Welcome back to my lists!
I shall countdown my Top 20 Favourite Female Characters - characters from any medium, from films, TV shows, books, stage plays etc.
These are not just female characters I merely like, nor are they what is generally considered to be a "strong female character". That's a load of bollocks. These fantastic fictional women are what I consider to be the most well-rounded, the most complex, the most interesting, and the most relatable. They have left the biggest impression on me. It doesn't matter if they are "strong" and there's nothing else to them. What matters is how well-written they are, who are "strong" because they are women, not in spite of it. Or they are feminine and still fully-realised characters not put in a specifically-labeled box because of their gender. Or their gender doesn't matter at all and their stories would be made no different if they were men. They definitely don't exist for the sole purpose of cheesecake, or to be eye-candy, an object for the male gaze, or love interests for a male character.
Another thing to keep in mind: All the characters listed here are fictional. No persons directly based on real people will be included, so there will be no Erin Brockovich or any historical women on this list. This is because I want to highlight how a well-written female can come purely from the imagination of a writer - who can write women as people, who can break the sexist mindset that women are hard to write, without even trying.
Only one character per franchise gets a spot; a couple of times I might cheat and share two characters from the same franchise. Also, like I said last time, this is my list and so it contains my own subjective opinions.
And just in case someone on the internet accuses me of being sexist myself for making a list only about women: After this list is completed, I will start on my Top 20 Favourite Male Characters. Because lord knows there's such a shortage of well-written portrayals of men out there.
But anyway, as with before, let's begin.
20. Sora Naegino ('Kaleido Star')
A heroine from an obscure anime, Sora is one of the most optimistic, friendly, determined, earnest and triumphant characters I've ever seen. And given the amount of shoujo anime there is starring the same old hyper and sensitive girl lead, that is saying a lot. Sora is no naive fool, however. She is a friend to everyone and everything, but she isn't someone to be underestimated. An amateur Japanese acrobat and circus performer living and working in San Francisco, she knows exactly what she wants and she will go through hell and high water to achieve her dreams. She never gives up, even when dealing with physical and emotional pain. This big-eyed anime teen girl's determination and exertion - pushing herself further and further always - is awe-inspiring. Sora has a lot of female friends, and no romance interferes with her life - the Kaleido Stage is her love. She doesn't even like competition - she does what she does because it makes her happy, because she loves it with all her heart. She gets annoyed and angry sometimes, but who doesn't? Even this starstruck Pollyanna orphan has limits. Yeah, she has a tragic backstory as well, but it isn't at the forefront of her character. Her personality remains a winning, positive one. Sora Naegino - the girl who reaches for the stars and back again..
19. Sam Sparks ('Cloudy with a Chance of Meatballs')
A lone female in an animated movie that's all about creativity, invention, and having a fun time? A contradiction to be sure. But weather girl Sam Sparks is on this list simple because of this: She is a female character in a slapstick comedy done right. She isn't ignored, written to be less funny than the guys, or abused. She is as much Looney Tunes as everyone else in 'Cloudy with a Chance of Meatballs'. Sam has many funny lines, and is a part of the film's cartoony physics and logic - she isn't out of place in the slightest. Even better, she's on the same level of genius as the male protagonist, Flint Lockwood, is, if not more so. She hides her intelligence because she was bullied for it at school. It's because of her intelligence that Flint falls in love with her, not her looks, and later on in the film she ditches her pretty weather girl image and wears glasses and a scrunchy - and she stays that way, even in the sequel. Her brain is respected as the most important thing about her. A reverse-makeover of a nerdy female character, in a children's film at that - absolutely revolutionary. I knew Sam Sparks would be a favourite of mine from that moment on. Plus Anna Faris does a terrific job in portraying her bubbly, hyper-energetic personality through voice alone - it's not just the animation which compliments this great character. Sam doesn't do or say a lot of funny things in the sequel, sadly, but in the original she is a gem, a darling. I adore her.
18. Geraldine Granger ('The Vicar of Dibley')
I love Dawn French. She's a very funny and talented woman, And her role as 'The Vicar of Dibley' is one I will always remember, having watched the classic British sitcom compulsively throughout my adolescence. Geraldine Granger is a woman vicar in the quaint little Oxfordshire village of Dibley, where everyone is mad in their own way. She isn't exactly a straight man herself, as this Christian lady is risque; possessing her own funny quirks and habits. Her love of chocolate and Sean Bean being only the start. Despite some of her hi-jinks, and having short fuse on occasion, Geraldine has a heart of gold, and sticks by her beliefs and ethics throughout the show's run. A caring individual who is very relatable as well as funny. She's significantly tolerant of others as well, living in a village full of odd individuals who she still views as family. A big lady - both literally and figuratively - she is the star of Dibley, and nearly every man she meets falls in love with her. It was so nice seeing a complex woman in a sitcom when I was a young girl; a woman who is sympathetic, and knows when to be both silly and serious where appropriate. No shock value or sexist stereotyping to lean back on - Dawn French is great doing her own thing. It is made a big deal later on that Geraldine is "lonely" and is never the bride in the weddings she conducts, and at the end of the show she gets married off on the fly. But oh well, it was fun while it lasted. Hilarious and lovely, Geraldine Granger is the kind of vicar perhaps every church should have, one to make friends with in real life.
17. Edna Krabappel ('The Simpsons')
Another older lady to admire growing up, just for how human she is. Edna Krabappel is the best recurring female character in 'The Simpsons', in my opinion. Marge's tolerance of Homer's near-sociopathy and abuse of her has become ridiculously grating and frustrating over the years, and Lisa has grown into less of a character and more of a Mary Sue annoyance. But Ms Krabappel, for the longest time, has remained funny and non-stereotypical all on her own. This fourth-grade schoolteacher has had relationships with nearly every man in Springfield and is completely unapologetic about it. Edna is never sorry for who she is and what she decides for herself, and she is the type of woman - once divorced - who never forgives and never forgets, hence why men will only really get one chance with her. As a teacher, she is the bored, chain-smoking, long-suffering supervisor of Bart Simpson and his antics, doomed to be responsible for him forever since, it being 'The Simpsons', the fourth grade will never end. But outside of the classroom she is confident and outgoing; Ms Krabappel is a middle-aged woman, childless and happy for it, who does whatever she wants. And people are okay with that, within the show and out. It's her business, and no one else's. Similar to Geraldine Granger, Edna's character arc shines a light on her independence, and sexist stereotyping isn't relied on for humour when it comes to her. That is until she is also married off at the end of her twenty-five-plus years of development. Urgh. I will remember the times she was truly funny, however.
RIP Marcia Wallace.
16. Donna Noble ('Doctor Who')
While it's been years since I've stopped watching 'Doctor Who' - it got worse and worse, and I can officially say that the show is dead to me - Donna Noble has to be on the list. Because she is the Doctor's best companion, bar none. Donna isn't a lovesick teenage girl or an obsessed, unstable fanatic wanting to suck the Doctor's thousand-year-old cock. Nor is she a typical "strong female character" so common in sci-fi - all kickass but still needing to rely on a man. Donna is a believably-flawed, older woman who gets to go on adventures through time and space, and she takes none of the Doctor's allusive BS. She calls him out whenever he makes bad decisions or says insensitive things. Even though the actors have great working chemistry, there is no romantic tension between the two. No romance for the Doctor with her. Wow. Catherine Tate is another brilliant British comedienne, and as Donna Noble she has proven she can act in drama just as well. Donna isn't as stupid or worthless as almost everyone in her life thinks she is (she's a temp living with her overbearing mother, plus her awesome grandfather). She is in fact proactive and very caring, especially towards children. Donna only needed to believe in herself; she acts ignorant and spoiled because that's the most other people expect of her. Hell, even the Ego Queen of Mary Sues, Rose Tyler, tells her of her importance to both the Doctor and the universe. Rose admitting that someone else might deserve some attention? It is the end of the universe! It raises my spirits that the writers of 'Doctor Who' recognized that Donna is fine on her own. That is until her terrible end at her season finale - I won't spoil much of what happens, but it's a betrayal to everyone who enjoyed watching Donna grow and develop, only to have all that erased and worth eff-all. What a crock. And she gets married off at the end. Shit! Why does that keep happening to my favourite girls? But the unique creation of Donna Noble and how she was treated by the 'Doctor Who' writers (until the end) is a landmark. She was a hoot, and could even make us cry. What an awesome English space lady. We will miss you.
To be continued in Part 2.
Saturday, 20 August 2016
Top 20 Favourite Films - Part 4
5. 'Pan's Labyrinth' (2006)
Here's another film mixing together fantasy and harsh drama - both genres complement and parallel each other beautifully in 'Pan's Labyrinth'. It is one of the darkest films I've ever seen - and it's dark in the best way possible. There is meaning and symbolism behind everything; it isn't grim and gritty for the sake of it, or to prove a point about it being an adult film. It is what I think of as THE adult fairy tale, done right. There's also a strange, mystical and melancholic charm to the whole spectacle. Myth and fairies grow in the mind of a young girl surviving the Spanish Civil War near the end of WWII - surviving her tyrannical stepfather, a Falange Officer. Captain Vidal is one of the most frightening villains I've seen in celluloid, and he isn't a fantasy creature of any kind - he is very real in his evil actions, and that is what makes him terrifying. The more dangerous the grounded reality becomes, the more increasingly dangerous the girl's fantasy world is, as she clings to her stories desperately whilst still scared for her life and her family. Every character is memorable and proactive, with the girl being the only one who directly interacts with the fantasy world. 'Pan's Labyrinth' is a tragedy of a tale - not a spoiler, we are shown what will eventually happen in the first shot of the film - but it breathes glimpses of hope throughout. I recommend listening to Guillermo del Toro's director's commentary as well, as he offers a lot of insight into the film, and supports the idea that maybe the fairy tale elements are not in the protagonist's imagination after all. But we are left guessing throughout. 'Pan's Labyrinth' - one of the best at cinematography, special effects, setting an atmosphere, layering the horror and fantasy elements, psychoanalyzing childhood, and showing the best and worst of humanity. The music is also perfect. This is what film making is about - 'Pan's Labyrinth' shines in its own darkness - a beautiful, ethereal flower on a powerful, magnificent tree.
4. 'Evita' (1996)
One of the more divisive films on this list. But I love 'Evita' from the bottom of my heart and soul. Based on my favourite musical, I get chills listening to the music every time - and the film is almost nothing but music. The whole motion picture is an opera - a grand historical experience, set to music. I am aware that is not to everyone's tastes, but it fits mine. It feels nostalgic to me, despite having first viewed it several years ago, because it reminds me of when I was very young and was exposed to the art of film for the first time - everything is new and exciting back then. 'Evita' is another of my mother's favourites we watched together at my grandparents' house, which further connects it to my nostalgia vibe. I am not a fan of Andrew Lloyd Webber or Alan Parker, but 'Evita' is one of those films I feel really speaks to me, that it was made specially for me. I love Madonna as the singing and dancing controversial Argentinian political leader Eva Perón. I love Antonio Banderas as the narrator. Nothing else to add, really. 'Evita' is a simple thing to follow and discuss storywise (despite it being an autobiographical picture), but it is big, riveting, and emotional. Love it or hate it, it leaves an impression to be sure. What comes to mind when I think of the ultimate cinematic experience? 'Evita'!
3. 'Beauty and the Beast' (1991)
Sit back and relax, put up a care, as I come to talk about my favourite Disney movie. Which will be difficult because I'll have to keep avoiding just calling everything perfect. Perfect, perfect, perfect! All the songs are magnificent, the characters are the best from Disney, the romance is the best from Disney - surprisingly - and the animation is darling, saving the CG for the best scene for it: The ballroom dance sequence. 'Beauty and the Beast' is also a childhood favourite, one which scared the crap out of me, too, and I loved it! Another fave from the year of my birth, 1991. Belle is my favourite character from the Walt Disney company, no contest. Smart, loving, independent, modest, well-mannered but not a pushover, unflinching in her limits, beautiful on the inside as well as out, regal without being rich, and she doesn't care what people think of her. She is happy to go about living her life as she wants to, living out her own schedule, completely unapologetic in her personal preferences. And Belle has brown hair and loves reading, like me! She also doesn't need to be a "warrior" to be a strong character - she is an ordinary woman: Brave, curious and self-sacrificing are the many more ways to describe her layers of personality. The romance, which given the source material leans perilously close to being an abusive relationship via Stockholm Syndrome, somehow works in Disney's version. The Beast is an angry, dangerous monster at the beginning who treats Belle appallingly, like a prisoner, but he reveals a tragic side to his character throughout the first act. Given his backstory and cursed plight his behaviour is understandable, at least. Later he realises he needs to change his ways, and listens to Belle (the showing of the library is one of my favourite scenes among many), thus treating her better. She doesn't take his outbursts lying down, either. She is smart enough to know what is good and bad in a person, based on how they treat others. Yet she isn't consciously aware that she is fully responsible for the Beast's character development, despite all the time they end up spending together. Belle takes no credit, and does what she does because it's the right thing to do, and expects no reward. Another reason to love her. The "princely" Gaston, in reality a villain, represents toxic masculinity and male-entitlement in a time when those terms didn't hold as much relevance as they do now. Unlike the Beast, Gaston doesn't change his ways. He is the villain because he remains a sexist, chauvinistic manchild, and when he doesn't get what he wants - Belle, who he views as an object and boost to his fragile ego - he reveals his true, dangerous colours. And the village loves him for it. What male privilege! I think I've said enough. It's 'Beauty and the Beast' - Happy, sad, sunny, Gothic, touching, and on the whole a heartwarming animated fairy tale. There is a reason why so many animation studios have tried to replicate it since. But this cannot be replicated. A tale as old as time, Disney's 'Beauty and the Beast' remains its own beautiful rose. A classic.
2. 'The Wizard of Oz' (1939)
Another classic; another feat in risky and emotionally-invested film making. The first of nearly everything when it comes to making films: Technicolor, special effects fantasy, parallel storytelling, and incorporating so many gorgeous, adorable sets. 'The Wizard of Oz' - nearly eighty years old, and it still holds up. That should tell you how masterful it is. A revolution. What can I add which several decades of discussions and analyses by other critics haven't? It's sweet, it's wholesome without lacking intelligent substance, it's a musical that remains story-focused and never strays, it's a coming-of-age story of a growing girl (done to death nowadays, but as 'Pan's Labyrinth' proved, the concept can be done well depending on what angle and execution is taken). And 'The Wizard o Oz', perhaps more significantly, is a political satire disguised as a family film - similar to how the Wizard of Oz himself works; what goes on behind the curtain is as important as what the colourful surface masquerades as. Judy Garland is instrumental to the film's classic status - endearing from beginning to end, and with a one-of-a-kind singing voice. This magical movie is bound to comfort the hearts and minds of every generation - something it has succeeded in so far. It gives you a heart, a brain, courage, and a home. Free cheers, tears and bottles of hope; getting audiences in touch with their inner child like no other moving picture has. 'The Wizard of Oz' has earned its place in popular culture, in being called a magical journey, and in our very selves. By all the red glittery shoes in the world, it's flipping unforgettable.
And to conclude, my number 1 favourite film of all time is:
1. 'Inside Out' (2015)
A recent addition, and my new treasure - the precious pearl among the diamonds. For a long time 'Finding Nemo' was my favourite Pixar movie. Then came 'Inside Out', which I held no expectations over. But it is one of Pixar's best in years. Everything I love about film, about animation, about storytelling, about characters, about psychology, childhood, symbolism, subtle parallels, and going in a new direction and being as risky as you can be - it's all here in 'Inside Out'. Yeah, my Top 5 films all feature female protagonists. Pixar's newest masterpiece is colourful, brimming with charm, has a story that is pretty simple, but it goes all out in exploring what would go on in the mind of a young girl, and how she would feel when undergoing such a big change in her life, like moving house, or puberty. The film is heavy and deep in its analysis without being obvious in what it's really doing. It makes me remember what being a kid is like - both the good and the bad. The depressing things of childhood are the most poignant, the worst memories the most effective in the long run into adulthood, but 'Inside Out' makes me realise how you cannot take anything for granted. Memories, those of family and friends and individual skills, help shape us into who we are. 'Inside Out' delivers, also quite subtly, a message no other family movie - no other movie, full stop - has ever done: It's okay to be sad. It's okay to express emotions. It's okay to tell people how you're really feeling, because to keep your emotions bottled up for so long, to repress them, to worry constantly about what people might think of you if you reveal you're not perfect, is unhealthy and potentially dangerous. People may listen and understand if you tell them how you feel and what you're going through. 'Inside Out' is the film equivalent of a therapist and a child psychologist, ones who care about the well-being of girls' development, making it an important film as well as an outstanding one. Groundbreaking in so many ways, 'Inside Out' is the number one film for me.
And that ends my Top 20 Favourite Films list! Hope you enjoyed it as much as I did in writing it, revealing things about myself even I didn't know before.
Now onto my next surprise list. Stay tuned.
Here's another film mixing together fantasy and harsh drama - both genres complement and parallel each other beautifully in 'Pan's Labyrinth'. It is one of the darkest films I've ever seen - and it's dark in the best way possible. There is meaning and symbolism behind everything; it isn't grim and gritty for the sake of it, or to prove a point about it being an adult film. It is what I think of as THE adult fairy tale, done right. There's also a strange, mystical and melancholic charm to the whole spectacle. Myth and fairies grow in the mind of a young girl surviving the Spanish Civil War near the end of WWII - surviving her tyrannical stepfather, a Falange Officer. Captain Vidal is one of the most frightening villains I've seen in celluloid, and he isn't a fantasy creature of any kind - he is very real in his evil actions, and that is what makes him terrifying. The more dangerous the grounded reality becomes, the more increasingly dangerous the girl's fantasy world is, as she clings to her stories desperately whilst still scared for her life and her family. Every character is memorable and proactive, with the girl being the only one who directly interacts with the fantasy world. 'Pan's Labyrinth' is a tragedy of a tale - not a spoiler, we are shown what will eventually happen in the first shot of the film - but it breathes glimpses of hope throughout. I recommend listening to Guillermo del Toro's director's commentary as well, as he offers a lot of insight into the film, and supports the idea that maybe the fairy tale elements are not in the protagonist's imagination after all. But we are left guessing throughout. 'Pan's Labyrinth' - one of the best at cinematography, special effects, setting an atmosphere, layering the horror and fantasy elements, psychoanalyzing childhood, and showing the best and worst of humanity. The music is also perfect. This is what film making is about - 'Pan's Labyrinth' shines in its own darkness - a beautiful, ethereal flower on a powerful, magnificent tree.
4. 'Evita' (1996)
One of the more divisive films on this list. But I love 'Evita' from the bottom of my heart and soul. Based on my favourite musical, I get chills listening to the music every time - and the film is almost nothing but music. The whole motion picture is an opera - a grand historical experience, set to music. I am aware that is not to everyone's tastes, but it fits mine. It feels nostalgic to me, despite having first viewed it several years ago, because it reminds me of when I was very young and was exposed to the art of film for the first time - everything is new and exciting back then. 'Evita' is another of my mother's favourites we watched together at my grandparents' house, which further connects it to my nostalgia vibe. I am not a fan of Andrew Lloyd Webber or Alan Parker, but 'Evita' is one of those films I feel really speaks to me, that it was made specially for me. I love Madonna as the singing and dancing controversial Argentinian political leader Eva Perón. I love Antonio Banderas as the narrator. Nothing else to add, really. 'Evita' is a simple thing to follow and discuss storywise (despite it being an autobiographical picture), but it is big, riveting, and emotional. Love it or hate it, it leaves an impression to be sure. What comes to mind when I think of the ultimate cinematic experience? 'Evita'!
3. 'Beauty and the Beast' (1991)
Sit back and relax, put up a care, as I come to talk about my favourite Disney movie. Which will be difficult because I'll have to keep avoiding just calling everything perfect. Perfect, perfect, perfect! All the songs are magnificent, the characters are the best from Disney, the romance is the best from Disney - surprisingly - and the animation is darling, saving the CG for the best scene for it: The ballroom dance sequence. 'Beauty and the Beast' is also a childhood favourite, one which scared the crap out of me, too, and I loved it! Another fave from the year of my birth, 1991. Belle is my favourite character from the Walt Disney company, no contest. Smart, loving, independent, modest, well-mannered but not a pushover, unflinching in her limits, beautiful on the inside as well as out, regal without being rich, and she doesn't care what people think of her. She is happy to go about living her life as she wants to, living out her own schedule, completely unapologetic in her personal preferences. And Belle has brown hair and loves reading, like me! She also doesn't need to be a "warrior" to be a strong character - she is an ordinary woman: Brave, curious and self-sacrificing are the many more ways to describe her layers of personality. The romance, which given the source material leans perilously close to being an abusive relationship via Stockholm Syndrome, somehow works in Disney's version. The Beast is an angry, dangerous monster at the beginning who treats Belle appallingly, like a prisoner, but he reveals a tragic side to his character throughout the first act. Given his backstory and cursed plight his behaviour is understandable, at least. Later he realises he needs to change his ways, and listens to Belle (the showing of the library is one of my favourite scenes among many), thus treating her better. She doesn't take his outbursts lying down, either. She is smart enough to know what is good and bad in a person, based on how they treat others. Yet she isn't consciously aware that she is fully responsible for the Beast's character development, despite all the time they end up spending together. Belle takes no credit, and does what she does because it's the right thing to do, and expects no reward. Another reason to love her. The "princely" Gaston, in reality a villain, represents toxic masculinity and male-entitlement in a time when those terms didn't hold as much relevance as they do now. Unlike the Beast, Gaston doesn't change his ways. He is the villain because he remains a sexist, chauvinistic manchild, and when he doesn't get what he wants - Belle, who he views as an object and boost to his fragile ego - he reveals his true, dangerous colours. And the village loves him for it. What male privilege! I think I've said enough. It's 'Beauty and the Beast' - Happy, sad, sunny, Gothic, touching, and on the whole a heartwarming animated fairy tale. There is a reason why so many animation studios have tried to replicate it since. But this cannot be replicated. A tale as old as time, Disney's 'Beauty and the Beast' remains its own beautiful rose. A classic.
2. 'The Wizard of Oz' (1939)
Another classic; another feat in risky and emotionally-invested film making. The first of nearly everything when it comes to making films: Technicolor, special effects fantasy, parallel storytelling, and incorporating so many gorgeous, adorable sets. 'The Wizard of Oz' - nearly eighty years old, and it still holds up. That should tell you how masterful it is. A revolution. What can I add which several decades of discussions and analyses by other critics haven't? It's sweet, it's wholesome without lacking intelligent substance, it's a musical that remains story-focused and never strays, it's a coming-of-age story of a growing girl (done to death nowadays, but as 'Pan's Labyrinth' proved, the concept can be done well depending on what angle and execution is taken). And 'The Wizard o Oz', perhaps more significantly, is a political satire disguised as a family film - similar to how the Wizard of Oz himself works; what goes on behind the curtain is as important as what the colourful surface masquerades as. Judy Garland is instrumental to the film's classic status - endearing from beginning to end, and with a one-of-a-kind singing voice. This magical movie is bound to comfort the hearts and minds of every generation - something it has succeeded in so far. It gives you a heart, a brain, courage, and a home. Free cheers, tears and bottles of hope; getting audiences in touch with their inner child like no other moving picture has. 'The Wizard of Oz' has earned its place in popular culture, in being called a magical journey, and in our very selves. By all the red glittery shoes in the world, it's flipping unforgettable.
And to conclude, my number 1 favourite film of all time is:
1. 'Inside Out' (2015)
A recent addition, and my new treasure - the precious pearl among the diamonds. For a long time 'Finding Nemo' was my favourite Pixar movie. Then came 'Inside Out', which I held no expectations over. But it is one of Pixar's best in years. Everything I love about film, about animation, about storytelling, about characters, about psychology, childhood, symbolism, subtle parallels, and going in a new direction and being as risky as you can be - it's all here in 'Inside Out'. Yeah, my Top 5 films all feature female protagonists. Pixar's newest masterpiece is colourful, brimming with charm, has a story that is pretty simple, but it goes all out in exploring what would go on in the mind of a young girl, and how she would feel when undergoing such a big change in her life, like moving house, or puberty. The film is heavy and deep in its analysis without being obvious in what it's really doing. It makes me remember what being a kid is like - both the good and the bad. The depressing things of childhood are the most poignant, the worst memories the most effective in the long run into adulthood, but 'Inside Out' makes me realise how you cannot take anything for granted. Memories, those of family and friends and individual skills, help shape us into who we are. 'Inside Out' delivers, also quite subtly, a message no other family movie - no other movie, full stop - has ever done: It's okay to be sad. It's okay to express emotions. It's okay to tell people how you're really feeling, because to keep your emotions bottled up for so long, to repress them, to worry constantly about what people might think of you if you reveal you're not perfect, is unhealthy and potentially dangerous. People may listen and understand if you tell them how you feel and what you're going through. 'Inside Out' is the film equivalent of a therapist and a child psychologist, ones who care about the well-being of girls' development, making it an important film as well as an outstanding one. Groundbreaking in so many ways, 'Inside Out' is the number one film for me.
And that ends my Top 20 Favourite Films list! Hope you enjoyed it as much as I did in writing it, revealing things about myself even I didn't know before.
Now onto my next surprise list. Stay tuned.
Top 20 Favourite Films - Part 3
10. 'Shrek 2' (2004)
I first saw this film the day after its release in the UK. I was with a friend and we barely managed to get in the cinema at all; the tickets nearly sold out, everywhere was packed, and we were squashed in the front seats of the auditorium. But it was all worth it for one of the most unforgettable cinematic experiences of my life. Day out with a friend to see a great movie - really sticks to you when you were a lonely kid like myself. 'Shrek 2' ranks right up there with 'Terminator 2' in being a sequel that, against all odds, manages to surpass its already great, revolutionary original. It is one of the funniest, most heartwarming films I've ever seen, animated or not. The celebrity voice cast is utilized to a fantastic effect, so much so that you can't imagine anyone else voicing these hilarious and endearing characters. The music is great, the animation is great, the comedy is all over the place - and I mean that in the most positive way. With multiple viewings you can pick up a load of jokes you didn't catch up on the first time. It cheered me up astronomically as a child, and it has helped me get through many bouts of depression to this day. Nothing about 'Shrek 2' feels rushed or poorly planned (unlike its other sequels, sadly) - like with 'Enchanted', everything about it just works, no explanation needed; it's a force of nature. It's amazing how Dreamworks made a near-perfect animated film in such a short amount of time after the success of the original 'Shrek'. It's got an important message for everyone of all ages, its riff and twists on traditional fairy tale conventions are spot-on solid, and overall it goes far beyond what the original started; making it more dramatic, dynamic, and of course funnier than ever before. 'Shrek 2' - my favourite Dreamworks movie.
9. 'Millennium Actress' (2001)
An anime film finally makes it on the list! I had never seen a film so strange and yet so simple and enjoyable at the same time. I'm not a fan of indie productions or postmodernist art in general, or anything considered avant-garde which is more concerned with shocking (or boring, as the case often is) audiences than it is telling a good story with interesting characters who act like real human beings. But 'Millennium Actress' clearly wants to tell a good story with good characters, only how it tells its story is less conventional and more challenging in its still-flowing narrative. The late director Satoshi Kon made a lot of works that delve into one's psychosis and explored the human condition - revealing a person's strengths as well as their fragility. Psychology, and looking into how the conscious and subconscious mind is layered, is a hobby of mine. And 'Millennium Actress' explores the memories of a retired Japanese movie actress from WWII, bringing in two documentary filmmakers along for the thrilling ride. Both the real world and the fabricated world of various movies are blurred, leaving the present day filmmakers and the audience to decide for themselves what really happened and what was merely a role the actress used to play. What role did she play for herself as well as for a film set? Who is she underneath the acting? Could she have gone senile, or was she always a little misguided, due to life circumstances? Her journey - her life mission that started her acting career in the first place - was all for a man, as she tries to find him (a plot which mirrors a lot of her films). Yey, feminism! However, as 'Millennium Actress' points out, the journey can be much more exciting than the end goal. The actress herself is a very real and complex character who's had a difficult life of a movie star, and the filmmakers act as both comic relief and audience avatars. One of them in particular is a big fan of the actress, and is in fact more involved in her life than he might realise - no illusions this time. The whole picture is so fascinating, like a mature fairy tale. I haven't even touched on the animation itself yet, which is classic, expertly-drawn 2D style - no CG - and some shots look as if they were filmed with a shaky camera, especially in fight scenes. What a feat! Helps that it is very short for an "art film" at under eighty minutes - nothing superfluous is added, since it's perfect the way it is. 'Millennium Actress' is an experience, shared by a woman who has had a marvelous life. It is a journey into the mind as well as into the world of movies, this labour of love is an anime masterpiece.
8. 'Thelma and Louise' (1991)
My favourite Ridley Scott film, by a female screenwriter. 'Thelma and Louise' is one of my mother's favourite films, and nearly a decade ago as we were looking at what classic DVDS to buy in a shop, she recommended this one to me. Now it is one of my favourite films. It's a story about two women who wanted nothing but a fun, harmless weekend away together, but are suddenly caught in a nightmare - running from the law for murdering a rapist, and running further and further into more danger on the road to Mexico. All for spontaneously wanting justice on their holiday. And Thelma and Louise become trapped in circumstances beyond their control - trapped in a circle which can only end in death, no matter what road they choose to take. The whole movie is a metaphor for women trying to survive in a man's world - a world that tries to control them, to break them, and bring them down at every step in their lives. Like women are unfairly punished drastically for being themselves. 'Thelma and Louise' is a mix of genres - it's a buddy movie (how many can you name with female leads?), a drama, a comedy, a tragedy. At its heart it's a story all about the friendship between the two women. Susan Sarandon and Geena Davis have fantastic chemistry; it is their unshakable bond and performances that make their movie so unforgettable. I love the pace, the solid beat-by-beat three-act structure, the characters, and the music. I even enjoyed watching Brad Pitt, in his first major film role. Though 'Thelma and Louise' gets criticised for its portrayal of men as bad guys, there is an unmistakable exception: The State Police Investigator (Harvey Keitel) who genuinely wants to help Thelma and Louise as they are on the run. He's sympathetic towards them, and understands their plight, or at least he tries to understand. He's aware of how the women are dehumanized by the other men in his line of work, and he doesn't want to be like them, and tries to change this misogynistic attitude towards the end. That's a powerful message: Saying it's not up to women alone to change the patriarchal society for the better. Men need to do their part as well, and the first step is simply listening to women, and calling out other men's sexism towards the opposite sex. 'Thelma and Louise' - a phenomenon on many levels. A daring feminist movie ahead of its time, and to this day there isn't anything like it. Which in itself, is the real tragedy.
7. 'Princess Mononoke' (1997)
Now I talk about my favourite Studio Ghibli film. The Japanese animation company makes about as many masterpieces as Pixar, and 'Princess Mononoke'... seriously, just look at it! It's incredible - the animation and its attention to detail on the tiniest element, the scope of the wooded and industrial Muromachi period in Japan - I've never felt like I was stepping into another world, not since seeing the 'Lord of the Rings' trilogy and reading the 'Harry Potter' novels. 'Princess Mononoke' is about the merging of two eras - the old one of spirits, animals and everything else Mother Nature gives us, and the newer, technologically-advanced and more weaponised era. This "progression" of mankind is taking over the ancient spiritual times by force, and so a war is brewing. All that lies between these two worlds for a chance at peace are a cursed and banished young prince, and a girl raised by wolves. This is an environmental film, as are nearly all of Hayao Miyazaki's films, but by some miracle this message works in the story's favour, not to its detriment. It manages a balance - the pros and cons of human progression in nature - without being preachy; something practically every other environmental animated picture fails spectacularly at. Nobody thinks of themselves as a bad guy in 'Princess Mononoke' - the characters are doing what they think is right for everyone, even the main villain Lady Eboshi, who boarders on being a power-hungry, violent extremist, but she is sympathetic towards her people and their needs, and she does learn and change near the end. Everyone has their own inner demons to fight, as they struggle not to give in to the hatred that is destroying their world. For the prince Ashitaka, this is literal. The titular Princess Mononoke, San, isn't really a main character - amid a myriad of interconnecting subplots and themes, this is strictly Ashitaka's story - but she is strong and fierce in a way a lot of female characters are seemingly not allowed to be in Hollywood. To call the wild girl the male hero's love interest is an insult, and she would kill you if you insinuated that that is all she is. San still fights for what she believes in, for her wolf family, and she develops beyond her hatred of humans, not just through Ashitaka, but through other humans as well, even those from the loathed industrial dwelling of Irontown. 'Princess Mononoke' is a very long animated film at well over two hours, but the melancholic, dangerous and beautiful world and characters keep the audience's attention long after the film is finished. It is also not for children, despite it being rated PG in its UK DVD release - shockingly violent and bloody, it pulls no punches. Honestly, no review or analysis can do the masterpiece 'Princess Mononoke' justice. I feel privileged having seen it at all. So much to talk about, yet impossible to talk about. A hard yet soaring animated experience.
6. 'Finding Nemo' (2003)
I didn't see 'Finding Nemo' in theaters, which is a shame. I first saw it in class at school towards the holidays - and again on that holiday with my distant family - and I love it more and more every time I watch it. It is a testament to how great a movie is when it is about fish - fish who make you feel so much for them, and make you want desperately for them to succeed, so everything will be alright. Another testament to how Pixar is run by geniuses - they can make you cry for toys and monsters under the bed, and fish. Fish! Whenever someone would ask me what I think is THE rewatchable movie, without hesitation I'd say, 'Finding Nemo'. It mixes together comedy and drama as well as 'Shrek 2' does, although 'Finding Nemo' leans towards the sadder, makes-you-cry-bucket-loads side of storytelling. Normally I hate father-and-son type stories, because they're so overdone and so male-centered and often ignore the female presence in a boy's life, like a mother, who would conveniently be dead. It's ridiculous. But I don't mind it at all in 'Finding Nemo', probably because the relationship between the father and son is given establishing time beyond the blood relation, and from the beginning the audience understands why the father is so overprotective of his only family. He isn't a nasty person, either, and his son never has to prove himself worthy of being his seed. Nemo only needs to be braver, without any thought of his dad's approval. What a £%$F&ing relief! The comedy is excellent, too. I LOVE Ellen DeGeneres as Dory, and I'm not embarrassed to admit that I was introduced to her through 'Finding Nemo'. What an influential and complex creation: Dory - another one-of-a-kind female character - may be a comic relief on the surface, but deep down in the sea of development there is also a tragedy to her. It is Dory who brings out the most tears near the end of the film. Remarkable for a family picture. Lovely animation, characters (there isn't really a villain, another huge plus for a tale (tail?) for children) and storytelling, 'Finding Nemo' flows as naturally as the entire ocean, with plenty of bumps and tides throughout the travels. The sea itself is mesmerizing. No romance, either! It could not have been better. As for what I think of the sequel, 'Finding Dory' - it's another great, rewatchable movie which develops Dory even more. 'Nemo' will always hold a bigger place in my ocean heart, however. To me and me alone, it is the perfect family film.
To be continued in Part 4.
I first saw this film the day after its release in the UK. I was with a friend and we barely managed to get in the cinema at all; the tickets nearly sold out, everywhere was packed, and we were squashed in the front seats of the auditorium. But it was all worth it for one of the most unforgettable cinematic experiences of my life. Day out with a friend to see a great movie - really sticks to you when you were a lonely kid like myself. 'Shrek 2' ranks right up there with 'Terminator 2' in being a sequel that, against all odds, manages to surpass its already great, revolutionary original. It is one of the funniest, most heartwarming films I've ever seen, animated or not. The celebrity voice cast is utilized to a fantastic effect, so much so that you can't imagine anyone else voicing these hilarious and endearing characters. The music is great, the animation is great, the comedy is all over the place - and I mean that in the most positive way. With multiple viewings you can pick up a load of jokes you didn't catch up on the first time. It cheered me up astronomically as a child, and it has helped me get through many bouts of depression to this day. Nothing about 'Shrek 2' feels rushed or poorly planned (unlike its other sequels, sadly) - like with 'Enchanted', everything about it just works, no explanation needed; it's a force of nature. It's amazing how Dreamworks made a near-perfect animated film in such a short amount of time after the success of the original 'Shrek'. It's got an important message for everyone of all ages, its riff and twists on traditional fairy tale conventions are spot-on solid, and overall it goes far beyond what the original started; making it more dramatic, dynamic, and of course funnier than ever before. 'Shrek 2' - my favourite Dreamworks movie.
9. 'Millennium Actress' (2001)
An anime film finally makes it on the list! I had never seen a film so strange and yet so simple and enjoyable at the same time. I'm not a fan of indie productions or postmodernist art in general, or anything considered avant-garde which is more concerned with shocking (or boring, as the case often is) audiences than it is telling a good story with interesting characters who act like real human beings. But 'Millennium Actress' clearly wants to tell a good story with good characters, only how it tells its story is less conventional and more challenging in its still-flowing narrative. The late director Satoshi Kon made a lot of works that delve into one's psychosis and explored the human condition - revealing a person's strengths as well as their fragility. Psychology, and looking into how the conscious and subconscious mind is layered, is a hobby of mine. And 'Millennium Actress' explores the memories of a retired Japanese movie actress from WWII, bringing in two documentary filmmakers along for the thrilling ride. Both the real world and the fabricated world of various movies are blurred, leaving the present day filmmakers and the audience to decide for themselves what really happened and what was merely a role the actress used to play. What role did she play for herself as well as for a film set? Who is she underneath the acting? Could she have gone senile, or was she always a little misguided, due to life circumstances? Her journey - her life mission that started her acting career in the first place - was all for a man, as she tries to find him (a plot which mirrors a lot of her films). Yey, feminism! However, as 'Millennium Actress' points out, the journey can be much more exciting than the end goal. The actress herself is a very real and complex character who's had a difficult life of a movie star, and the filmmakers act as both comic relief and audience avatars. One of them in particular is a big fan of the actress, and is in fact more involved in her life than he might realise - no illusions this time. The whole picture is so fascinating, like a mature fairy tale. I haven't even touched on the animation itself yet, which is classic, expertly-drawn 2D style - no CG - and some shots look as if they were filmed with a shaky camera, especially in fight scenes. What a feat! Helps that it is very short for an "art film" at under eighty minutes - nothing superfluous is added, since it's perfect the way it is. 'Millennium Actress' is an experience, shared by a woman who has had a marvelous life. It is a journey into the mind as well as into the world of movies, this labour of love is an anime masterpiece.
8. 'Thelma and Louise' (1991)
My favourite Ridley Scott film, by a female screenwriter. 'Thelma and Louise' is one of my mother's favourite films, and nearly a decade ago as we were looking at what classic DVDS to buy in a shop, she recommended this one to me. Now it is one of my favourite films. It's a story about two women who wanted nothing but a fun, harmless weekend away together, but are suddenly caught in a nightmare - running from the law for murdering a rapist, and running further and further into more danger on the road to Mexico. All for spontaneously wanting justice on their holiday. And Thelma and Louise become trapped in circumstances beyond their control - trapped in a circle which can only end in death, no matter what road they choose to take. The whole movie is a metaphor for women trying to survive in a man's world - a world that tries to control them, to break them, and bring them down at every step in their lives. Like women are unfairly punished drastically for being themselves. 'Thelma and Louise' is a mix of genres - it's a buddy movie (how many can you name with female leads?), a drama, a comedy, a tragedy. At its heart it's a story all about the friendship between the two women. Susan Sarandon and Geena Davis have fantastic chemistry; it is their unshakable bond and performances that make their movie so unforgettable. I love the pace, the solid beat-by-beat three-act structure, the characters, and the music. I even enjoyed watching Brad Pitt, in his first major film role. Though 'Thelma and Louise' gets criticised for its portrayal of men as bad guys, there is an unmistakable exception: The State Police Investigator (Harvey Keitel) who genuinely wants to help Thelma and Louise as they are on the run. He's sympathetic towards them, and understands their plight, or at least he tries to understand. He's aware of how the women are dehumanized by the other men in his line of work, and he doesn't want to be like them, and tries to change this misogynistic attitude towards the end. That's a powerful message: Saying it's not up to women alone to change the patriarchal society for the better. Men need to do their part as well, and the first step is simply listening to women, and calling out other men's sexism towards the opposite sex. 'Thelma and Louise' - a phenomenon on many levels. A daring feminist movie ahead of its time, and to this day there isn't anything like it. Which in itself, is the real tragedy.
7. 'Princess Mononoke' (1997)
Now I talk about my favourite Studio Ghibli film. The Japanese animation company makes about as many masterpieces as Pixar, and 'Princess Mononoke'... seriously, just look at it! It's incredible - the animation and its attention to detail on the tiniest element, the scope of the wooded and industrial Muromachi period in Japan - I've never felt like I was stepping into another world, not since seeing the 'Lord of the Rings' trilogy and reading the 'Harry Potter' novels. 'Princess Mononoke' is about the merging of two eras - the old one of spirits, animals and everything else Mother Nature gives us, and the newer, technologically-advanced and more weaponised era. This "progression" of mankind is taking over the ancient spiritual times by force, and so a war is brewing. All that lies between these two worlds for a chance at peace are a cursed and banished young prince, and a girl raised by wolves. This is an environmental film, as are nearly all of Hayao Miyazaki's films, but by some miracle this message works in the story's favour, not to its detriment. It manages a balance - the pros and cons of human progression in nature - without being preachy; something practically every other environmental animated picture fails spectacularly at. Nobody thinks of themselves as a bad guy in 'Princess Mononoke' - the characters are doing what they think is right for everyone, even the main villain Lady Eboshi, who boarders on being a power-hungry, violent extremist, but she is sympathetic towards her people and their needs, and she does learn and change near the end. Everyone has their own inner demons to fight, as they struggle not to give in to the hatred that is destroying their world. For the prince Ashitaka, this is literal. The titular Princess Mononoke, San, isn't really a main character - amid a myriad of interconnecting subplots and themes, this is strictly Ashitaka's story - but she is strong and fierce in a way a lot of female characters are seemingly not allowed to be in Hollywood. To call the wild girl the male hero's love interest is an insult, and she would kill you if you insinuated that that is all she is. San still fights for what she believes in, for her wolf family, and she develops beyond her hatred of humans, not just through Ashitaka, but through other humans as well, even those from the loathed industrial dwelling of Irontown. 'Princess Mononoke' is a very long animated film at well over two hours, but the melancholic, dangerous and beautiful world and characters keep the audience's attention long after the film is finished. It is also not for children, despite it being rated PG in its UK DVD release - shockingly violent and bloody, it pulls no punches. Honestly, no review or analysis can do the masterpiece 'Princess Mononoke' justice. I feel privileged having seen it at all. So much to talk about, yet impossible to talk about. A hard yet soaring animated experience.
6. 'Finding Nemo' (2003)
I didn't see 'Finding Nemo' in theaters, which is a shame. I first saw it in class at school towards the holidays - and again on that holiday with my distant family - and I love it more and more every time I watch it. It is a testament to how great a movie is when it is about fish - fish who make you feel so much for them, and make you want desperately for them to succeed, so everything will be alright. Another testament to how Pixar is run by geniuses - they can make you cry for toys and monsters under the bed, and fish. Fish! Whenever someone would ask me what I think is THE rewatchable movie, without hesitation I'd say, 'Finding Nemo'. It mixes together comedy and drama as well as 'Shrek 2' does, although 'Finding Nemo' leans towards the sadder, makes-you-cry-bucket-loads side of storytelling. Normally I hate father-and-son type stories, because they're so overdone and so male-centered and often ignore the female presence in a boy's life, like a mother, who would conveniently be dead. It's ridiculous. But I don't mind it at all in 'Finding Nemo', probably because the relationship between the father and son is given establishing time beyond the blood relation, and from the beginning the audience understands why the father is so overprotective of his only family. He isn't a nasty person, either, and his son never has to prove himself worthy of being his seed. Nemo only needs to be braver, without any thought of his dad's approval. What a £%$F&ing relief! The comedy is excellent, too. I LOVE Ellen DeGeneres as Dory, and I'm not embarrassed to admit that I was introduced to her through 'Finding Nemo'. What an influential and complex creation: Dory - another one-of-a-kind female character - may be a comic relief on the surface, but deep down in the sea of development there is also a tragedy to her. It is Dory who brings out the most tears near the end of the film. Remarkable for a family picture. Lovely animation, characters (there isn't really a villain, another huge plus for a tale (tail?) for children) and storytelling, 'Finding Nemo' flows as naturally as the entire ocean, with plenty of bumps and tides throughout the travels. The sea itself is mesmerizing. No romance, either! It could not have been better. As for what I think of the sequel, 'Finding Dory' - it's another great, rewatchable movie which develops Dory even more. 'Nemo' will always hold a bigger place in my ocean heart, however. To me and me alone, it is the perfect family film.
To be continued in Part 4.
Friday, 19 August 2016
Top 20 Favourite Films - Part 2
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.
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.
Top 20 Favourite Films - Part 1
Hey everyone! Well, I feel it's time to do what I always wanted since starting this blog - a countdown list of my favourite types of medium in popular culture.
Here is a list telling you my Top 20 Favourite Films of all time, leading up to number 1.
Before I start, a disclaimer: This is my list. This list is entirely opinion-based and personal. I'm not going to add any movies based on how good they are considered to be in the general consensus. One person may love a movie passionately and rank it as their favourite, while another person may see it as a piece of shit, and could write a whole essay explaining why they think so. Everyone is different. Everyone has and shares different experiences. Everyone has their own personal reasons for liking and disliking something, no matter the popular opinion that something is viewed with. So no list of favourite films can be objective, otherwise everyone's would be more or less the same. After all, this is a favourites list, not a greatest list. I often stray away from the crowd, anyway, and try to be different. My film list is based on how much each of them has affected me positively, and my history with them; how they have resonated with me, changed me. I will explain why it's these movies in particular that I would watch over and over again and never grow tired of. Why I love them so dearly. They may perhaps reveal to you what kind of a person I am, too.
Right, with that out of the way, let's begin.
20. 'Aladdin' (1992)
The first film I've ever watched that got me into loving the art of animation, plus film making overall. It's one of my first Disney movies - the one I enjoyed the most for its scope and brilliant animation. My first conscious look into how storytelling structures and character arcs are implemented. Really, 'Aladdin' has it all and everything else a little kid born in the nineties can get immersed into: Action, comedy, romance, drama, colourful 2D cartoon aesthetics, catchy as hell songs - it flows with exuberant energy in every scene. It's one of the reasons why I love musicals, as well. While breaking it down to its simplest form it is just another male underdog story of a poor boy who saves the day from evil and gets the girl (and a whole kingdom!) in the end, there is so much charm in this little picture. The execution is extremely well handled in a roller coaster edge-of-your-seat way bound to get any child's heart pumping with excitement. 'Aladdin' is entertaining from the beginning to its closing credits. Maybe it is my nostalgia talking, but this Disney diamond in the rough is the first movie I remember loving unconditionally. For some that childhood movie life-changer was 'The Empire Strikes Back', for me that honourable spot goes to 'Aladdin'. Having watched it lord knows how many times in my life, it is and will always remain one of my favourite films.
RIP Robin Williams.
19. 'Enchanted' (2007)
I freaking love 'Enchanted'. I was surprised by how much I fell for it when I finally saw it years after its release. It's just so positive, so delightful, so comforting, while somehow managing not to be saccharine or manipulative. Style over substance does not apply to 'Enchanted'. The whole movie is like a supportive friend who reassures you about the good things in life when you've had a really difficult time. It subverts the usual, tired Disney formula, but how it goes about it isn't cynical at all, when it could have so easily gone that route. The people who made this gem clearly love the classics and were adding their own tweaks to the cliches they grew up with. I appreciate films which show the care present in making it something people would want to watch repeatedly. The film's bubbly energy, grounded in reality exactly when it needs to be, is all thanks to its perfectly-cast performers. I adore Amy Adams in one of her first major film roles. I believe 'Enchanted' is one of Disney's most underrated films (don't worry, not every film on this list is by Disney). The way it mixes cartoony animation with live action is underutilized, and while the animated portions are small possibly due to saving on the budget, that works in the film's favour. There's no need to be blown away like we were with 'Who Framed Roger Rabbit?' - because that film already existed before. 'Enchanted' doesn't try to be like anything else, and how the fairy tale animation setting contrasts with the more grim modern day New York city - but is still sparkling with potential - is excellent. I don't know how it all works so well, stringing together so majestically in my eyes. It just does. Some parts of 'Enchanted' are very silly, but not annoying. Also the 'Sleeping Beauty'-inspired climax has its evil sorceress turn into a dragon who. won't. shut. up. Oh well, favourite movies are not perfect movies. No movie is perfect, period. 'Frozen' perhaps subverts the Disney and fairy tale formula to a better effect, however 'Enchanted' - a fitting title to describe the viewing experience - will always have a special place in my heart. A spiritual successor to the Disney films we grew up loving, while retaining that same spirit itself.
18. 'Shakespeare in Love' (1998)
Many hail 'Moulin Rouge!' to be the first movie in recent memory that's incredibly zany, boisterous and fun, like a two-hour-long song and dance number set in a big glorious theatre, never caring about the rules of conventional film making, while at its heart it's a classic love story worthy of an opera. Well, as much as I hate to sound like one of those pretentious, sanctimonious film snobs, on this point I feel like going against my good nature and saying, "'Shakespeare in Love' did it first, and did it better". To this day I can't really explain why I love 'Shakespeare in Love'. I'm not a fan of William Shakespeare's works, or romances in general, and I'm sure as hell not a fan of costume dramas. Stories set in the 16th and 17th centuries in England tend to bore me. But with 'Shakespeare in Love', my love is blind. Maybe it's the comedy, the romance I actually care about, the way it cleverly uses plot elements from Shakespeare's plays to parallel the bard's own personal history, or maybe I just think that Joseph Fiennes as Bill is hot. Yes the film is heavily romanticized, to the point where to call it an autobiography is seriously pushing it, but it treats Shakespeare as a poet and playwright with respect towards his hard work. Dame Judi Dench is also tough yet humorous as the Queen of England. In fact, everybody owns their role to a punch, even Ben Affleck. Very funny, sexy, touching and surprisingly tragic at the end (who said this is Hollywoodized Shakespeare, again?), 'Shakespeare in Love' is my favourite romance movie, known patronizingly as a chick flick, as if films mainly targeting women and are beloved by women are somehow inferior, worthy of hatred and ridicule (looking at you, petty detractors of 'Titanic').
17. 'Singin' in the Rain' (1952)
Ahh the classics! They don't make movies like this anymore. They really don't. 'Singin' in the Rain' invented the genre of film making of just having fun. Of having characters brought to life on screen by casting the most charismatic actors in the world - it's a lighthearted musical, so that element is a must for an instant classic. You'd swear that a lot of 'Singin' in the Rain' was improvised - a spontaneous, scene-to-scene romp with a Hollywood budget. The songs are great, its various scenery is visually spectacular for its time, the dancing (ha!) is infectious, its commentary on the film industry and its changes overtime is portrayed both humorously and sadly. I love looking at behind-the-scenes stuff in any film, and 'Singin' in the Rain' adding in a musical theatre angle to that, well, it's a dream come true to my eyes and ears. Adapting to change and doing new things is overwhelming and scary. But working as a team, coming together as one, is the key to success. 'Singin' in the Rain' - one of my favourite musicals, and one of my favourite movies.
16. 'Brave' (2012)
A film after my own fantasy feminist heart! It contains nearly everything that I love: It's animated - by Pixar no less - it's a fantasy tale with a female lead, there's swords and sorcery and none of its elements are overblown. It's a quaint little film that's more original than most people give it credit for, to the point where its title subtly explores its themes. Beautiful. 'Brave' is Pixar's first film with a female protagonist, and their first attempt at an original fairy tale. Set in medieval Scotland, it's a fairy tale film that subverts storytelling plots common to Disney, more so than 'Enchanted' (as a comedy) and even 'Frozen' (played more serious) do. More specifically, 'Brave' subverts practically everything from my least favourite Disney film, 'The Little Mermaid'. The mother of the main lead is alive and present and is a character crucial to the development of said lead (whilst developing throughout the film by herself). The witch isn't evil, and is downplayed in order for the heroine to grow up on her own and act to fix her own mistakes, using her brain as well as her brawn. Hell, the movie cleverly brings up the fact that princes can get away with anything - they can be whoever they want to be (within a hyper-masculine idea of manhood, that is) - but princesses don't have that luxury. They are constantly monitored, constantly criticized, constantly pressured to look and act like the perfect specimen of grace and submissiveness all the time. This is a tradition carried out in real life, since the dawn of time, not just in fairy tales. At the heart of 'Brave' is the mother-and-daughter bond, and the difficulties of raising a rebellious teenager. Yes we've seen the rebel teen princess hundreds of times before, even I've become sick of that cliche, but how many other films - much less animated ones - can you name where the relationship centers on the princess and her mother? Where there is no romance - despite marriage being forced on the girl, and that's a major plot point? It's the catalyst to the worst troubles the parent and child face, leading to either their demise or their bond becoming stronger based on empathy, and the girl taking responsibility for her selfish actions. In the spirit of breaking traditions, the female protag in this film doesn't have to be 100% likable all the time. As long as she gets to experience character development throughout her story the same as a typical male lead does, it all works out; coming together towards the end, just like a family would. 'Brave' also delivers a message that sometimes it's okay to break tradition, as long as you're doing it for selfless reasons. Progress! See what I mean now about the film's originality and subversion? 'Brave' is another underrated fave of mine. It makes me teary-eyed every time I watch it, for personal, family reasons. The love that went into making it shows, and its heart is in the right place, at least. A quiet triumph.
To be continued in Part 2.
Here is a list telling you my Top 20 Favourite Films of all time, leading up to number 1.
Before I start, a disclaimer: This is my list. This list is entirely opinion-based and personal. I'm not going to add any movies based on how good they are considered to be in the general consensus. One person may love a movie passionately and rank it as their favourite, while another person may see it as a piece of shit, and could write a whole essay explaining why they think so. Everyone is different. Everyone has and shares different experiences. Everyone has their own personal reasons for liking and disliking something, no matter the popular opinion that something is viewed with. So no list of favourite films can be objective, otherwise everyone's would be more or less the same. After all, this is a favourites list, not a greatest list. I often stray away from the crowd, anyway, and try to be different. My film list is based on how much each of them has affected me positively, and my history with them; how they have resonated with me, changed me. I will explain why it's these movies in particular that I would watch over and over again and never grow tired of. Why I love them so dearly. They may perhaps reveal to you what kind of a person I am, too.
Right, with that out of the way, let's begin.
20. 'Aladdin' (1992)
The first film I've ever watched that got me into loving the art of animation, plus film making overall. It's one of my first Disney movies - the one I enjoyed the most for its scope and brilliant animation. My first conscious look into how storytelling structures and character arcs are implemented. Really, 'Aladdin' has it all and everything else a little kid born in the nineties can get immersed into: Action, comedy, romance, drama, colourful 2D cartoon aesthetics, catchy as hell songs - it flows with exuberant energy in every scene. It's one of the reasons why I love musicals, as well. While breaking it down to its simplest form it is just another male underdog story of a poor boy who saves the day from evil and gets the girl (and a whole kingdom!) in the end, there is so much charm in this little picture. The execution is extremely well handled in a roller coaster edge-of-your-seat way bound to get any child's heart pumping with excitement. 'Aladdin' is entertaining from the beginning to its closing credits. Maybe it is my nostalgia talking, but this Disney diamond in the rough is the first movie I remember loving unconditionally. For some that childhood movie life-changer was 'The Empire Strikes Back', for me that honourable spot goes to 'Aladdin'. Having watched it lord knows how many times in my life, it is and will always remain one of my favourite films.
RIP Robin Williams.
19. 'Enchanted' (2007)
I freaking love 'Enchanted'. I was surprised by how much I fell for it when I finally saw it years after its release. It's just so positive, so delightful, so comforting, while somehow managing not to be saccharine or manipulative. Style over substance does not apply to 'Enchanted'. The whole movie is like a supportive friend who reassures you about the good things in life when you've had a really difficult time. It subverts the usual, tired Disney formula, but how it goes about it isn't cynical at all, when it could have so easily gone that route. The people who made this gem clearly love the classics and were adding their own tweaks to the cliches they grew up with. I appreciate films which show the care present in making it something people would want to watch repeatedly. The film's bubbly energy, grounded in reality exactly when it needs to be, is all thanks to its perfectly-cast performers. I adore Amy Adams in one of her first major film roles. I believe 'Enchanted' is one of Disney's most underrated films (don't worry, not every film on this list is by Disney). The way it mixes cartoony animation with live action is underutilized, and while the animated portions are small possibly due to saving on the budget, that works in the film's favour. There's no need to be blown away like we were with 'Who Framed Roger Rabbit?' - because that film already existed before. 'Enchanted' doesn't try to be like anything else, and how the fairy tale animation setting contrasts with the more grim modern day New York city - but is still sparkling with potential - is excellent. I don't know how it all works so well, stringing together so majestically in my eyes. It just does. Some parts of 'Enchanted' are very silly, but not annoying. Also the 'Sleeping Beauty'-inspired climax has its evil sorceress turn into a dragon who. won't. shut. up. Oh well, favourite movies are not perfect movies. No movie is perfect, period. 'Frozen' perhaps subverts the Disney and fairy tale formula to a better effect, however 'Enchanted' - a fitting title to describe the viewing experience - will always have a special place in my heart. A spiritual successor to the Disney films we grew up loving, while retaining that same spirit itself.
18. 'Shakespeare in Love' (1998)
Many hail 'Moulin Rouge!' to be the first movie in recent memory that's incredibly zany, boisterous and fun, like a two-hour-long song and dance number set in a big glorious theatre, never caring about the rules of conventional film making, while at its heart it's a classic love story worthy of an opera. Well, as much as I hate to sound like one of those pretentious, sanctimonious film snobs, on this point I feel like going against my good nature and saying, "'Shakespeare in Love' did it first, and did it better". To this day I can't really explain why I love 'Shakespeare in Love'. I'm not a fan of William Shakespeare's works, or romances in general, and I'm sure as hell not a fan of costume dramas. Stories set in the 16th and 17th centuries in England tend to bore me. But with 'Shakespeare in Love', my love is blind. Maybe it's the comedy, the romance I actually care about, the way it cleverly uses plot elements from Shakespeare's plays to parallel the bard's own personal history, or maybe I just think that Joseph Fiennes as Bill is hot. Yes the film is heavily romanticized, to the point where to call it an autobiography is seriously pushing it, but it treats Shakespeare as a poet and playwright with respect towards his hard work. Dame Judi Dench is also tough yet humorous as the Queen of England. In fact, everybody owns their role to a punch, even Ben Affleck. Very funny, sexy, touching and surprisingly tragic at the end (who said this is Hollywoodized Shakespeare, again?), 'Shakespeare in Love' is my favourite romance movie, known patronizingly as a chick flick, as if films mainly targeting women and are beloved by women are somehow inferior, worthy of hatred and ridicule (looking at you, petty detractors of 'Titanic').
17. 'Singin' in the Rain' (1952)
Ahh the classics! They don't make movies like this anymore. They really don't. 'Singin' in the Rain' invented the genre of film making of just having fun. Of having characters brought to life on screen by casting the most charismatic actors in the world - it's a lighthearted musical, so that element is a must for an instant classic. You'd swear that a lot of 'Singin' in the Rain' was improvised - a spontaneous, scene-to-scene romp with a Hollywood budget. The songs are great, its various scenery is visually spectacular for its time, the dancing (ha!) is infectious, its commentary on the film industry and its changes overtime is portrayed both humorously and sadly. I love looking at behind-the-scenes stuff in any film, and 'Singin' in the Rain' adding in a musical theatre angle to that, well, it's a dream come true to my eyes and ears. Adapting to change and doing new things is overwhelming and scary. But working as a team, coming together as one, is the key to success. 'Singin' in the Rain' - one of my favourite musicals, and one of my favourite movies.
16. 'Brave' (2012)
A film after my own fantasy feminist heart! It contains nearly everything that I love: It's animated - by Pixar no less - it's a fantasy tale with a female lead, there's swords and sorcery and none of its elements are overblown. It's a quaint little film that's more original than most people give it credit for, to the point where its title subtly explores its themes. Beautiful. 'Brave' is Pixar's first film with a female protagonist, and their first attempt at an original fairy tale. Set in medieval Scotland, it's a fairy tale film that subverts storytelling plots common to Disney, more so than 'Enchanted' (as a comedy) and even 'Frozen' (played more serious) do. More specifically, 'Brave' subverts practically everything from my least favourite Disney film, 'The Little Mermaid'. The mother of the main lead is alive and present and is a character crucial to the development of said lead (whilst developing throughout the film by herself). The witch isn't evil, and is downplayed in order for the heroine to grow up on her own and act to fix her own mistakes, using her brain as well as her brawn. Hell, the movie cleverly brings up the fact that princes can get away with anything - they can be whoever they want to be (within a hyper-masculine idea of manhood, that is) - but princesses don't have that luxury. They are constantly monitored, constantly criticized, constantly pressured to look and act like the perfect specimen of grace and submissiveness all the time. This is a tradition carried out in real life, since the dawn of time, not just in fairy tales. At the heart of 'Brave' is the mother-and-daughter bond, and the difficulties of raising a rebellious teenager. Yes we've seen the rebel teen princess hundreds of times before, even I've become sick of that cliche, but how many other films - much less animated ones - can you name where the relationship centers on the princess and her mother? Where there is no romance - despite marriage being forced on the girl, and that's a major plot point? It's the catalyst to the worst troubles the parent and child face, leading to either their demise or their bond becoming stronger based on empathy, and the girl taking responsibility for her selfish actions. In the spirit of breaking traditions, the female protag in this film doesn't have to be 100% likable all the time. As long as she gets to experience character development throughout her story the same as a typical male lead does, it all works out; coming together towards the end, just like a family would. 'Brave' also delivers a message that sometimes it's okay to break tradition, as long as you're doing it for selfless reasons. Progress! See what I mean now about the film's originality and subversion? 'Brave' is another underrated fave of mine. It makes me teary-eyed every time I watch it, for personal, family reasons. The love that went into making it shows, and its heart is in the right place, at least. A quiet triumph.
To be continued in Part 2.
Wednesday, 17 August 2016
Non-Fiction Book Review - 'The Magical Worlds Of Harry Potter: A Treasury Of Myths, Legends And Fascinating Facts' by David Colbert
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 4/5
Original Review:
Having owned this book for years, I only just now thought to myself, "Why not? Let's review it".
'Harry Potter' fever is running high at the moment!
'The Magical Worlds Of Harry Potter: A Treasury Of Myths, Legends And Fascinating Facts' - authored (unofficially) by David Colbert in 2001 - is exactly what it says on the tin: It gives fascinating, detailed facts on the storytelling techniques (intentional or not), the names behind the characters and magical creatures, on the myths, legends, and historical references that are present in the 'Harry Potter' books, up to 'The Prisoner of Azkaban'.
With only the first three books to analyse and discuss, 'The Magical Worlds of Harry Potter' does contain limited information, but it's fun nonetheless. All those hidden meanings I'd never thought about before when first reading the books. How vast the collective knowledge is of J.K. Rowling, and how cleverly she wove them into her fantasy stories!
There are cool illustrations and artistically-dogeared side notes as well. It reminds me of 'Fantastic Beasts and Where to Find Them', only as non-fiction and not quite as funny or cute.
A good book for any 'Harry Potter' fan to add to their shelved collection.
Final Score: 4/5
Final Score: 4/5
Original Review:
Having owned this book for years, I only just now thought to myself, "Why not? Let's review it".
'Harry Potter' fever is running high at the moment!
'The Magical Worlds Of Harry Potter: A Treasury Of Myths, Legends And Fascinating Facts' - authored (unofficially) by David Colbert in 2001 - is exactly what it says on the tin: It gives fascinating, detailed facts on the storytelling techniques (intentional or not), the names behind the characters and magical creatures, on the myths, legends, and historical references that are present in the 'Harry Potter' books, up to 'The Prisoner of Azkaban'.
With only the first three books to analyse and discuss, 'The Magical Worlds of Harry Potter' does contain limited information, but it's fun nonetheless. All those hidden meanings I'd never thought about before when first reading the books. How vast the collective knowledge is of J.K. Rowling, and how cleverly she wove them into her fantasy stories!
There are cool illustrations and artistically-dogeared side notes as well. It reminds me of 'Fantastic Beasts and Where to Find Them', only as non-fiction and not quite as funny or cute.
A good book for any 'Harry Potter' fan to add to their shelved collection.
Final Score: 4/5
Non-Fiction Book Review - 'The Ode Less Travelled: Unlocking the Poet Within' by Stephen Fry
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 3/5
Original Review:
I admit I never really cared for poetry. I still don't. But Stephen Fry is one of the greatest TV personalities out there (to those who've never heard of him, he has a HUGE amount of credits to his name in British television, and in America. Go look them up, you might be surprised). Anything by him, I was bound to enjoy. 'The Ode Less Travelled: Unlocking the Poet Within' is his book on writing poetry - his revered hobby - and it is wonderfully engaging as well as educational, and humorous.
It was nice to read it years ago in university with Mr Fry's voice in my mind. His dry yet affable British wit shines through in his teachings about how poetry works, and in the examples he uses for demonstrations, both positive and negative. His personal touches are also effective in reminding the reader that the book was written by a real human being and not by some distant, disinterested English teacher tasked to go through a textbook. Stephen Fry truly is one of the most talented celebrities out there.
A humble and remarkably well-written book, to be read whether you like poems or not.
Final Score: 4/5
Final Score: 3/5
Original Review:
I admit I never really cared for poetry. I still don't. But Stephen Fry is one of the greatest TV personalities out there (to those who've never heard of him, he has a HUGE amount of credits to his name in British television, and in America. Go look them up, you might be surprised). Anything by him, I was bound to enjoy. 'The Ode Less Travelled: Unlocking the Poet Within' is his book on writing poetry - his revered hobby - and it is wonderfully engaging as well as educational, and humorous.
It was nice to read it years ago in university with Mr Fry's voice in my mind. His dry yet affable British wit shines through in his teachings about how poetry works, and in the examples he uses for demonstrations, both positive and negative. His personal touches are also effective in reminding the reader that the book was written by a real human being and not by some distant, disinterested English teacher tasked to go through a textbook. Stephen Fry truly is one of the most talented celebrities out there.
A humble and remarkably well-written book, to be read whether you like poems or not.
Final Score: 4/5
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