Every week at SiftPop.com, we challenge our writers to choose what they think is the best movie under a certain topic related to a recent release. So this week, with the highly anticipated release of Dune, we’re counting down our favorite movies set in the desert! Let us know @SiftPop what your ranking is!
There’s always a list of movies to watch at certain times of year. Holidays like Christmas, Halloween, and Valentine’s Day get their fair share of movies that people make traditions out of watching. Easter is one of those interesting holidays where people can watch a movie about the Easter Bunny, but I remember watching The Ten Commandments each year on ABC. It felt a little bit like an odd choice; it doesn’t really have anything to do with Easter. However, this movie is an epic film about two brothers driven apart by two different paths — one is driven by power and his place as pharaoh, and the other is driven by the voice of God and a mission (literally from God) to free his people from the bonds of slavery. Charlton Heston plays Moses against Yul Brynner’s Rameses in a battle of brothers on two diverging paths. For a film in 1956, the special effects are ahead of its time and it’s definitely a unique watch. It’s quite the long haul for a film, running nearly four hours. This story is timeless, though. It’s an amazing movie with great acting and some of the most iconic scenes in cinematic history (the Red Sea splitting alone, among others). (Mike Hilty)
There are a ton of biblical movies that could qualify for this list, particularly when it comes to the story of Moses in the desert of Egypt. Among that list, I think The Prince of Egypt can sometimes unfairly get overlooked. This movie rules. It’s got a stellar cast, with the likes of Val Kilmer, Ralph Fiennes, Sandra Bullock, and Steve Martin, to name just a few. For being just the second DreamWorks feature (releasing a couple of months after Antz), there’s some cool animation moments. This soundtrack is also incredible, earning the studio its only original song Oscar. Though, the second they got Whitney Houston and Mariah Carey to duet, what else was the Academy supposed to do? I only wish DreamWorks would do more original music. If you’re looking for a desert tale that won’t take half your day, these 99 minutes are time well spent. (Jake Bourgeois)
Indiana Jones might just be the greatest adventure series ever made. Indiana Jones and the Last Crusade is the best movie in this series. We aren’t discussing some minor movie here. No, we are discussing one of the greatest films of all time, period. When we are battling Nazis, uncovering hidden tombs, and exploring ancient temples to walk in the footsteps of God and drink from the Holy Grail… well, the stakes are high. With banger performances from Harrison Ford and Sean Connery, and amazing direction from Steven Spielberg, what’s not to love? Especially when the climax of our movie involves a race through the desert to find a long lost canyon and find the Holy Grail, this movie literally has it all. A true classic that everyone should appreciate. (Heath Lynch)
The Coen brothers really hit the ground running in their career, didn’t they? Raising Arizona is only the second feature from the sibling duo, and it shows how much talent they had to begin with. H.I. (Hi) McDunnough (Nicholas Cage) is a bit of repeat offender, and finds himself on the wrong side of the law a few times. With each new mugshot, he slowly woos Ed (Holly Hunter) until they eventually end up together with her quitting the force to focus on having children. When she finds out she is unable to conceive, and the local “big businessman” has just had quintuplets, an idea is seeded to kidnap a baby for themselves. With early seeds of Coen flair and humor on display, Raising Arizona is a delight to see. With an outlandish plot, and even more outlandish characters, there is some Coen-esque frenetic insanity through the Arizona desert backdrop. A showdown with a bounty hunter all leads to a pretty satisfying conclusion. (Adam Ritchie)
When I saw this was available, I had to grab it. It’s not often a movie so high up on my personal list of films I love is available. This is one of those movies that comes once in a lifetime, made by a fantastic visionary director, with an all-star cast coming together to save Matt Damon. No, not Saving Private Ryan. No, not Interstellar. NO, NOT Courage Under Fire. I’m talking about The Martian, duh, read the heading. You already know about this movie: botanist stuck on Mars, based off a book yadda yadda yadda. Ridley Scott throws in a perfect balance of sci-fi and humor. For a movie clocking in at two hours and 31 minutes (extended cut, obvi) it flies by fast. I am a little confused as to why it was eligible for this week. I mean all the dude eats is potatoes; that’s not exactly a dessert food. (Frank Kemp)
Can you believe there was a time where religious films were some of the most expensive films ever made? One of the most successful awards winners in history, Ben-Hur, is a tale of the Christ, and it wears that badge proudly. This film is also an epic if there ever was one, as the narrative sprawls from Israel to the high seas to the deserts where our protagonist finds his way back to humanity. The desert is a wonderful place for Judah Ben-Hur (Charlton Heston), who finds the way back to his faith and to a group of horses who will change his fortune forever. Heston leads William Wyler’s historical epic, as some of the biggest set pieces of all time come to the silver screen. Not built without the wonderful contributions of this vast cast of people, not only does this cinematic classic deliver a meaningful, thematically dense, and layered experience, but it captures a whole new world. Join Judah in his quest for honor and an understanding of the high powers at work. 11 Oscars is a feat… so just imagine how impressive this film is! (Shane Conto)
When I was seven years old, Aladdin came to theaters, and from the moment I saw the first trailer, I was in love. After hearing the movie trailer guy say, “coming only to a theater near you,” I went around for weeks trying to convince my parents (who were already planning on taking me) that we should see it because it just happened to be coming to a theater near us! Even with the high expectations that I had, I was still blown away by the characters, the songs, and the comedy. The opening scene where Jafar, Iago, Gazeem chase the magic scarab through the desert to find the Cave of Wonders, to a seven-year-old, was creepy and thrilling. Cut to Aladdin running from the guards for the “One Jump” number, and I just knew I was in for the ride of my life. The movie is so good it takes 36 minutes to introduce Robin Williams’ Genie and it hardly matters; but boy does it go from great to outstanding with the simple introduction of one character. Nowadays, when I watch the “Friend Like Me” number, I can’t help but get choked up thinking about how we lost Williams way too soon. Aladdin is the perfect combination of fun and fantasy, and is my favorite animated Disney musical (and so much better than Lion King). (Nick Ferro)
David Lean’s 1962 Best Picture winner Lawrence of Arabia is unquestionably one of the most impressive feats of filmmaking to grace the silver screen. The film had an undeniable influence on filmmakers like George Lucas, Martin Scorsese, Ridley Scott, and Steven Spielberg, who considers Lawrence of Arabia to be his all-time favorite film. Peter O’Toole’s towering performance as our psychologically complex protagonist has stood the test of time, though one cannot ignore the memorable supporting performances from classic Hollywood actors like Alec Guinness, Claude Rains, and Omar Sharif. Perhaps the most notable feature of this film is its stunningly photographed desert landscapes, which will be sure to take your breath away. The scale of the film’s cinematography in combination with its wide-ranging story combine to create a true Hollywood epic in every sense of the word. Clocking in at three hours and 47 minutes, making your way through Lawrence of Arabia is no small task, though you’d be hard-pressed to find another film more worthy of such a colossal runtime. (Foster Harlfinger)
Star Wars is one of the most recognizable franchises in movie history, with the world building and story that captured many loyal fans. One of the biggest recognizable set pieces in the entire franchiseis Tatooine, the home desert planet of our hero Luke Skywalker (Mark Hamill). A large portion of Star Wars: A New Hope takes place on Tatoonie as Luke is brought into the story and looks for Ben Kenobi (Alec Guinness). At this point in the Star Wars mythos, Tatoonie has become a character itself. This one movie is what started it all and the practical way George Lucas and Co. went about bringing Star Wars to life was a masterpiece. Star Wars: A New Hope is both a film on its own and one that is a part of the Star Wars story as a whole. It brings new light to the phrase, “The one that started it all.” Star Wars: A New Hope was truly a groundbreaking piece of cinema that was ahead of its time in more ways than one. I highly recommended checking it out, as well as the Star Wars story as a whole. (Austen Terry)
I want you to think of a song that defines a movie set in the desert. If I’m right, you heard the same thing I just did: the opening to the theme of this week’s list of shame for the BEC entry, The Good, The Bad, and the Ugly (or as we call it in the Davis household: Christmas). Quite possibly the most iconic Spaghetti Western, we see a story of three men driven by greed to claim a cache of gold, faced with the backdrop of the Wild West and the westernmost portion of the Trans-Mississippi Theater of the Civil War (oh yes, they 100% fought in the New Mexico area). While the dubbing of many of the characters doesn’t work, it is easy to overlook this issue thanks to a tense story, amazing camerawork, and set pieces that keep you enthralled throughout, as director Sergio Leone manages to make the tension so taut it can be cut with a spoon. Each of our three leads has their own equally compelling story, and how they intertwine just brings this film together in a way few could pull off. Not only that, but the iconic gunfights and final standoff known in the genre are throughout this film, ratcheting the pressure up a notch leading up to its iconic climax. I’m glad this film is off the list, and I am now willing to forgive Clint Eastwood for the existence of that other film as I revisit this one time and again. (Joseph Davis)
Mad Max: The Road Warrior
A downtrodden and pessimistic wanderer finds some traces of his remaining humanity when running into a community rich in gasoline. In Mad Max: The Road Warrior, the only commodity that truly matters is the ever so important gasoline, and people live and die by this resource. As previously stated, Max (Mel Gibson) is a shell of a person due to losing everything he held dear in the events of the prior film, and he’s drifting around aimlessly. The world has become a barren, post-apocalyptic wasteland where only the strong thrive, while the weak cling to survival. The visual world building is strong and showcases how depraved the world has become due to its decline. The Australian wasteland is drab, dusty, and uncaring of those not strong enough to push along. Max is the perfect anti-hero for this type of story, and for a large portion of the film, he is very selfish with his dealings with people. The film shows how this former lawman may stumble upon some form of redemption through helping these people, by assisting them escaping the ever-growing threat of vile bandits. This film laid out the blueprint for making an effective post-apocalyptic world and showed the brilliance of both performer Gibson and director George Miller. (Joe Vargas)
Palm Springs
Making a legitimately good romantic comedy in today’s landscape can be quite the arduous task. A few missteps and you are essentially making a Hallmark movie. But Palm Springs doesn’t misstep; if anything, it takes all the exact right steps. The magic of the movie comes from Andy Samberg and Cristin Milioti being incredible together. They play off each other brilliantly, leading me to believe that they almost had to have been friends prior to shooting. But what I love particularly is that Samberg is actually taking more of a comedic backseat to Milioti and is often playing the more serious, downtrodden of the two. It allows for a newer face to shine comedically, while also allowing Samberg to flex more of his dramatic chops. Palm Springs also takes the Groundhog Day concept that we have seen re-purposed a lot in recent years and gives it a new and really interesting treatment by having two characters stuck in the loop together. It creates a whole new dynamic and makes for a fascinating movie experience. As far as the desert goes, the titular Palm Springs is almost it’s own character in the movie. 2020 was among the weirdest years for movies ever, but anybody who hasn’t caught this sleeper gem should 100% do so. (Nashua Doll)
Rango
There are a lot of animated movies, so how do you make yours stand out? Easy, just hire Johnny Depp, who will voice a chameleon living in the desert. Also, don’t forget to hire the guy who did the first three Pirates of the Caribbean — also easy! If only… But Rango managed to have that, and much more, going for it. A bunch of talented people lend their voices to this unique, quirky animated film like no other. It’s part Fear and Loathing in Las Vegas, another part homage to spaghetti westerns, and the third part is a humor drier than the sand you see a lot of in this film. I have seen Rango a couple of times since it came out, and each time I see it, I love it even more. It’s definitely a film with its own sense of… well, everything. From the desert setting, characters you don’t usually see in animated movies, to the dry humor, Rango might not be for everybody, but I am willing to bet that if you give it a chance, you might be pleasantly surprised. And if you are (like me) slightly annoyed by how mainstream animation can look same-ish, check this one out, as it doesn’t look like anything you have seen. Rango is 100% an underseen gem. (Luke Burian)
Holes
It was a rare occasion for me to enjoy something considered to be “required reading” in middle school. It was equally rare for that reading to be turned into a film that I consider required viewing. However, Holes managed both of those feats, while simultaneously making me ask for extreme specifics of what my parents meant when they said I was going to summer camp. After a wrongful conviction, young Stanley Yelnats (Shia LaBeouf) is dropped into Camp Greenlake, also known as a child labor factory waiting to for litigation, alongside some of the best nicknamed sidekicks in film. Their punishment comes in the form of digging holes in the Texas desert heat every day, all while under the watchful eyes of the laughably angry Mr. Sir and ever corrupt Warden, played delightfully by Jon Voight and Sigourney Weaver, respectfully. As a sucker for westerns, the interspersed story of Kissing Kate and her revenge through the old west is the cherry on top for this movie and makes it a favorite to come back to over and over again! (Matt Lawson)
The Mummy
The Mummy is one of the best horror/adventure films from the late ‘90s. Set in 1925 in the middle of the Sahara Desert, we follow treasure-seeking explorers on an epic and horrifying expedition. When our main characters, suave and handsome O’Connell (Brendan Fraser), aspiring Egyptologist Evie (Rachel Weisz) and her comic relief and thief brother, Jonathan (John Hannah) stumble across an ancient tomb, they unfortunately awaken a 3,000-year-old mummy with a vendetta, and they fight to stop his reign of terror. The film is genuinely scary and spooky. I remember the first time seeing it at the ripe age of 12 and instantly didn’t want to finish. I’m happy I did, because the movie is fun, full of adventure and great scares, and has a few comedic moments from the talented cast. The visual effects are still quite believable. It could easily stand with newer films saturated in CGI. Yes, there were sequels, a spin-off (The Scorpion King) and another remake in 2017, but the 1999 version is the only film worth talking about. (Chantal Ashford)
Hidalgo
It’s easy to imagine the conversation that must have taken place somewhere in the lead-up to production on Hidalgo. One studio exec probably said something to another about Omar Sharif’s famous introduction in Lawrence of Arabia; that long shot of him approaching on horseback against the shimmering desert. The other exec probably thought it would be a great idea to cast Sharif as the Sheikh organizing a long distance horse race through the Rub Al Khali desert. Throw in the abduction of the Sheikh’s daughter, some CGI cheetahs, and the plight of the Native American population and their wild horses, and you’ve got a stew going. Hidalgo doesn’t necessarily know what it wants to be, even if it’s ostensibly just a movie about a horse race, but director Joe Johnston puts something on film that’s at the very least an entertaining watch, if a little rough around the edges. (Chris Bakker)
Dune (1984)
You might think it odd to include the 1984 incarnation of Dune into any ‘Best Ever’ challenge, but here we are, and here I am tasked with doing just that. One thing you cannot argue is that it IS set in a desert. Okay, that’s low-hanging spice, but like all good negotiations, it is important to start with something we can agree on. We can also agree that David Lynch swung for something truly epic with his adaptation of Frank Herbert’s classic work. I will concede that between the questionable special effects (even for the ’80s), the non-stop expositional internal monologues, and an entirely wasted Sir Patrick Stewart, Lynch most certainly did not stick the landing. But, this movie is still an absolute spectacle and more than worthy of the guilty-pleasure label that so many of us use as a personal Holtzman shield when talking about it. If nothing else, watch it because it is a clear example of a group of very talented people working incredibly hard on something truly epic… that just turned out to be a bit rubbish and awkward. Oh, and the desert stuff is actually pretty cool too. Kyle MacLachlan rides a giant Sandworm! Toto wrote the score! I’ll stop. Go watch Dune 1984 before Denis Villeneuve makes it cool again. (Ian Whittington)
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