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

Avoiding Dark Unspeakable Hippy Horrors with Inherent Vice

Inherent Vice

After There Will Be Blood and The Master, Paul Thomas Anderson deserved to take a break, didn’t he?  He pulled off a similar lark after Boogie Nights and Magnolia when he directed “his version” of an Adam Sandler film with Punch -Drunk Love.  Much like the main character Doc Sportello has to dig deeper and deeper for the truth in this hippy noir, viewers have to dig deep to find any of screenwriter Anderson’s trademark themes in Inherent Vice.  Maybe there’s something about makeshift dysfunctional families here?  Having never read Thomas Pynchon’s source material, I can only assume all the darkly hilarious dope-fuelled and sometimes absurd banter is pealed straight from his novel (especially Joanna Newsom’s most pleasing to the ear voice-over work) as I felt and heard none of Anderson here.

This is a true adaptation handled with artistic care.  Where one does find the director Anderson is in the visuals, pacing and music. Longtime collaborator Robert Elswit evocatively photographs this Gordita Beach 1970 set rambling comic-mystery with gritty stock, soft blues and hints of sunset orange.  He does special wonders with the beautiful actresses in their groovy and revealing period garb and make-up (look at those pores!).  Anderson peppers in his always great taste in period music, while Jonny Greenwood provides a score unlike any he’s previously done, sweetly nostalgic and understated, perfectly accentuating the cool mood of the film.

In the lead role of Doc Sportello, Joaquin Phoenix gives the comedic performance of the year as the most howlingly expressive stoner detective ever to grace to the screen.  Yet the film is very much an ensemble piece, so much so it’s hard to pick out the highlights from the carnival of stars. Continue reading

Going Back to the Bridge in Selma

Selma

Like two of the other most ballyhooed films from 2014 (Boyhood and Birdman), Selma is a really good film that has been a bit oversold.  I suppose if one is going to overrate a film, it might as well be one as noble as this, but in the slightly paraphrased words of my girlfriend, “I just wish they would’ve gotten the facts straight and given this girl a little more gospel.”  There’s something curiously missing from Ava DuVernay’s intelligently directed and reverent biopic of our nation’s most celebrated reverend and Civil Rights leader, Martin Luther King Jr., despite many convenient current parallels reminding informed viewers there is still so much work to be done.  That missing piece is the call to action.

Standing tall in the film are DuVernay’s depiction of the most harrowing events (from the bombing of the four little girls in the church and the violent police suppression of the first attempt to march across the bridge out of Selma towards Montgomery, to the quieter but equally disturbing moments showing the casually institutionalized hate-fueled suppression of the right to vote in court houses across the Deep South) and, naturally, David Oyelowo’s commanding performance as MLK.

DuVernay, taking a cue from Spielberg’s Lincoln, does a commendable job showing the slow tension-building behind-the-scenes process of what it takes to organize a meaningful march against injustice and how that can be used as a tool to raise public sentiment for the passing of legislation (in this case, the landmark Voting Rights Act of 1965).  The tenants of nonviolent protest are on glorious display here, showing how powerfully effective yet dangerous it can be, as it coaxes the irrational radicals out into the open light of day where those watching on the sidelines are suddenly spurred to stand up because they are left with no other option once violence erupts against the peaceful marchers.

Sadly, Paul Webb’s uneven screenplay betrays both DuVernay’s skills and Oyelowo’s passionate portrayal as the writer plays loose with some key facts and insists on fitting King into the archetypal mold of a leader riddled with self-doubt.  Continue reading

Of Art, History, Cannolis, the Wicked Cold, Green Monstahs and Ringing in the New Year in Boston

Boston Harbor 1

Happy New Year from The Spin!

We rang in 2015 braving the wicked cold of Boston.  Oddly, though I’ve had numerous personal and professional connections to Boston for the past 15 years and for most of my life it’s been a mere six-hour drive away, this was my first trip to the New England metropolis – better late than never!  For me, it felt like a quaintly quieter piece of NYC spiced with a Dublin-esque sensibility and is chock full of all of my favorite things: history, art, pubs and baseball.  And it’s super easy to get around by foot or on the T.

We stayed in the Back Bay but ventured all over during our four-day stint.  We hit up some pubs around Faneuil Hall; toured Fenway Park; ate at Tasty Burger; visited the Isabella Stewart Gardner Museum; took in the Goya exhibit at the Boston Museum of Fine Arts;  did Italian and cannolis (the best cannolis ever, mind you, from Mike’s Pastry on Hanover Street) in the North End; strolled through the historic Boston Granary burial grounds, along Beacon Hill and Boston Common; stretched out to Brookline; and had drinks at The Pru’s famous Top of the Hub.

And, of course, here come the photos: Continue reading