Back in February 2009 I did a snapshot of IMDb's Top 250 films. Let's see how the list has changed...
Since I blogged about them:
15 films have gone up in the ranking (in the order of blogging, Batman Begins, Fight Club, Pirates I, V for Vendetta, The Prestige, Full Metal Jacket, Dial M for Murder, The Thing, Star Wars: Episode VI - Return of the Jedi, The Big Lebowski, Avatar, Rocky, Back to the Future, Kick-Ass, Inception).
2 have stayed the same (Star Wars: Episode V - The Empire Strikes Back, The Bourne Ultimatum).
And the rest have gone down - including 8 films that have disappeared from the Top 250 altogether (Almost Famous, Star Wars III, Hero, Walk the Line, Frost/Nixon, The Day the Earth Stood Still, The Hangover, Zombieland).
My mission is about 24% complete...
IMDb Top 250 films as of 25 September 2010:
Saturday, September 25, 2010
The Bourne Ultimatum
#155 at time of writing.
The Bourne trilogy collectively represent the best action thriller films of the Noughties, and The Bourne Ultimatum tops the series off brilliantly. One hundred percent up to date, breathlessly paced, realistic and compelling.
Matt Damon has the Bourne trilogy to thank for successfully reinventing him from Meh Damen into a rock-hard action star.
But the real stars here are behind the scenes. The script is intelligent and economical, Paul Greengrass's direction leaves your head spinning with its blistering pace, the music keeps your adrenalin pumping relentlessly...
Bourne is so cool that even Bond tried to imitate him - A Quantum of Solace is basically James Bond shoehorned (unsuccessfully) into a Bourne film.
There a couple of scenes where the shakiness of the camera is too intrusive, and Jason Bourne makes at least one decision that seems to be more for dramatic effect than practicality ("If you were in your office right now we'd be having this conversation face-to-face"); but the effect is sufficiently dramatic that all is easily forgiven.
I made the mistake of watching this film late at night; it got my blood going so fast it took me ages to settle down and get to sleep.
The Bourne trilogy collectively represent the best action thriller films of the Noughties, and The Bourne Ultimatum tops the series off brilliantly. One hundred percent up to date, breathlessly paced, realistic and compelling.
Matt Damon has the Bourne trilogy to thank for successfully reinventing him from Meh Damen into a rock-hard action star.
But the real stars here are behind the scenes. The script is intelligent and economical, Paul Greengrass's direction leaves your head spinning with its blistering pace, the music keeps your adrenalin pumping relentlessly...
Bourne is so cool that even Bond tried to imitate him - A Quantum of Solace is basically James Bond shoehorned (unsuccessfully) into a Bourne film.
There a couple of scenes where the shakiness of the camera is too intrusive, and Jason Bourne makes at least one decision that seems to be more for dramatic effect than practicality ("If you were in your office right now we'd be having this conversation face-to-face"); but the effect is sufficiently dramatic that all is easily forgiven.
I made the mistake of watching this film late at night; it got my blood going so fast it took me ages to settle down and get to sleep.
Sunday, August 29, 2010
Scott Pilgrim vs. the World
Painfully cool. As in, immensely cool, and just a little bit painful.
I really wanted to like this film, and there's a lot to like: it's funny, original, endlessly inventive, and packed with geeky video game references. But (and I hate to say this) I was bored.
Hard to pin down what was wrong with it. Lack of chemistry between the main characters? All flashiness and no content? I dunno. There seem to be enough people who loved this film to propel it into the IMDb Top 250, but for me it would have worked better as a TV series - it just didn't have enough substance for the big screen. One for DVD perhaps; there are certainly enough background jokes to deserve a second viewing. Or perhaps the comics are where the real fun is at.
Mary Elizabeth Winstead as Ramona Flowers was suitably awesome, and I thought Alison Pill as Kim Pine punched above her screen time. Michael Cera was, well, Michael Cera - which is no bad thing.
I'm still rooting for writer/director Edgar Wright. Shaun of the Dead is one of my favourite films, and it's great to see him hit the big time. I look forward to the third in the Blood & Ice Cream trilogy.
Edgar Wright apparently obtained permission to use the famous theme song from the NES title, The Legend of Zelda, by writing a letter to Nintendo, saying that it is considered to be "the nursery rhyme of this generation". Loving the 8 bit music.
Saturday, August 28, 2010
A Film A Day...
I recently succumbed to a ridiculous whim and bought a job lot of 171 DVDs from eBay wholesale, for just over £1 each. I kept the best ones, about half of them, and sold the rest for £1 each almost immediately.
Thus, my DVD collection is now a DVD library. And suddenly I have loads of films I'm excited about watching.
My learned friend Jeremy Sheldon makes sure he watches a film every single day. This week, without really intending to, I have achieved just that.
Thursday: Nacho Libre. Flat and unimaginative comedy in the vein of Napoleon Dynamite. 3/10.
Friday: The Expendables. A wasted opportunity. Big on gore, low on everything else. 3/10.
Saturday: Animal House. Now I know where Ferris Bueller got his inspiration! Genius. 8/10.
Sunday: Serenity. Fun science fiction flick, though you can tell it's an extension of a TV show. 7/10.
Monday: The Secret In Their Eyes. Great slow-burning character piece. 8/10.
Tuesday: Gamer. Why are there so many bad reviews of this? I loved it. Good zeitgeisty script. 9/10.
Wednesday: Slither. Not too clever B-movie horror parody. 4/10.
Thursday: The Illusionist. On one hand, brilliant and beautiful silent storytelling. On the other hand, slightly irritating characters and not as good as Belleville Rendez-Vous. 7/10.
Friday: I'm just about to curl up with WarGames...
(Disclaimer: I'm sure my ratings show all kinds of bias and are no doubt heavily dependant on how I was feeling at the time - but hell, that's my MO.)
Thus, my DVD collection is now a DVD library. And suddenly I have loads of films I'm excited about watching.
My learned friend Jeremy Sheldon makes sure he watches a film every single day. This week, without really intending to, I have achieved just that.
Thursday: Nacho Libre. Flat and unimaginative comedy in the vein of Napoleon Dynamite. 3/10.
Friday: The Expendables. A wasted opportunity. Big on gore, low on everything else. 3/10.
Saturday: Animal House. Now I know where Ferris Bueller got his inspiration! Genius. 8/10.
Sunday: Serenity. Fun science fiction flick, though you can tell it's an extension of a TV show. 7/10.
Monday: The Secret In Their Eyes. Great slow-burning character piece. 8/10.
Tuesday: Gamer. Why are there so many bad reviews of this? I loved it. Good zeitgeisty script. 9/10.
Wednesday: Slither. Not too clever B-movie horror parody. 4/10.
Thursday: The Illusionist. On one hand, brilliant and beautiful silent storytelling. On the other hand, slightly irritating characters and not as good as Belleville Rendez-Vous. 7/10.
Friday: I'm just about to curl up with WarGames...
(Disclaimer: I'm sure my ratings show all kinds of bias and are no doubt heavily dependant on how I was feeling at the time - but hell, that's my MO.)
Monday, August 23, 2010
The Secret in Their Eyes
Once in a while, a film comes along that manages to keep you glued to the screen without lots of action or glamour, but simply by compelling character development and a decent plot. This Argentinian offering delivers with confidence, subtlety and wit.
It's a film about closure. The protagonist, a retired legal counselor, seeks to quench the demons of his past - a traumatic injustice, a lost opportunity for love. The plot unfolds gradually, step by step, gathering force and substance without cutting any corners. The characters are complex and real, and I enjoyed their company for the duration of the film.
Juan José Campanella's directing is impeccable, the production is slick and inventive (there is one particular shot of a football stadium that high-budget Hollywood movies would be envious of), the acting is spot on, the story is satisfying - what more could you ask? More than deserves its 2009 Oscar for Best Foreign Language Film. Go see it!
Saturday, August 21, 2010
Self-love is all the rage right now
The Man Who Married Himself, the short film I wrote last year, has done it again. It won the Grand Prize for Best Comedy Short at the Rhode Island International Film Festival.
The news I'm waiting for now is whether it will be accepted into the BFI London Film Festival so I can invite all my friends to come and see it!
The news I'm waiting for now is whether it will be accepted into the BFI London Film Festival so I can invite all my friends to come and see it!
Monday, August 02, 2010
Nothing to do with films
OK, this post is nothing to do with films. I'm asking a favour.
In short, Cadbury are running a Pocket Game competition and I would love you to vote for my entry, which has already been shortlisted into the final round!
http://www.pocketgamecompetition.co.uk/media/914790-Choc-a-Block-Cadbury-Pocket-Game
You'll need to create an account on the website in order to vote, but don't worry - you can opt out of marketing emails.
The voting closes on August 9th. If my game wins, it will get manufactured and distributed to some 25000 people at the Olympics, which would be Very Cool.
In short, Cadbury are running a Pocket Game competition and I would love you to vote for my entry, which has already been shortlisted into the final round!
http://www.pocketgamecompetition.co.uk/media/914790-Choc-a-Block-Cadbury-Pocket-Game
You'll need to create an account on the website in order to vote, but don't worry - you can opt out of marketing emails.
The voting closes on August 9th. If my game wins, it will get manufactured and distributed to some 25000 people at the Olympics, which would be Very Cool.
Sunday, August 01, 2010
I'm an award winning screenwriter!
...Or, at least, co-writer of an award winning short film!
The Man Who Married Himself won Best Comedy at the LA Shorts Film Festival. That is very exciting news, particularly because that qualifies it for an Oscar nomination...
See here for the full list of winners.
The Man Who Married Himself won Best Comedy at the LA Shorts Film Festival. That is very exciting news, particularly because that qualifies it for an Oscar nomination...
See here for the full list of winners.
Wednesday, July 28, 2010
Toy Story - The Best Film Trilogy?
I stumbled across a fascinating analysis that attempts to identify the best film trilogies according to both IMDb voters and professional critics.
The conclusion is that IMDb voters rank the following trilogies as the best of all time:
Lord of the Rings
Star Wars (original 3)
Godfather
Toy Story
Indiana Jones
The order changes if you only count the top 1000 voters, but those are still the top 5.
Astonishingly, but deservedly, professional critics (as collated by Rotten Tomatoes) rate none other than the Toy Story trilogy as the best of all time. Their top 5 includes most of the trilogies preferred by the plebs above, plus the Trois Couleurs trilogy.
It's a great article, with graphs and everything. Have a look!
The conclusion is that IMDb voters rank the following trilogies as the best of all time:
Lord of the Rings
Star Wars (original 3)
Godfather
Toy Story
Indiana Jones
The order changes if you only count the top 1000 voters, but those are still the top 5.
Astonishingly, but deservedly, professional critics (as collated by Rotten Tomatoes) rate none other than the Toy Story trilogy as the best of all time. Their top 5 includes most of the trilogies preferred by the plebs above, plus the Trois Couleurs trilogy.
It's a great article, with graphs and everything. Have a look!
Tuesday, July 27, 2010
Toy Story 3
#9 at time of writing.
Wow. I haven't laughed out loud so often, and cried so hard, since... well, since Up. But if you exclude Pixar, since ever.
That's right. I'm a grown man and I bawled my eyes out.
Pixar are the masters - nay, the gods - of story. With Toy Story 3, they once again excel themselves. There is not one moment that allows your attention to flag, and the plot masterfully achieves that most challenging of goals (as taught by Terry Rossio): it's decisive, set-up, inevitable and yet genuinely unexpected.
This wonderful threequel complements and augments the first two films beautifully, whilst simultaneously laying a fair claim to being one of the best animated movies ever. Indeed, IMDb voters have propelled it into the top 10 movies of all time, of any genre. (With Inception currently at #3, July 2010 is proving to be a month of astonishingly high-quality film releases, at least as far as IMDb voters are concerned.)
The emotional core of Toy Story 3 is provided by the question: What happens to Andy's toys when he grows too old to play with them? A typical Pixar mix of loss, jealousy, hope and high-jinks follows, with an ending that will reconnect you to your inner child - and perhaps have your real children wondering why you are sniffling and teary-eyed over a bunch of toys.
Thank goodness Pixar and Disney made up. When they split over creative differences in 2004-2005, Disney started up an animation division titled 'Circle 7 Animation,' which would have been in charge of churning out sequels for Pixar films without consulting Pixar. The original plot for Toy Story 3 was going to be about Buzz Lightyear having a defect and being shipped to Taiwan to be fixed, and the other toys shipping themselves to Taiwan to rescue him. Judging by Disney's decidedly mediocre record with sequels, we should be grateful that Pixar are back in charge.
Wow. I haven't laughed out loud so often, and cried so hard, since... well, since Up. But if you exclude Pixar, since ever.
That's right. I'm a grown man and I bawled my eyes out.
Pixar are the masters - nay, the gods - of story. With Toy Story 3, they once again excel themselves. There is not one moment that allows your attention to flag, and the plot masterfully achieves that most challenging of goals (as taught by Terry Rossio): it's decisive, set-up, inevitable and yet genuinely unexpected.
This wonderful threequel complements and augments the first two films beautifully, whilst simultaneously laying a fair claim to being one of the best animated movies ever. Indeed, IMDb voters have propelled it into the top 10 movies of all time, of any genre. (With Inception currently at #3, July 2010 is proving to be a month of astonishingly high-quality film releases, at least as far as IMDb voters are concerned.)
The emotional core of Toy Story 3 is provided by the question: What happens to Andy's toys when he grows too old to play with them? A typical Pixar mix of loss, jealousy, hope and high-jinks follows, with an ending that will reconnect you to your inner child - and perhaps have your real children wondering why you are sniffling and teary-eyed over a bunch of toys.
Thank goodness Pixar and Disney made up. When they split over creative differences in 2004-2005, Disney started up an animation division titled 'Circle 7 Animation,' which would have been in charge of churning out sequels for Pixar films without consulting Pixar. The original plot for Toy Story 3 was going to be about Buzz Lightyear having a defect and being shipped to Taiwan to be fixed, and the other toys shipping themselves to Taiwan to rescue him. Judging by Disney's decidedly mediocre record with sequels, we should be grateful that Pixar are back in charge.
The UK government are doing WHAT?
UK Film Council to be abolished? I'm so angry I'm speechless. I will let my alarmingly eloquent friend at Polygonic speak for me.
Saturday, July 17, 2010
Inception
Just came back from watching the IMAX premiere of this with a few friends. I don't think I've come out of a film and talked about the plot - and the ending - so much since Donnie Darko. Without giving anything away, the last ten seconds of the film show something completely mundane, but had the whole room on the edge of their seats. When the screen went black, there was a collective gasp and spontaneous applause.
So, definitely entertaining. Definitely tense. Sufficiently clever and ambiguous to stir up a few hours of après-film conversation. Christopher Nolan has successfully maintained his near miraculous record of directorial excellence.
The central concept of stealing (and planting) ideas within people's dreams allows for some beautiful images of bending cities and gravity-defying hyperreality. Inception owes a lot to The Matrix, perhaps with sprinklings of Synecdoche, New York. Subtle it is not, but who needs subtle - this is Hollywood.
However, it has flaws.
Don't get me wrong, I heartily recommend this film. It's a big-screen film, confident and ambitious. But I think it suffers (although not nearly as fatally) from the same problem as the Matrix sequels. (Let's speak of them just this once, and then never again.) It is an overdose of exposition plus action. The plot is so complicated and so carefully laid out that character and emotional involvement feel squeezed into the edges.
As far as dream-within-a-dream films go this might beat Vanilla Sky, but I prefer the disorientation of eXistenZ or the emotion of Eternal Sunshine of the Spotless Mind. Still, I would gladly watch Inception again.
(Side note, David Walliams was sat behind us!)
Monday, July 12, 2010
Buy tickets now for The Man Who Married Himself screening in LA
If you are near Los Angeles on Wednesday July 28th, be sure to check out the short film I co-wrote last year, The Man Who Married Himself, starring Richard E Grant.
It's showing as part of the LA Shorts Fest. Tickets are available as of today.
It's showing as part of the LA Shorts Fest. Tickets are available as of today.
Friday, July 02, 2010
City of God
This is a stylish and impactful rollercoaster of a film that devastatingly evokes the cycle of poverty, crime, drugs and violence that can trap the children of Brazil's Cidade de Deus, and favelas like it, in the suburbs of Rio de Janeiro.
The characters are all children, almost all of whom carry guns, and most of whom will be killed before the age of 20. The film follows one child in particular, Buscapé (translated as Rocket), who goes to great lengths to try not to get caught up in the criminal underworld, but without success.
The story, acting, directing, cinematography, editing - everything - is first class, but the thing that makes this film unbeatably compelling is that it is based on truth. Not in the Hollywood "inspired by true events" way, but for real. Some shots in the movie are recreations of genuine photos from the drug war the film dramatises. All of the child actors (with one exception) were amateurs recruited from the favelas themselves. And, of course, the story and the characters are based on Paulo Lins' eponymous account of living in the City of God during the 60s, 70s and 80s.
The DVD also contains a horrifying and fascinating documentary about the modern-day City of God. Becoming a hoodlum in Cidade de Deus isn't just a fringe career option for disenchanted rebels and social outcasts - it's the main industry.
Wednesday, June 23, 2010
Festivals
If you're in the USA, there's a couple of chances coming up to watch The Man Who Married Himself. The Los Angeles International Short Film Festival (July 22-30), and the Rhode Island International Film Festival (August 10-15). Watch this space for more news.
Saturday, May 29, 2010
Four Lions
Unranked at time of writing.
At the time of writing this film has a score of 8.2 on IMDb, but - being a low-budget indie British film - it doesn't have enough votes to get it into the Top 250.
I LOVE that British cinema can tackle such brave material. Hollywood could never be so blasé about domestic terrorism. The director Chris Morris is best known in the UK for a couple of extremely controversial TV comedy series back in the late 90s/early Naughties, in particular an episode of Brass Eye that unflinchingly parodied and exploited our nation's uneasiness about paedophiles. With this comedy about inept suicide bombers, his ability to put his finger on the core of our cultural paranoia and push the boundaries seems to be as strong as ever.
Four Lions is funny, edgy (thankfully not nearly as bad taste as it could have been), and intelligent. Most of the jokes come from how stupid the wannabe terrorists are, and a careful balance is struck to make sure that all cultures are mocked equally. I enjoyed it, but I came out the cinema feeling more could have been done with it. I wanted to know more about why the characters had decided to become terrorists. I wanted something deeper. Perhaps I wanted too much - the fact that Chris Morris has squared up to these topics at all is already much further than any sane man would go, and I am grateful for that.
There have been some truly excellent British films recently which are scored lower on IMDb, but I think deserve more. In particular, I recently watched The Disappearance of Alice Creed - man, Gemma Arterton can act - and the brilliant An Education.
(Trivia from IMDb, if you believe it: "On January 23rd 2010, Four Lions had its world premier at Sundance. On the same day, the UK 'terror threat' level was raised to 'severe' due to non-specific 'chatter'.")
Saturday, April 17, 2010
Kick-Ass
Unranked at time of writing.
I watched this film without much expectation, and was pleasantly surprised - not to mention thoroughly entertained. It functions as a very funny parody of the superhero genre whilst also being an excellent example of the genre.
It features a hapless teenage loner who decides to become a superhero, and fails catastrophically. However, his endeavours get him embroiled with a criminal gang and a duo of much more successful superheroids, including a sweary and shockingly violent eleven year old girl played memorably by Chloe Moretz. (Dude, she was born in 1997 and she's old enough to be saying c*nt in Dolby surround sound. Doesn't that make you feel old?).
Think Spider-Man meets Kill Bill. Kick-Ass indeed.
Saturday, March 27, 2010
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Wednesday, February 24, 2010
Premiere
Yay! My wife and I attended the private premiere of The Man Who Married Himself at BAFTA's Princess Anne Theatre yesterday, and it was brilliant.
The film looked great on the big screen. The music added a whole new dimension, emphasising the tragic elements of the main character's loneliness. People laughed in the right places, clapped plenty... there were even one or two heckles. :)
I'm generally not great at schmoozing at those kind of events, but it was fun to chat to Warren Clarke (he praised the film, and offered me one piece of advice for the future: "Write bigger!"), and Mark Joseph who I'd met on the set, and Film Four people, and some of Garrick's friends and family.
It's incredible how many people were involved in making an 11-minute film. Everyone worked so hard on it, with such an incredible amount of goodwill, mostly for little or no money - what other industry (apart from the charity sector I suppose) can claim that kind of dedication?
So, soon the film will be touring festivals and I'll be persuading all my friends and family to go see it. You too! Go!
The film looked great on the big screen. The music added a whole new dimension, emphasising the tragic elements of the main character's loneliness. People laughed in the right places, clapped plenty... there were even one or two heckles. :)
I'm generally not great at schmoozing at those kind of events, but it was fun to chat to Warren Clarke (he praised the film, and offered me one piece of advice for the future: "Write bigger!"), and Mark Joseph who I'd met on the set, and Film Four people, and some of Garrick's friends and family.
It's incredible how many people were involved in making an 11-minute film. Everyone worked so hard on it, with such an incredible amount of goodwill, mostly for little or no money - what other industry (apart from the charity sector I suppose) can claim that kind of dedication?
So, soon the film will be touring festivals and I'll be persuading all my friends and family to go see it. You too! Go!
Tuesday, February 23, 2010
10 Rules For Writing
My wife sent me an article about various writers' ten rules for writing fiction. It's fascinating to read how disciplined, intelligent and well-read everyone else is.
These are the ten rules I seem to live by:
1. Do anything - anything - to put off starting to write. Read about the bystander effect on Wikipedia. Play Scrabble on your iPod Touch. Just sit there and stare at a blank screen for forty minutes.
2. Leave the house. A cafe or a pub is a more productive place to write, particularly one without a wireless internet connection. Start by drinking Cokes, because 2pm is too early to be drinking alcohol. After a couple of litres, when the sugar buzz is making your eyes shake, start on the beers to calm yourself down.
3. Stay up ridiculously, self-destructively late. Several nights in a row. You'll know you've had the right amount of lack of sleep when you're barking at passers-by on the street for walking too close to you.
4. Dwell on a particular line of dialogue for at least an hour without moving on. Then realise how long you've been stuck on it, put in a placeholder, and end up cutting it later anyway.
5. Edit, edit, edit the first ten pages before you've written anything else. Editing is so much easier than writing more.
6. Bring your laptop everywhere with you in the utterly misguided hope that you'll pull it out to snatch a few minutes of writing on the train or wherever. Having to carry your microchip-brick all over town is a useful kind of penance for being a lazy writer.
7. Deadlines are essential enemies. It is perfectly natural to leave it just a little too late so you end up writing in an antisocial blood-sweating panicked frenzy. Face it, that's the only state in which you ever get any writing done anyway.
8. When you've finally finished a first draft, assume that there's nothing wrong with it, and refuse to listen to any constructive feedback for at least three weeks.
9. When a project is at last finished and out in the public domain, rest on your laurels. For goodness' sake don't do any more writing until you've milked all the mileage you can (to mix metaphors) out of what you've already written.
10. Remind yourself that you enjoy writing. It's fun.
Honestly, it's a wonder I ever get any writing done.
These are the ten rules I seem to live by:
1. Do anything - anything - to put off starting to write. Read about the bystander effect on Wikipedia. Play Scrabble on your iPod Touch. Just sit there and stare at a blank screen for forty minutes.
2. Leave the house. A cafe or a pub is a more productive place to write, particularly one without a wireless internet connection. Start by drinking Cokes, because 2pm is too early to be drinking alcohol. After a couple of litres, when the sugar buzz is making your eyes shake, start on the beers to calm yourself down.
3. Stay up ridiculously, self-destructively late. Several nights in a row. You'll know you've had the right amount of lack of sleep when you're barking at passers-by on the street for walking too close to you.
4. Dwell on a particular line of dialogue for at least an hour without moving on. Then realise how long you've been stuck on it, put in a placeholder, and end up cutting it later anyway.
5. Edit, edit, edit the first ten pages before you've written anything else. Editing is so much easier than writing more.
6. Bring your laptop everywhere with you in the utterly misguided hope that you'll pull it out to snatch a few minutes of writing on the train or wherever. Having to carry your microchip-brick all over town is a useful kind of penance for being a lazy writer.
7. Deadlines are essential enemies. It is perfectly natural to leave it just a little too late so you end up writing in an antisocial blood-sweating panicked frenzy. Face it, that's the only state in which you ever get any writing done anyway.
8. When you've finally finished a first draft, assume that there's nothing wrong with it, and refuse to listen to any constructive feedback for at least three weeks.
9. When a project is at last finished and out in the public domain, rest on your laurels. For goodness' sake don't do any more writing until you've milked all the mileage you can (to mix metaphors) out of what you've already written.
10. Remind yourself that you enjoy writing. It's fun.
Honestly, it's a wonder I ever get any writing done.
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