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 release of Honk for Jesus. Save Your Soul, we’re counting down our favorite movies with a period in the title! Let us know @SiftPop what your ranking is!
Kill Bill: Vol. 1 tells the visceral tale of The Bride (Uma Thurman), a former assassin mercilessly gunned down by her former colleagues on what was believed to be her wedding day. She wakes from a coma four years later fueled solely by revenge. Quentin Tarantino’s fourth feature is driven by the director’s irrefutable passion for genre-melding cinema, including a world immersed in vivid color with shades of spaghetti westerns, ‘70s blaxploitation, Asian action movies, and even anime. Vol. 1 is made up of five distinct chapters, the first of which opens out of chronological order, depicting frenetic hand-to-hand combat between The Bride, code named Black Mamba, and Vernita Green (Vivica A. Fox), code named Copperhead. It’s easily the most engaging, self-contained kinetic mayhem in the film, making it an obvious springboard with which to lead the story. Chapters two through four include the origin story of one of the unfortunate souls marked for death by The Bride told entirely in gangster anime, the origin of the sword with which The Bride seeks to exact her revenge, and even a flashback to her waking moments after her coma. That brings us to the final slice-em-n-dice-em chapter, which is soaked in so much blood from lost limbs that much of it appears in black and white. Kill Bill: Vol. 1 is a pulpy homage to Kung-Fu movies of old, topped off with an intriguing cliffhanger that promises an evolving motivation and even wilder ride in Vol. 2. (Jonathan Fedee)
Kramer vs. Kramer is the greatest movie about marriage. Would I prefer I happier story where Dustin Hoffman and Meryl Streep get back together to take care of their son? Absolutely. But I am sappier than maple syrup, and my wife can testify to this (seriously, she eye rolls me like once a day). Why can’t our heroes make up? Why can’t mom and dad sort it out? Because the truth is, life is not always perfect. Sometimes, people grow apart and cannot stay together. It happens. But that does not mean their commitment to each other and the life they created ends. Throughout the back biting and conflicts of this throughout this story, the fact remains that they both love their son and want what is best for him. It is evident in the excellent writing and brilliant performances from Streep and Hoffman. The final scene of the finally separated couple coming to an agreement on who should take care of their son reminds of us of how much a parent can love their child, and what they would be willing to do for them. (Sam Nichols)
It was a sign that I should be writing about E.T. The Extra Terrestrial this week because the trivia night that I host on Wednesday nights kicked off the night by asking a question about it.I remember watching this as a kid and being terrified of it. It wasn’t until I became an adult that I learned to appreciate this movie. It’s in the pantheon of all time great Steven Spielberg movies. It’s so charming and has so much heart that it’s hard to truly convey why it’s so good. You are rooting for this alien and this boy Elliott (Henry Thomas) to make it against all odds. And if you’re not crying at the end of it, you might as well be a robot. I really love this movie. (Mike Hilty)
2001 was an excellent year for animated movies, and one of my top favorites from that year is Monsters, Inc. The film tells the story of coworkers and best friends Mike (Billy Crystal) and Sully (John Goodman), monsters who live in a society that is powered by human screams. The company gets these screams by traveling to the human world and scaring kids. One day Boo (Mary Gibbs) escapes into the monster world. It’s up to Mike and Sully to put her back from where she came from. Pixar brings yet another excellent movie that is still great over 20 years later. Crystal and Goodman work incredibly well together, and I was saddened it took so long for us to explore this world again before Monsters University came out. Pixar has some formula that can have me laughing one minute and crying the next, and this movie is no different. The way Boo quickly bonds with Sully is heartwarming. They even got a stacked voice cast including Steve Buscemi, Jennifer Tilly, James Coburn, and Bonnie Hunt. Monsters, Inc. is definitely a perfect film for all ages, and is one you don’t want to miss. (Austen Terry)
It’s not every day you get so lucky to write a BEC entry about one of your favorite films of all time. Mulholland Dr. is definitely that — it’s been in my TOP FIVE favourite movies for a while now. And even though I didn’t understand almost anything when I saw it for the first time a long time ago, it still hit me in a way most films did not. David Lynch is one of the best directors of all time because he takes chances; he tells weird stories about even weirder people nobody would look at twice. Mulholland Dr. is one of those films where the more you watch it, the more you understand and grasp onto the straws and hints Lynch is hiding, often in plain sight. The film is also visually stunning; the story/stories are compelling, excellently scored, and introduced me to Naomi Watts, who I have adored ever since. I would strongly recommend this film to anybody, even though I understand you won’t get it. I didn’t get it, and to be honest, I am still not sure whether I 100% know what’s happening. But it takes you on a fascinating journey through Hollywood like you have not seen before or since. Mulholland Dr. is one of the best films of the 21st century, and this isn’t hyperbole. (Luke Burian)
Contrary to what the title Sherlock Jr. would suggest, this Buster Keaton classic has nothing to do with the famous detective. It serves merely as an easy allusion to the detective work our main character, a projectionist played by Keaton, has to do to clear his name when he’s framed for the theft of his girlfriend’s father’s watch. As is the case with many of the classic Keaton or Charlie Chaplin slapstick silent comedies, the physical comedic timing is mesmerizing to watch. A truly masterful moment happens when our lead, from his projectionist’s booth, has a true out-of-body experience and interacts with the onscreen show. Trying to figure out just how Keaton pulled it off in 1924 is mind-blowing. It’s a true piece of movie magic that still holds wonder nearly a century later. (Jake Bourgeois)
A movie that captures the actual process of writer’s block, while at the same time being an exercise in creativity, Adaptation. is a rare movie. Nicolas Cage stars as Charlie Kaufman, the writer of the film he stars in, going through the process of adapting the novel The Orchid Thief by Susan Orlean, played in the film by Meryl Streep. The movie itself is an exercise in trying to successfully adapt a book while also making a movie that works as a movie, and it shows Charlie’s slow descent into madness when it comes to actually putting something on the page — to the point where he indeed works himself and those struggles into the script. It’s a very clever movie about the writing process itself, and its meta commentary about writing screenplays while holding true to the novel in its execution is extremely impressive. It’s quite interesting how a movie that intentionally sticks to general screenwriting advice can still be so quirky and off-the-wall, and it’s a movie that I dare say does not have many, if any, contemporaries. (Chris Bakker)
If you ever wanted to see how to make a perfect action noir film, look no further than L.A. Confidential. This film beautifully blends the intensity of a cop action film with suspenseful shootouts and gripping chases, while giving us the slow burning detective story that pulls away at a spider’s web of corruption. From beginning to end, this movie is riveting. So much of this movie’s greatness flows directly from its phenomenal ensemble cast. You have Russell Crowe, Guy Pearce, Kevin Spacey (he’s a horrible person, but a great actor), James Cromwell, Danny DeVito, David Strathairn, and Kim Basinger bringing home a Supporting Actress Oscar for her work. In fact, this was nominated for 10 Oscars, including Best Picture. It won four of them, including Best Adapted Screenplay and Best Cinematography. This movie is pure, unbridled, quality. From the art direction setting the film in 1950s Los Angeles, to the stellar costumes to match the period, and an original score that’ll have you on the edge of your seat, L.A. Confidential is about as perfect of a film as you could ask for. If you like erotic thrillers, detective noirs, or action crime flicks, this one is for you. (Heath Lynch)
A darkly humorous noir story, Sunset Blvd. is a brilliant character study on the pitfalls of Hollywood and what people are willing to sacrifice for the sake of pride, dignity, and wealth. Holding a mirror up to Hollywood, the unflattering reflection rings true 72 years later. Gloria Swanson’s portrayal of aging and mostly forgotten silent film star Norma Desmond feels like how an actor past their prime would behave today. William Holden’s Joe Gillis also feels believable in any era as a writer knowingly sacrificing quality for marketability and profitability. She is desperate to feel relevant, desired, and vivacious, while he is simply desperate. Bringing them together is an obvious recipe for disaster. This is made even more obvious by the iconic opening scene showing the protagonist’s dead body floating in the pool, a shot paid homage to several times over including by adult cartoons such as Archer and BoJack Horseman. It was an inventive twist on the noir format to know the fate of the main character and have the mystery be how we get there. Holden was great in a role calling for mostly deadpan delivery, and Swanson steals the show in every second of screen time. Growing up, I heard the line, “Mr. DeMille, I’m ready for my closeup” many times, but I never knew the context. It is a chilling way to conclude a movie that expertly toes the line between funny and disturbing throughout. (Jason Mack)
Can you imagine a world on the brink of nuclear holocaust? You’d think that would certainly make for a dark film full of drama and horror. But when you have Stanley Kubrick behind the helm, you have the possibility of so much more. Dr. Strangelove is one of the blackest black comedies. This is a horrifying world, but Kubrick finds all the absurdity of it all. Whether it is a ragtag crew on a bomber over Russia, a mild-mannered English officer trapped with a psychotic general, or the crazy characters that inhabit the U.S. War Room, there are absurd decisions and people all around us. The scariest part is that they could end the world. This incredible script and Kubrick’s pitch perfect handling of tone create one of the greatest cautionary tales ever told on film, while offering up plenty of dark humor as well. Of course, we have Peter Sellers as well, with his impeccable trilogy of performances including the titular mad Nazi doctor. (Shane Conto)
Scott Pilgrim vs. the World
Edgar Wright’s snappy editing that at times can be comic book inspired was perfect for something of the likes of Scott Pilgrim vs. the World.Wright brilliantly brings to life Brian Lee O’Malley’s story about the at times lovable loser Scott Pilgrim (Michael Cera) and his quest to capture the love of Ramona Flowers (Mary Elizabeth Winstead), and maybe become a better person in the process. Only problem being that in order to have said relationship, our flawed hero must defeat Ramona’s seven evil exes and not die in the process. The visuals have all of the flair of its comic book counterpart, but where it expands upon the material is with it brilliant sound design. The references used from various video games are brought to life through the sound effects, and the timing in which they are synced up with the amazing cinematography is great. The cast assembled for this film are perfect, including Cera, Winstead, Aubrey Plaza, Brie Larson, Brandon Routh, and Chris Evans. Each one of their characters does the utmost justice and has some of the snappiest dialogue that you can’t help but quote whenever you get the opportunity. If you are into unconventional comedies with a mixture of genres, or are a fan of the graphic novel series, this is definitely the film for you. (Joe Vargas)
The Testament of Dr. Mabuse
The follow up to Fritz Lang’s M, his first film to incorporate sound, The Testament of Dr. Mabuse is a sequel to an earlier Lang silent film, Dr. Mabuse the Gambler (originally split into two parts). If you don’t want to invest the 271 minutes it would take to consume the original in its entirety, fret not; I didn’t and was still able to enjoy the follow up. With the titular criminal mastermind and hypnotist confined to an institution and seemingly lost to mental illness, investigators (led by Commissioner Lohman from M, Otto Wernicke) are puzzled by a crime spree that seems to mirror Mabuse’s earlier exploits. Much like with M, the way Lang utilizes sound is really quite genius for someone still transitioning from a very successful career in the silent era. If you’ve enjoyed some of Lang’s other efforts (or even if you haven’t), this German crime thriller is well worth your time. (Jake Bourgeois)
Good Night, and Good Luck.
Detailing one of the most recognizable political witch hunts and the broadcaster who challenged the lead inquisitor, Good Night, and Good Luck. recounts the face off between Sen. Joseph McCarthy, who gained notoriety for his accusations of Communist infiltration into the U.S. government at the height of the Cold War, and newscaster Edward R. Murrow (David Strathairn), who challenged McCarthy’s scare tactics. There’s a reason one of the highest awards a newscaster can receive has his name on it, and having the courage to question McCarthy when it was outright dangerous to do so is a major part of it. George Clooney’s sophomore directing effort is almost universally agreed to be his best — even earning him his only directing Oscar nomination for his efforts. The choice to shoot in black and white, to fit the television landscape of the time, was a good artistic choice and not just simply as a gimmick. He also deserves credit for the decision to use just archival footage of McCarthy instead of casting someone in his role. Clooney also earned a nomination for co-writing the screenplay with Grant Heslov, which tells the confrontation compellingly. It’s always a joy to see Strathairn on screen, and it’s nice to see the oft-cast supporting actor shine in a leading role — and have the academy recognize it. It’s a film I watched in my own A.P. Government class, and one that’s only gotten more important today. (Jake Bourgeois)
Dr. No
It’s been 60 years since the release of Dr. No. I got to see this milestone flick in theaters again just a couple weeks ago for its anniversary re-release. And you know what? It’s still great. The James Bond franchise has become one of the pillars of the movie industry — a must-see event every few years, and it all started here. It has a tremendous lead performance from Sean Connery, who immediately understood the assignment. He is debonair and charismatic, while also being a cunning spy and physical threat. He guides the audience through a winding tale that helped create the mold for how we make espionage films, a template that we still replicate today. Whether it’s the cool cars, the iconic score, the twisted villain, or the attractive Bond actor and Bond Girl, Dr. No is firing on all cylinders right at the start of this franchise. While some elements haven’t aged well, and the movie has since been surpassed by others in the series, Dr. No is still a great film and a solid recommendation for fans of action, spies, or Bond. (Heath Lynch)
Guardians of the Galaxy Vol. 2
Guardians of the Galaxy Vol. 2 is not entirely up to the level of the first Guardians, but very few films are. The second ranks as one of the best sequels ever made. The opening is a great reminder of how much I miss those traditional opening credit sequences that help set the tone and get you excited for the coming experience. It’s Baby Groot’s real moment to shine, and he gets several other funny scenes as well. I almost feel these films don’t need a good story to be enjoyable. Watching the chemistry between these characters and listening to their banter is enough (FYI, check out the video game for even more). But the story is what turns this from a good experience into a great one. Peter Quill (Chris Pratt) runs into his biological father, Ego (Kurt Russell). We explore why Ego left Quill’s mother and better understand his relationship with Yondu (Michael Rooker), the guy who raised him and made him into Star-Lord. We see a bit of a redemption for him arc that gives the ending some real emotional impact. On top of that is some significant development of Nebula (Karen Gillan), which would be crucial in the subsequent two Avengers films, with Gillan giving an actual standout performance. The color palette for this gives it the look of an ‘80s film, which fits with Quill’s character being a product of the ‘80s. (John Tillyard)
Tucker and Dale vs. Evil
Tucker and Dale vs. Evil is a horror comedy which really takes the message of “never judge a book by its cover” to a whole new level. When Tucker (Alan Tudyk) and Dale (Tyler Labine) have bought their very own fishing cabin, they run into a group of college students who believe that Tucker and Dale are killers, and from there hilarity and kills ensue. I will never not be convinced that Tudyk and Labine were told this was a comedy, while the college age actors were told this was a horror movie. Co-writer and director Eli Craig brings a totally different horror movie feel, and I haven’t seen one like it since, with the whole movie being one giant misunderstanding causing all the mayhem. This movie is truly interesting, and definitely flew under the radar; it probably was ahead of its time. (Austen Terry)
Saving Mr. Banks
It was the battle of the wills. P. L. Travers (Emma Thompson) and Walt Disney (Tom Hanks) went head to head about bringing Travers’ beloved story, Mary Poppins, to life in Saving Mr. Banks. It’s not only about the development of the 1964 musical film, but also depicting her tragic younger years in Queensland. Thompson plays Travers, who is quite stubborn and stuck in her ways, while Hanks is the always charismatic and iconic Disney. Thompson is hilariously dry and sardonic, but you begin to warm up to her when you understand her past. Hanks is sweet and endearing as the animated pioneer. But I can’t leave out Colin Farrell, who plays Travers’ father in flashbacks. We get to see an imaginative father and his child idolizing him, only to be let down by his demons. As the film goes on, Travers slowly starts to let go of past disappointments and not allow them to rule her present. We finally have a chance to see the one-on-one with Disney and Travers, realizing in some ways are one and the same. It’s bittersweet, but sometimes you just have to let go to live. (Chantal Ashford)
Crazy, Stupid, Love.
Crazy, Stupid, Love. is one of the most enjoyable romcoms made in the last 15 years. It’s the story of finding and falling out of love, and all the things that happen in between. The cast of this movie is unbelievably stacked. Almost every scene is being driven by a powerhouse actor who even the more casual movie watcher would recognize. A major highlight is the comedic chemistry between Steve Carell, playing the newly single middle aged man, and Ryan Gosling, the playboy trying to help Carell’s character get back out there. I would honestly watch a spinoff TV show about these two characters’ friendship. Add in charming performances from Emma Stone and Julianne Moore and you’ve got a really good movie. Is it a little messy and cluttered? Sure, but isn’t that the point? The movie executes exactly what it set out to do, and I still consider it to be one of the most rewatchable movies of the 2010s. (Kaleb Wolters)
Emma.
Emma. had the misfortune of being one of the first movies released after the general public learned of Covid-19 in February 2020. For this reason, Emma. never received the appreciation I strongly feel it deserves. If you are not a fan of the Jane Austen style of storytelling, Emma. may not sway you. However, if you can get behind a costume period piece filled with sarcasm, gossip, and a glorious array of withering glances and remarks, I will happily accept your advance thanks for this recommendation. For a debut feature, Autumn de Wilde directs the heck out of this film. Emma. may not be everyone’s cup of tea, but the gorgeous visual aesthetic and niche sense of humor makes this one of the most confident and self-assured debuts I have ever seen. The storyline itself is not particularly deep (not that it needs to be), but every member of this awesome ensemble cast knocks it out of the park. Being a fan of this excellent movie automatically makes you a cool person. These are just the facts. (Foster Harlfinger)
Godzilla vs. Kong
The recent Monsterverse has been a bit of a mixed bag in my opinion. Not quality-wise; trust me, I have enjoyed each of them in their own right. But as the movies have gone along, they’ve devolved into more of monster brawls and CGI mashes than anything else. And I love it. By the time we got the fight between between Godzilla and King Kong, I was ready to see their brawl. And Godzilla vs. Kong delivers exactly what I want. Every time the two are on the screen fighting, the movie is perfect. The focus is on these two titans and their impending battle. The brutal attacks and strikes from one monster to another make for a perfect popcorn movie experience. We were billed the fight of the century, and the movie delivered. (Sam Nichols)
Mrs. Doubtfire
HelllOOOO!! Would you like to put on a whipped cream face mask, sit down with me for a lovely cup of English tea, and chat about one of the ’90s’ greatest Robin Williams’ classics? When I saw Mrs. Doubtfire wason the list of choices this week, I just knew that “I AM JOB!” only this time the position had not been filled, so I snatched it up immediately! The comedy in this movie is so good, it hits you in the back of the head like a lime being thrown by an angry member of the kitchen staff! I had initially tried writing this review using mainly quotes from the movie, but out of context, regardless of how funny, it just wasn’t the same. Williams truly had genius comedic timing and delivery from describing what “I do voices,” means to his “Raptor Rap.” Mrs. Doubtfire is not just a laugh-a-minute movie about a man dressing as an elderly woman to trick his ex-wife into hiring him to be the nanny. It’s a heartwarming story of a man in arrested development learning to grow up and become a responsible father in order to stay in his children’s lives. It is a movie that only gets better with age, and as a bonus, is one that you can watch with the whole family. Seriously, I need you to get back in your cell and go watch Mrs. Doubtfire right now! Don’t make me get the hose!! (Nick Ferro)
Also See: To Live and Die in L.A., G.I. Jane, J. Edgar, W.