15. 'Erin Brockovich' (2000)
The first Julia Roberts film I can say I genuinely loved. 'Erin Brockovich' was first given to me by my Scriptwriting tutor at university, when discussing autobiographical films and the powerful women who have made history and star in them (incidentally, I was the only girl student in that lecture, and it was my first real exposure to how much some groups of men seem to harbour a primeval hatred towards women who make names for themselves, much less dare to speak). Such a wonderful, fully-realized and fantastically-shot movie. Of course, being a Hollywood "true story", a fair amount of liberties were taken, but damn did it capture what a brave, bold, highly intelligent, gives-no-shits maternal person Erin Brockovich is. I forever remain gobsmacked over why Julia Roberts isn't given more expanding film roles to play in order to break her rom com type casting. She is absolutely brilliant in this. Underneath this true story is the makings of a timeless Hollywood underdog narrative: 'Erin Brockowich' is about a poor, single mother who, against all odds, fights for justice, and brings down a corrupt company. Erin is someone who is generally thought of as a benefits-scrounger, and a slut because of how she dresses and her being twice-divorced. She is someone with little higher education and employment background. Yet it's her against a giant billion-dollar corporation - and in the end she wins. Erin doesn't use her sexuality to get what she wants, except in one scene but that can be forgiven, because she fights tooth and nail - with her own bare hands - to achieve what she needs. She has a strong sense of right and wrong; her morals and ethics are strictly altruistic. Erin Brockovich is a tough woman: She doesn't care what other people think of her, and is truly admirable; so unlike any other female protagonist in film. The fact that she is based on a real person makes her all the better for any young teen girl with self-esteem issues to look up to. Even the romance in the movie is downplayed in favour of the leading lady's big heroics. There is so much to love about 'Erin Brockowich'. Awe-inspiring as well as endearing, with a fantastic star, it's a must-see for everyone.
14. 'Ever After' (1998)
It is only recently that I saw and fell for 'Ever After'. In that instant 'Cinderella' was no longer my least favourite princess fairy tale, after a lifetime of indifference. I adore 'Ever After'. It's like a more sophisticated version of 'Enchanted'. Only this fairy tale is purely historical fiction - no fantasy elements in sight. There are no fairy godmothers, no glass slippers magically made comfortable; just one girl making it on her own. It is the feminists' 'Cinderella'. Its magic lies in how well developed its characters are, how each of its subplots are paced and woven together like a Renaissance quilt, and how smart and full of life its own Cinderella - the originally-named Danielle - is. She is brave, cunning, a bookworm, and skilled in many things, from swimming, rock climbing, to swordfighting. Even the wicked stepmother is given depth, and one of the stepsisters is sympathetic towards Danielle. Nothing and no one is left out, nothing gets an unsatisfying conclusion. Like all the previous films I've listed, everyone is perfectly cast here, and you can't go wrong with British actors trained in the Shakespearean arts. Regal yet enjoyable, and a scriptwriter's dream in painstakingly crafting a two-hour-long masterpiece, 'Ever After' is a beautiful, unique rose.
13. 'ParaNorman' (2012)
A darn-near perfect movie, showing what the medium of animation can do. 'ParaNorman' looks like a totally unoriginal mess on the surface. But beneath the silly horror elements - ghosts and zombies - is a film with a phenomenal amount of heart. It's a story about prejudice, and even makes the connection between bigotry and fear - fear of the unknown, of human uncertain, which is something the whole horror genre is based on. I don't even like horror, but I am touched by 'ParaNorman' due to its themes, its sympathetic main lead, the memorable cast of characters who appear to be walking stereotypes at first but reveal layers as the movie progresses, and the detail put into its stop-motion animation (like the shadowing on the characters and sets). It captures the feeling of isolation - especially from the viewpoint of a child - in a seemingly narrow-minded and hopeless world in the truest way I've seen in any film, and that ending - 'ParaNorman' is one of the very few motion pictures to raise tears to my eyes. 'ParaNorman' isn't based on any existing story, like a book, as with Laika's other films, 'Coraline' and 'The Boxtrolls'. It is its own original thing; something that's so rare in Hollywood right now. 'ParaNorman' is also the first family film to explicitly feature a gay character - a non-stereotyped one at that. It could have done more in terms of race in its prejudice theme, but as it is, 'ParaNorman' is an instant classic. Intense and suspenseful like a horror film, while subverting that same genre in almost every level, there is a lot this film has to offer us.
12. 'Terminator 2: Judgement Day' (1991)
I bet you didn't really expect there to be a science fiction film in this list of mostly fantasy and animated pictures. But the themes and characters of 'Terminator 2' resonate with me so very much, I consider it one of my all-time favourites without having to think about it. Everything about it is stuck in my brain forever. I remember it being one of the films my dad showed my brother and I when we were too young to watch it, but to hell with ratings. 'Terminator 2' expands its themes of machines taking over the practicalities of humanity more vastly and with a stronger emotional connection than what was achieved in the first 'Terminator', in my opinion. It is the longest film on this list, but I never grow bored by anything in it. Every human character talks and acts like a human would, and even the Terminator itself is a fascinating creation - strangely sympathetic through its protector/father-son-type relationship with young John Connor. The robot is also consistently entertaining without having to talk at all. Sarah Connor, when her life is ruined and she's pushed to the edge of the abyss, reveals herself to be a badass in her own right. Incredibly smart and resourceful, and not emotionally dead like a typical sci-fi muscle, she isn't merely an incubator for the future hero of mankind. Sarah the former waitress could well be that hero. There is a bloody, beating heart in this classic sequel; great care was taken in developing its characters, and it demonstrates a sincerity in its message that's not truly present in quite a lot of other sci-fi movies that are only interested in style over substance. The key to making the audience care about the humans in an apocalyptic film about machines taking over the world is: Make them real humans, make them likable and complex, make us want to see them succeed, so we'll have faith in humanity in the future. Tip for all filmmakers: Don't sorely rely on violence and death to manipulate our emotions. Harrowing yet satisfying (until the further sequels are crapped out), 'Terminator 2: Judgement Day' is one of the best sequels ever for a reason.
11. 'Mad Max: Fury Road' (2015)
Now I know what you're thinking. It isn't hard to guess what conclusions some of you are already forming in your heads. But to make it clear this instant: No, 'Mad Max: Fury Road' isn't a favourite of mine because of its feminist message and leanings. It isn't because, in its apocalyptic setting, of its breakdown of the patriarchal society and the warlord mentality, revealing its dangers and pointlessness. While those things are important and contribute a bit to making it beloved by me, I'm adding it to this list simply because it is a damn fun action movie. It knows what makes an action film exhilarating, thrilling and memorable - not since 'Die Hard' has this particular genre given me a great deal of hope for the film industry. Its scope is enormous, yet the special effects are used as little as is necessary; nearly everything is done onset - no green screen - and the actors do most of their own stunts. Every single shot of 'Fury Road' demands your attention, but it isn't overwhelming or obnoxiously in-your-face about it. It keeps you on edge in an adrenaline rush throughout its run time. There's symbolism, and something to look out for which you didn't notice the first time watching the film. Very little dialogue is spoken throughout the whole of 'Fury Road', but it says what is needed to be said. Nothing is wasted. The wide cast of female characters - young and old - is itself revolutionary in the action genre, to the point where the male lead, Max, almost comes second next to them all and is only along for the ride because he is forced to by external circumstances. The women have a choice - a choice not to be sex slaves, not to be oppressed, not to be things that carry male babies who will be raised as warlords themselves. It's genius that there is only the implication that the Wives were raped - no rape is shown onscreen, because the filmmakers understood how gratuitous that would be, and they trusted the audience's intelligence enough for them to come to that conclusion themselves, what with the Wives wanting their freedom so badly, and they were obviously mistreated in the warlord's dystopic country (a certain comic based on the film didn't get this, and it can go straight to hell). The male characters represent the futility of hyper-masculinity and male entitlement - toxic sexism seriously harms all genders. I love 'Fury Road' as an action film, and as feminist commentary that isn't overt. The kinds of movies I rate high are the ones that take risks, that break the mold, made by people who clearly care about what they are doing. And boy does 'Fury Road' tick all the boxes, right down to the fact that it took decades to get greenlit! Finally, something from the action film genre that can be taken seriously after thousands of formulaic male power fantasies. Something that men and women and everyone else can enjoy. Plus there's a guy who plays a guitar that shoots fire as he rides towards a battlefield - what more could you want?
To be continued in Part 3.
No comments:
Post a Comment