seemed like it would never end, much like many of the runtime-be-damned films we watched.  It’s hard to pinpoint a defining theme as filmmakers were all over the map and seemed to be throwing everything and the kitchen sink at viewers, though time travel (in fantastic terms in Interstellar and The Edge of Tomorrow while in more realistic terms in Boyhood) and biopics (especially at the end of the year) seemed to make the most compelling cases.

Strangely I found myself disconnected from many of the overly praised but still very high quality “independent” films (Boyhood, Birdman and Selma) while I found enormous entertainment value in the smartly crafted mainstream masterpieces (Interstellar and Gone Girl).

Early in the year we were treated to some of the strangest and most unnerving independent fare with the cold Canadian entry Enemy and the ever-odd Under the Skin, both slow-burn psychological thrillers that could make David Lynch squirm and swoon.  At the end of the year, when it came to the biopics, The Imitation Game showed us how it should be done even when going by-the-numbers, while The Theory of Everything showed us how wrong by-the-numbers can go.

When it came to up-and-coming directors, Jeremy Saulnier (with Blue Ruin) and Jennifer Kent (with The Babadook) left us on the edge of our seats begging for more, while Ava DuVernay basked in the glory of being the first to attempt a MLK biopic with the noble Selma.

On the veteran auteur front, David Fincher delivered a dark comedy for the ages with Gone Girl while Christopher Nolan aimed for the stars with the year’s most ambitious and memorable effort, Interstellar.  Meanwhile in a tale of two Andersons, Wes Anderson delivered his best yet with The Grand Budapest Hotel while Paul Thomas Anderson delivered his least yet with Inherent Vice…which was still a pleasing effort and a notch about Wes’ best. Continue reading

The L’s Have It

It’s official, when it comes to the music on my iPhone, “L” is the best letter of the alphabet.

The Letter L

Not only do three of my favorite songs EVER (the Goodfella‘s inspiring Derek & the Dominos version of “Layla”, Dylan’s “Like a Rolling Stone” and The Eagles “Lyin’ Eyes”) begin with the letter “L”, but my “L’s” are also a completely stress-reducing mix of weirdly juxtaposed but oddly complimentary tracks that make any traffic jam, jam.  It also makes me realize I am very, very tragically white.

Here’s the complete song list: Continue reading

Your Spin: Uber Wagner

Wagner Quote

It’s that time again to put The Spin your hands!  The topic this round: The Greatest Piece of Richard Wagner Music.

As Sam Juliano from Wonders in the Dark so eloquently mused, “Richard Wagner was a racist, an anti-Semite and a bigamist, yet he wrote some of the most extraordinarily beautiful music in the history of Western civilization.”  And it was Sam’s chatter on the facebook that spurred this post.

It got me wondering, not only about all that great music (that lends itself so eerily well to cinema) but also, “What the hell was going on in Wagner’s head?”  His music has spawned men like Adolph Hitler to score their epic and vile plans for world domination, while it left others rapt and spellbound with fevered dreams of those pearly gates.  What did Wagner see when he composed?  What inspired him?  And what lead him to spew hate while also birthing so much aural beauty, bequeathing to us an unrivaled output of operatic art that will last as long as human beings have ears to listen to his work.  There’s something both ominous and serene about his best pieces, moods that swoon to an emotional climax before bringing the listener back down from heaven (or up from hell) to solid ground where the world lays itself out before us in all its mysterious glory.  His is the stuff of both the calm and the storm, the worldly and otherworldly.

But back to the music.  I’ve left out his most recognizable pieces to the layman…The Lohengrin Bridal March  – yes, the wedding march used at almost every wedding – and Ride of the Valkyries – used so devilishly in D. W. Griffin’s hate mongering Birth of a Nation and overused since then to death.  And, yes, I’m trying to bias the vote by putting my pick at the top.  But without further adieu…the nominees: Continue reading

The 8th Annual Davies Awards in Film

A Look Back at 2013:

It angers me when people complain about the state of film today.  Yes, there’s an orgiastic onslaught of celluloid and digital excrement shoveled into multiplexes every year…but if 2013 proved anything, it’s that art finds a way to survive and quite often thrives in the manure laid across the silver screen.  This past year saw both one of the most accessible art films (12 Years a Slave) and one of the most artistic blockbusters (Gravity) of the decade blossom in the verdant soil of cinema.  I mean hell, Gravity proved that a money gouging gimmick (3D) utilized in so much of that dross that strangles viewers every year can actually be used in the correct artistic context to add…fancy that…new dimensions to film.

And survival and blossoming in the midst of a shit storm – thematically that’s what the year in film was about.  Witness surviving: being kidnapped into slavery (12 Years a Slave), outer space calamities (Gravity), adolescence (Mud), young adulthood (Frances Ha), marriage (Before Midnight), the sins of the father (The Place Beyond the Pines), the lonely high seas (All is Lost), Somali pirates (Captain Phillips), and false persecution (The Hunt).  Hmmm…they do say that all great stories are essentially the same story, don’t they?

Continue reading

The Top Ten Will Ferrell Movies

This December, the most anticipated “long-awaited” sequel in film history since The Godfather Part III, will finally be here.

Anchorman 2 - Joke Poster

In honor of Anchorman 2’s upcoming release, I invite my idiot and learned readers alike to name their favorite films from uber-funny and 21st-century absurdist satirical mastermind, Will Ferrell.

Here are The Spin’s Top Ten picks –

  1. Talladega Nights: The Ballad of Ricky Bobby (2006) – Shake & Bake, Dear Lord Baby Jesus and Rickeeee Bobeee.  This was Ferrell, John C. Reilly and Sacha Baron Cohen at the height of their powers.
  2. Anchorman: The Legend of Ron Burgundy (2004) – Stay Classy.  Not much else to say here.
  3. The Other Guys (2010) – The scene where the Rock and Samuel L. Jackson leap from a building is still one of the funniest things I have ever seen.
  4. Step Brothers (2008) – Ferrell and Reilly again in all their monumentally moronic man-child glory.
  5. The Campaign (2012) – Political farce just got Farrelled. Continue reading

Your Spin: The Most Memorable Cinematic Performance by an Actor

It’s time yet again to put The Spin in your hands!

This is the latest round of a recurring feature where you, the reader, get to vote.

The winner of the last round, where tasked with choosing The Most Memorable Cinematic Performance by an Actress, was Maria Falconetti for The Passion of Joan of Arc.

Your next decision point:  The Most Memorable Cinematic Performance by an Actor…EVER.  Yup, ever.

Actor - Greek Mask

And the nominees are:

  • All kidding aside, Charlie Chaplin in The Kid
  • For ripping off the mask, Lon Chaney in The Phantom of the Opera
  • Because frankly he didn’t give a damn, Clark Gable in Gone with the Wind
  • Because we’d like to think he killed a man, it’s the romantic in us, Humphrey Bogart in Casablanca
  • For bringing out the killer in all of us, Joseph Cotten in Shadow of a Doubt
  • For STELLLLLLLLLLLLA, Marlon Brando in A Streetcar Named Desire
  • For flying the coop, Jack Nicholson in One Flew over the Cuckoo’s Nest
  • For being mad as hell and not taking it anymore, Peter Finch in Network
  • For being a contender, Robert De Niro in Raging Bull
  • Because, well, he rules, and we don’t get to tell him what to do ever again, Kevin Spacey in American Beauty
  • For drinking our collective milkshake, Daniel Day Lewis in There Will be Blood

Think we left someone out?  Start the debate in the comments form and then vote!

Your Spin: The Most Memorable Cinematic Performance by an Actress

It’s time to put The Spin in your hands!

This is the first round of a new recurring feature where you, the reader, get to vote.

Your first decision point:  The Most Memorable Cinematic Performance by an Actress…EVER.  Yup, ever.

Actress - Greek Mask

And the nominees are:

  • For becoming the saint Reincarnate – Maria Falconetti – The Passion of Joan of Arc
  • Because, frankly, my dear, I don’t give a damn – Vivien Leigh – Gone with the Wind
  • For suposin’ we should get out but quick – Barbara Stanwyck – Double Indemnity
  • For knowing when to walk away – Alida Valli – The Third Man
  • For becoming One – Bibi Andersson & Liv Ullmann – Persona
  • For being television incarnate and madness, Diana, virulent madness – Faye Dunaway – Network
  • Because you told me every man’s voice you hear is mine – Nastassja Kinski – Paris, Texas
  • For showing us hard work pays off – Linda Fiorentino – The Last Seduction
  • For being Good – Emily Watson – Breaking the Waves
  • For knowing that killing people is the one thing you’re not about to stop – Charlize Theron – Monster
  • For making me fall in love with you and the city of dreams – Naomi Watts – Mulholland Drive

Think we left someone out?  Start the debate in the comments form and then vote!

The 7th Annual Davies Awards in Film

Hollywood zeroed in on real drama and history in 2012, and they hit their mark.

Hollywood zeroed in on real drama and history in 2012, and they hit their mark.

A Look Back at 2012:

There’s so much to say about the year in film that was 2012. In many ways it was like two distinct years. The first half was grim and borderline torturous with the only bright spots being two films that came out of the blue to depict with great grit and emotion man vs. his own nature (guised as man vs. nature) in The Grey and The Hunter. In the summer, we were met with art house films critics were too eager to gush over. Yes, Moonrise Kingdom was Wes Anderson’s most charming film in a while, but it was still a Wes Anderson film. And yes, Beasts of the Southern Wild had a cool title and interesting set-up, but it really didn’t make any sense.

Oddly, at the multiplex things were clearer as some of the heavy hitters were well above average. The Hunger Games offered a new series positively literary when compared to the god-awfulness of The Twilight series (finally put to rest this year). Many people didn’t like it, but I still got a kick out of Prometheus while The Dark Knight Rises was a fine conclusion to a fine trilogy. Even The Avengers (overrated by fanboys) was above average…though it was still a comic book movie. This trend continued into the fall with the best James Bond film of the modern era, Skyfall, lighting the box office on fire.

Quietly simmering beneath all of this pop-culture hubbub was a snarky good year for neo-noir with the twisty sci-fi yarn Looper at the multiplexes and art houses runneth over with films like the Russian melodrama Elena, Friedkin’s southern-fried piece of Americana trash Killer Joe and the Twin Peaksian French entry Nobody Else But You.

But it wasn’t until the fall that things got real and filmmakers tapped into history to deliver highly polished professional products of the most prestigious order.
Continue reading

The Spin’s Top 60 Comedies of All Time

“You put WHAT on your top comedy list?”

I was recently asked by the film blogger extraordinaires at Wonders in the Dark to submit a ballot for the Top 60 Comedies of All-Time in preparation for their next feature which will tabulate the ballots and produce a definitive list later in the summer.  At first I found the task daunting – as many will remember guest-blogger Nicky D’s hotly contested and wildly popular Top 47 Comedies of All-Time that graced The Spin not so long ago.  For me, comedy is the most subjective and generational-based of genres – and it’s hard to judge films on personal tastes in humor.  However, the always generous Sam Juliano at WitD invited balloters to adopt an “anything goes” policy – meaning – if it’s a comedy to you! – put it on the list.  This opened up the door for me to include some of my favorite accidental comedies as well as satires and dark comedies that many would judge as dramas.  One will see my love for the darker side of comedy in this list, as well as my love for Woody Allen and those rascally kids that had me in stitches when I was a kid – yup – short films are allowed – hence the love for Our Gang.  At any rate…let the debate that started with Nicky D’s list continue as  I present to you my official rebuttal and ballot for the Wonders in the Dark polling.  I will provide no additional commentary and let the list speak for itself… Continue reading