Sorry i've been slacking as of late. Lets get a few down us, eh?
44.
Lost Highway (David Lynch 1997)
So my favourite David Lynch finds its way onto my definitive list. And in a very high position too. Make no mistake, though, I am usually a detractor of Lynch, but this film did the business for me. It's a visionary piece of art and isn't completely impossible to analyse. Simply put, I don't feel inadequate watching this film because there are a whole range of ways to interpretate the narrative unlike his other oddball and 'avant garde' films.
A fine paradigm of neo noir with it's metamorphorised protagonist,
Lost Highway had me glued to my seat, frightened and mesmerized by all of it's features. One feature was the dream-like and soft focused photography, that somewhat encapsulates everything about the film and it's themes. It's all typically Lynchian but somehow it works wonderfully well here. Themes of escapism and idealism are realised in absurd yet poetic ways.
It's a very sexy film too. Patricia Arquette has never had me searching her up on google before, but she's completely beguiling (and naked) in this feature. Her sultry looks combined with the soft photography is just immersive and much more erotic than anything Shannon bleedin' Tweed has been in. Fantastic performances all round too, with Bill Pullman being the strongest of the lot. And yes, it's even better than
Mullholland Drive.
43.
Chopper (Andrew Dominik, 2000)
Andrew Dominik seems to have a taste for renowned outlaws. From Mark 'Chopper' Brandon Reed to Jesse James, Dominik doesn't hide his fascination for the darker souls. However, the main difference between this film and the elegant
Assassination Of Jesse James is that Dominik's style here is a lot more hyper and the film is dominated solely by it's star/subject - One Eric Bana. Completely unrecognisation what with a SERIOUS weight gain and grunt attitude, Bana makes a thrilling star turn in gritty yet comical take on Chopper's life.
The ****ed up thing about Chopper is your familiarity with the guy. We've met this guy somewhere before. Whether it be in a pub or at some convention. Chopper likes to go on as if he's one of those cool and easy going Australians, a real Crocodile Dundee type, and pretend to be your best friend. He'll even offer you a beer without you asking - Only to turn into a homocidal maniac at the flip of a switch.
But Bana and Dominik's genius is not in showing split sides of the man, but subtly suggesting a many of layers that are often conveyed through controlled emotion than dialogue. You get the feeling that Chopper is a lot sensitive than he makes out, despite his dodgy life style. Take the scene where his 'mate' betrays him by impaling him with a knife. Chopper ignores the physical paind but quietly acknowledges he is far more upset at the betrayal.
The best scene is the finale, though. You know when people say that laughter and sarcasm are usually done as a defence mechanism? Well it's never been truer when Dominik exposes Chopper's sense of insecurity and lonliness.
But enough can't be said of Bana's portrayal. He really immerses himself into the role, bringing a strong mix of blokely machoisms and repressed innocence. He's haliriously funny throughout too. If there was ever any indication as to how this man was once an up and coming comedian, this is it.
42.
Toy Story (John Lasseter, 1995)
The fist feature length film to use computer generated animation is still ahead of the game and the animated film to beat.
Shrek, The Incredibles and
Monster's
Inc may be more familiar with the masses today. But let us not forget who started it.
Surprisingly, the visual feast of
Toy
Story isn't the most impressive thing about it. It's Joss Whedon's ingenious and strikingly witty script that raises the film from pretty looking kids adventure to essential cinema for EVERYBODY.
The toys themselves are instantly likeable, each with their own quirks and rubber distinctions. From Slinky The Dog to Mr Potatoe Head, these characters are loveable. That said, the toy praising should really be reserved for Tom Hank's sympathetic and wonderfully sarcastic Woody and Tim Allen's ignorant and halirious Buzz Lightyear. It's in their scenes where
Toy
Story rivals any buddy flick for best comeidc duo act. There are a lot of adult themes touched on aswell. The sense of being over looked to name but a few and the foray into existential crises isn't a norm of Disney. But when you have Joss Whedon as your writer, you've already got something special on your way.