Personal Recommendation Hall of Fame VI

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I have Magnolia at a 9/10. It's not for everyone, but I really loved it. When I consider how it's able to create suspense and heartbreak in just about every scene, have one of the most surprising movie scenes of all time, and contain a ton of re-watch value, it sticks out as one of the most impressive films I can think of.
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..I did not pick Magnolia for you...your dislike of Colonel Blimp and Zodiac made is apparent that I can't pick epics for you...
Are Magnolia, Colonel Blimp & Zodiac epics? I don't see them having anything in common other than I disliked all three, but my reasons were different for each.

If you give me a list of what you consider to be epics, I'll give you feedback on the ones I've seen. That way you and others can gauge what it is I like and dislike in movies.



I have Magnolia at a 9/10. It's not for everyone, but I really loved it. When I consider how it's able to create suspense and heartbreak in just about every scene, have one of the most surprising movie scenes of all time, and contain a ton of re-watch value, it sticks out as one of the most impressive films I can think of.
I believe you've said your religious, is your love of Magnolia partially faith based?



I gather from reading some IMDB reviews that Magnolia is loved for it's Christian ideas and symbolism (by some). I did notice some Christian symbols and perhaps themes but not being a Christian I'm not sure if this film speaks to one's faith?
I'm sure the film speaks to some people's faith, but personally it did not speak to mine. I've been a Christian for many years and did not like Magnolia and did not get much out of it.



I believe you've said your religious, is your love of Magnolia partially faith based?
I used to be religious, but I fell out of touch with religion years ago. Either way, I don't think faith plays a part in my reaction towards the film. It's more or less finding the characters highly compelling. When I rewatched the film a couple years ago, a couple conflicts hit closer to home than when I first watched it, but this enhanced my enjoyment of the film.

It's still a strange film for a number of reasons (not just for the
WARNING: spoilers below
frogs
at the end), but while I wouldn't disagree with anyone who didn't care for those elements, they worked really well for me.



I'm sure the film speaks to some people's faith, but personally it did not speak to mine. I've been a Christian for many years and did not like Magnolia and did not get much out of it.
Thanks Allaby I actually have watched a lot of Christian themed movies especially about Jesus's life and his ministry and liked them.



I used to be religious, but I fell out of touch with religion years ago. Either way, I don't think faith plays a part in my reaction towards the film.
Thanks for explaining! So I must be wrong that people are mostly loving Magnolia for faith reasons (but if they did that's fine with me, I don't judge).

It's more or less finding the characters highly compelling. When I rewatched the film a couple years ago, a couple conflicts hit closer to home than when I first watched it, but this enhanced my enjoyment of the film.
I wish I could've found the characters more compelling. I think the original idea of the characters was compelling but the film was so in my face and grated on my nerves so much with all the yelling, anger and foul language that I lost any caring for the character's plight. I really wanted to see some of them just die, I'm not kidding. The only character's story arch I liked was the coked out chick and the cop.



Thanks for explaining! So I must be wrong that people are mostly loving Magnolia for faith reasons (but if they did that's fine with me, I don't judge).

I wish I could've found the characters more compelling. I think the original idea of the characters was compelling but the film was so in my face and grated on my nerves so much with all the yelling, anger and foul language that I lost any caring for the character's plight. I really wanted to see some of them just die, I'm not kidding. The only character's story arch I liked was the coked out chick and the cop.
I was fine with that, personally, but that's fair.

For what it's worth though, this was my favorite scene in the film. Love Robards.




Ugh…on the other hand I would have never recommended Magnolia for you. Definitely saw that coming.
That wasn't your film choice for me? I thought it probably was, as we've talked about it before.

But now that I know it wasn't your choice I feel better because I know you love Magnolia and I didn't feel good about dissing a movie someone I know loves. Though still sorry for not liking someone's choice. Which brave soul wants to claim Magnolia



That wasn't your film choice for me? I thought it probably was, as we've talked about it before.

But now that I know it wasn't your choice I feel better because I know you love Magnolia and I didn't feel good about dissing a movie someone I know loves. Though still sorry for not liking someone's choice. Which brave soul wants to claim Magnolia
I’m the same. We have way too much ownership of movies here at mofo. I hate when I don’t like a HOF movie.



I did finish watching (or rewatching) The Player after. There was a stretch near the end that I don't think I saw before, then a scene I clearly had, but then the last 5 minutes seemed completely new again.

I'll wait for cricket and/or the nominator to get back to me about whether or not it's a valid choice before I write anything though. I don't mind having watched it even if it is disqualified, but if it is, I won't be posting a review for it. Gotta save that mental energy haha.



I'm 35 minutes into The Player, but I've definitely seen this much before. At the start I thought maybe we just viewed that opening in one of my film classes, but everything since then has been incredibly familiar as well.

@cricket + whoever nominated this for me: Should I continue watching this as one of my films, or are we getting a replacement? I do not recall how it ends, and I'm not even entirely sure I've seen the whole thing. I've definitely seen up until this point though.
I will get back to you



I gather from reading some IMDB reviews that Magnolia is loved for it's Christian ideas and symbolism (by some). I did notice some Christian symbols and perhaps themes but not being a Christian I'm not sure if this film speaks to one's faith?


Let's go to the lyrics that inspired the film....

Prepare a list of what you need
Before you sign away the deed
'Cause it's not going to stop
It's not going to stop
It's not going to stop
'Til you wise up

If anything knowing Aimee Mann's music the film is sort of a referendum against the commandment of "honoring your Mother and Father"...a major element of the story is the effect of childhood neglect and the different stages that poor parenting can have on those children throughout their lives.

Also look at the characters names and what they represent

Stanley Spector - The start of the story, where the pain begins. We are seeing the childhood abuse at the start of the film.

Donnie -To Don is to show...the spector sees and the donner shows what the end result of the character is.

Rose - The daughter...what is a rose but a flower and in this case the flower has died out. But rose can also mean a rising and hope with a new life with Officer Jim.

Frank - Is the cynic we find out in the story that he had to take care of his dying mother when he was abandoned by his wealthy father.

To me Magnolia is like a great novel you can dive into so many different aspects of the story and find different things to look at.





The Seventh Seal / Det Sjunde Inseglet (1957)
Directed by: Ingmar Bergman
Starring: Max von Sydow, Gunnar Björnstrand, Bengt Ekerot

Sometimes it's dangerous to watch a film you've seen referenced and parodied many times before, but fortunately none of the things I'd previously encountered had a negative impact on my opinion of The Seventh Seal. I had however expected a more sombre film, and while Bergman's masterpiece is indeed melancholic, it also has a very dry sense of humour that I rather appreciated. Most of that came from the indifferent squire, who - misogyny aside - was almost always amusing.

Given the heavy focus on dialogue, the paired down costumes, and minimal movements, The Seventh Seal feels very much like a theatrical play, so it wasn't at all surprising to read that the film had indeed started its life on the stage. There's plenty of striking, memorable imagery to be seen, but I think it's that yearning for existential knowledge, and disillusionment with a silent god that will leave a more lasting impression on me.

The performances are great all around. Other than Björnstrand's squire I previously mentioned, I particularly liked the interactions between Max von Sydow and Bengt Ekerot. They weren't in the film as much as I had anticipated, but the few scenes they had together were fantastic. I also enjoyed how, even though the The Seventh Seal presents the notion that we're all just playing a long game of chess with Death ourselves, it isn't entirely without hope. Everything is left comfortably vague as well, which is entirely appropriate for a film that keeps asking questions that can never truly be answered.

This is a film I feel like I owe a rewatch. It was my first Bergman probably around 10 or 15 years ago, and after hearing praises about it all around, I was underwhelmed by it. However, I've liked/loved every Bergman I've seen since, so I think it might fare better with me now.
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Moonlight - This is the story of Chiron told in three parts: i. a young boy struggling to find himself on the streets of Miami. ii. A teenage boy struggling to find himself in the schools of Miami and iii. A young adult, drug dealer in Atlanta struggling to accept who he really is. I really liked the first two parts quite a bit but felt the final act didn't quite match the energy of the first two, which was probably intentional.

This was a weird watch because of how relatable certain aspects of the film were. Aspects that I will not get into here. I thought the acting, especially the young and teenage Chiron were very good. While I wanted teenage Chiron to exact some revenge on his tormentors this isn't the kind of movie that makes that revenge seem good, even though I was glad he did it, the repercussions were real and it was like Jeez, can't this kid catch a break.

If there's one thing I wish we saw more of it was Chiron's relationship with Teresa. The Juan scenes were great when Chiron was little but once he's gone what is Teresa doing with a teenage Chiron? She certainly helps him with the essentials, food and shelter, but she seemed to be mostly absent for emotional help. I would have liked to have seen more interaction between them during the teenage years.

Have to admit to knowing nothing about being an African American or gay but I do know how people can overcompensate to project a false image of themself, usually for protection and often times with results that aren't too good. Hopefully the final act of the film helped Chiron come to some kind of closure as to who he wants to be.

Thought this was a very good movie.
This is easily on my Top 5 of the millennium. Fantastic film.

For what it's worth, here's a link to my review on Letterboxd





The Wicker Man - 1973

Directed by Robin Hardy

Written by Anthony Shaffer

Starring Edward Woodward, Christopher Lee, Lindsay Kemp
Britt Ekland & Diane Cilento

This review contains spoilers

It's completely enthralling. Mysterious, unusual, and unlike any other film of it's time, The Wicker Man has held the fascination of many down through the decades - a kind of horror film that shocks in it's final act, but gives a sense of unease leading up to it. It gives us a glimpse into a world many people lived in centuries past with Paganism, Druidism and the worship of the old Gods before Christianity and Islam cut swaths through people's spiritual lives in the Western world and beyond. A Wicker Man was once used to burn criminals to death inside of it's structure on anointed days, and was noted by Julius Caesar and relayed through the centuries from his personal observation. Some of my favourite recent films, from Kill List to Midsommar, draw their inspiration directly from The Wicker Man, and the film's ultimate survival and restoration depended on it's inspired value as an extremely literate and quality work of cinematic art. It's principally known for it's finale, which is both frightening, and a surprise for those who come to the story without knowing what's coming.

Sgt. Neil Howie (Edward Woodward) is a devout Christian and police officer who has received a strange letter relating the suspicious disappearance of a young girl on Summerisle. The island is known locally for it's fruit harvests, and as a strange place where the people there follow a kind of Celtic Paganism, and as soon as Howie lands he's introduced to various oddities - not the least of which are the bawdy, but seemingly ritualistic songs and music everyone partakes in. The daughter of innkeeper/landlord Alder MacGregor (Lindsay Kemp) is the beautiful Willow MacGregor (Britt Ekland) and is worshipped as if Aphrodite, introducing all the young men to love. When Howie meets up with the powerful leader of the island, Lord Summerisle (Christopher Lee) he learns of it's history, renunciation of Christianity, and attitudes towards the Christian God - at odds with Howie's personal beliefs. He begins to suspect that the missing girl is tied up with a planned sacrifice due to failing crops on the island, and sets out to surreptitiously join their May Day parade to rescue her from an awful fate.

It's a straightforward story, and much of the film deals with the conflict Howie finds himself embroiled in every time he crosses paths with a strange custom that he finds offensive. Men and women copulate freely in fields, and people in the island's tavern sing lude songs about Willow in front of her father and herself - who both enjoy them. He overhears children being taught that the Maypole the boys are dancing around specifically represents a penis, and notices that churches and graveyards have been deconsecrated and abandoned. Young women dance naked around fires while chanting fertility rites, and one young girl must hold a frog in her mouth to aide in her recovery from a sore throat. This is all deeply distressing to him, and his firm believe that only Jesus Christ can be the saviour of mankind. Most of all he harbors a deeply held suspicion that Rowan Morrison has been murdered, but later comes to the conclusion she's about to be sacrificed. All of this is represented in fascinating ways, and this is specifically aided by the fact that the film is presented very much as a musical - the songs all neatly fitting the narrative. At times spooky, at others either lurid or forthright, it eventually presents a compelling case for Paganism as a religion that is closer to nature than other more modern ones.

The film started life as an idea that crystallized through discussions around a number of figures eventually involved with it's production, including Christopher Lee, who wanted to get away from his more regular Hammer Horror roles, screenwriter Anthony Shaffer, who had read an interesting novel involving the concept of Paganism in David Pinner's Ritual and prospective film director Robin Hardy, looking for a first project. Hardy was in contact with British Lion head, and film producer, Peter Snell, who was also interested in the idea. Pinner's Ritual, as a whole, seemed unsuitable for being translated film-wise as it was and adapted, but the idea of a devout Christian policeman investigating the work of Pagans and a missing girl was what brought Shaffer's story about. It was a project that Lee, Shaffer, Hardy and Snell worked closely on together and all felt passionate about, especially after Shaffer delivered a screenplay that was obviously an exceptional piece of work - something to truly be excited about. Unfortunately, the conception was to lead to an especially painful birth - as is the movie business.

British Lion as a financial entity was going through convulsions, and they needed The Wicker Man immediately - with a minimum of funds, and to be shot on location in Scotland in October instead of the Spring it's set in. Freezing temperatures and cloudy weather had to be translated into fine weather, no matter the hardship on the actors and the production as a whole, which needed to transport in fake trees in blossom. The difficult, rushed and uncomfortable shoot was bad enough, but insult was added to injury once EMI had bought British Lion and a manager by the name of Michael Deeley found himself in charge. During the editing process Deeley was dismissive towards Christopher Lee, whom he found contemptable, and let it be known to him that he thought The Wicker Man amongst the ten worst films he'd seen in his life. The studio found itself unable, and almost unwilling to sell it to one of Britain's two premier distributing chains. The initial cut of the film was shortened so it could be sold as a "second feature" on double bills - with the only version the filmmakers were content with finding itself with Roger Corman in the U.S. - who was happy to help distribute it there.

The Wicker Man is so good that it would survive all of these machinations, and even in shortened form, it's interesting and compelling enough to have made a name for itself. In the years since it's been somewhat cobbled back together into what it should have been - but regardless of that, film aficionados have loved it down through the years. I've been aware of it for a long, long time, and my practice of seeing movies as they eventually come my way delayed my first viewing until now. Unfortunately, I'd already seen the remake - and I understand even more clearly why it was so derided - having abandoned most of the interesting facets of the original film. I was pleased to discover that knowing the ending doesn't detract at all from the enjoyment I found in the film. It's far more than it's ending, which holds onto it's power. I was very surprised by the music of The Wicker Man, composed by Paul Giovanni, as it becomes a central focus of the film. It's interwoven, not only into the reality of the film but also as part of the narrative. I really loved it, especially Willow's song, 'How Do'.

Cinematographer Harry Waxman had been working on films since the early 1930s, but his experience, while always something to be thankful for on a film shoot, also developed into an animosity for his first-time director in Robin Hardy. This, on top of everything else, created an element of disharmony and ill-feeling during the shoot. Waxman didn't like the screenplay, didn't think Hardy knew how to make films, and was generally in ill-humour - although that final shot that he captures, of the Wicker Man's head slowly collapsing to reveal the setting sun behind it is considered to be one of the greatest shots in cinema by some involved with the film. Visually, I found The Wicker Man to be very enjoyable and astute - without any problems. Perhaps I was wrapped up in the story to an extent where clever shots didn't matter, or else the expertise of Waxman in getting what was needed gave the film what as needed to support some great performances and a superb script from Shaffer.

The original negatives to The Wicker Man have been lost - although there is some hope that one day they will be found. Christopher Lee always maintained that they couldn't have been accidentally misplaced. I've rarely come across so much animosity, ill-feeling, arguing and disunity among filmmakers when it comes to such a classic film, but this indeed seems to be the case with The Wicker Man. Lee initially saw a cut which had left a great part of some really well-shot and important scenes on the cutting room floor, and there are several versions which have superseded the theatrical cut, most of which run some 10 minutes longer, and includes material which enhances the narrative. Through all of this though, the quality of the film just shines through, and it seems to me that the film is literate enough to survive as it does today. I thoroughly enjoy watching it - the strange, mysterious and mystifying rites and traditions interest me. I'm carried away by the sense of ghostly conspiracy on Summerisle. I think the narrative, and passion from certain members of the cast and crew shine through.

To the end, Christopher Lee believed it was his greatest film, and Edward Woodward was similarly passionate about it. I'm not sure if the issue of whether Britt Ekland's voice (with Scottish accent) was dubbed or not has been solved, but regardless, she's as alluring as she needs to be for the film. It's unfortunate if she felt uncomfortable about her nude scenes, but for once I really feel that those scenes were critical for the film, and the scene where she's alluring the virginal Howie in a test of wills works perfectly. I very much enjoy watching the usually silent Lindsey Kemp play such an interesting role in a film. Human sacrifice is of course chilling, and the Wicker Man itself has a kind of spell it casts when you know it's significance. I actually like the connection these people have to nature, and Christopher Lee's quotation of Walt Whitman poetry when alluding to it is beautiful. So much so, that it's nearly easy to forget the violent superstition at the heart of what this film is about. Another interesting fact is that Howie's final words in the film come directly to us as a quote from Sir Walter Raleigh just before his execution.

Horror is often hard to classify - The Wicker Man contains little violence, and nothing horribly gory and gruesome happens - except for the "hand of glory", which happens to be one poor woman's severed hand turned into a creepy spell-ridden candle for Howie. Many people miss the fact that this woman is first seen in the library with him, then in a casket with her hand missing, and finally, the hand turns up. There are many small details that you can easily miss in the film, and it surprises me how well the production design has been managed considering how rushed the film's production was. I love small details that take time to pick up on. But in a larger aspect, The Wicker Man is a haunting film full of the kind of atmosphere I love in my films. That atmosphere pervades everything, and comes partly from a great screenplay, partly from the performances, and mostly from what has been brought to bear from those rituals of old. Behind the ideas this film brings forward is a real history many of our ancestors took part in. I very much agree with those who bestow the greatest praise on it, from Eli Roth to Ben Wheatley and Ari Aster, who have used it's inspiration to create the horror that has continued to enliven my cinematic pursuits.

Easily one of the most interesting and rewarding film-watching experiences I've had. Definitely a must-see!



Twelve Monkeys



Like anything Gilliam the story goes here there and everywhere. It's got those trademark Gilliam camera shots (at least felt very similar to those used in Tideland which I have seen prior) and I'm not really a big fan of those. The film is gritty looking and has some nice looking sequences although it also doesn't wow me. In Sci-Fi films I like it when we have cool world building which this really doesn't have.

Bruce Willis is a tough actor for me to like. I have found most of his performances quite wooden and there's really nothing different in his case here. I feel like he can be substituted and the film could have equal or even greater impact. There's a lot of people behind the performance of Brad Pitt here too but overall I found it to be just ok.

What I did like was the ending which was very climatic and it was cool to see a younger version of the crazy Disturbia neighbor wreaking havoc on the world again. His mini performance may have been my favorite as crazy as it sounds. It was cool to see how it didn't depend on the heroic ending and I like how tense those final scenes were. Probably something that will deserve a rewatch down the line although I won't be in a rush. So a bit unfavorable overall for me but at least I finally got around to it.

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EXCUSE ME!!??? Don't you mean, Mr. David Morse *scoffs*





Predestination (2014)
Directed by: Michael Spierig, Peter Spierig
Starring: Ethan Hawke, Sarah Snook, Noah Taylor

Predestination captured my attention right from its opening shots. They were so purposefully framed that I knew paying attention to small details throughout the film would reveal information that a casual viewer might initially miss. I pieced together almost every aspect of the story's “twists” quite early on, but that didn't negatively affect my enjoyment of the film in any way. Instead, I appreciated how well the film makers laid out the groundwork for those major reveals.

The visual style, atmosphere, and tone of the film all worked really well for me. Even without the aforementioned clues for attentive audiences, I would've praised the film's cinematography. The Unmarried Mother's story was rather compelling, and the performances by Ethan Hawke and Sarah Snook were quite captivating. I'm not sure why, but I keep forgetting how much I like Ethan Hawke as an actor until I see him on screen again.

Based on the posters I saw before hand, and the brief “action thriller” description I had read, I expected a much different film than the thought-provoking drama Predestination delivered. So ultimately, the biggest twist for me was that it wasn't an action film at all, and I'm perfectly happy with that. If I could change anything, I wish I didn't know the film's title before I saw it, as it does remove some of the initial mystery, but that's practically impossible to do these days.


Just watched this myself two nights ago and I have to say I agree with everything you said; down to how the framing in the opening shots immediately caught my attention. I really enjoyed this.



I love Magnolia and it's definitely not because of my faith because I have none. I think it's a great director at the top of his game when he has the cast to match him. Still love Boogie Nights more.