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 the Liam Neeson thriller, Memory, we’re counting down our favorite movies with a one-word title that starts with the letter M! Let us know @SiftPop what your ranking is!
Let’s get down to business to discuss Mulan. This 1998 animated film came out towards what some might say is the downward trend in Disney animation (I actually think that happens in the early aughts). However, I would put Mulan up against any Disney animation as the best ever. No other movie on this list will evoke a sudden breakout into song like Mulan. The music is catchy, ear worm worthy, karaoke inducing, and perfect. The message of the movie promotes woman power and encourages conversation about gender boundaries. Mulan speaks up when everybody is telling her that she gets no opinion. This is more than a princess just not wanting to be a princess; this is about a woman wanting to be equal to the male counterparts. This movie brings representation to the screen in an era where southeast asian culture was relegated to stereotypes and kung fu movies. Mulan is the best Disney movie ever. (Scott Batchelor)
In the world of Stephen King adaptations, where does Misery land? From just the title, you know this is not going to be a fun ride. This will certainly be quite the depressing ride in fact. When acclaimed writer Paul Sheldon gets injured in a crash, he is so lucky that his single biggest fan is there to save him… or is she? Annie Wilkes (Kathy Bates) just might be one of the most vile, unhinged, and terrifying villains in cinema. But why? We all know someone like her. She is a crazy fan. She is the fan who takes her fandom so seriously that she has the need to punish a writer for their decisions with their own creations. This is the toxic fandom story turned up to 11, and it features one of the most brutal and disturbing mutilation scenes in film. The strong performance of James Caan is even bested by the earth shaking and towering performance of Bates, who provides one of the best performances in film. With tension and suspense galore, this is top notch King adaptations… no questions asked. (Shane Conto)
Moana is the Disney fairytale perfected. The visuals are stunning, the songs, co-authored by Lin-Manuel Miranda, are each their own delightfully catchy ear worms, and the voice acting is stellar across the board. But you’d be mistaken to believe this yet another princess movie. The titular hero’s proportions resemble that of an actual teenage girl, and despite the demigod Maui’s (Dwayne Johnson) assertion that, “If you wear a dress and have an animal sidekick, you’re a princess,” Moana (Auli’i Cravalho) is something else. She’s a passionate explorer to her core and the eventual inspiration to her entire people to venture beyond the bounds of the reef surrounding the failing ecosystem of their island home of Motunui. I love this movie, and more than that, my four-year-old daughter adores it. The film is beautiful and deeply moving with the theme of self-empowerment bursting at every seam. If all of that doesn’t grab you, there’s also a gigantic, arrogant crustacean performing arguably the movie’s most entertaining song, “Shiny,” performed by Flight of the Conchords’ Jemaine Clement that is sure to leave you beaming. (Jonathan Fedee)
Magnolia is an interrelated character film from Paul Thomas Anderson. Normally, I’m not a fan of these types of spiderweb connection movies, with grand and elaborate ensembles. But this movie hits differently. It hits harder. Because this movie hits on universally relatable themes like nihilism, loneliness, and most of all, regret. We all seek understanding and companionship. We all seek love. Magnolia offers a variety of views and perspectives on relationships that shine a light on us all, and that shows we all have room to grow and be better; every day is a new chance to fix a broken connection, or start a new connection, that can change our lives for the better. More directly, it examines childhood trauma from a wide range of angles that could be borderline triggering for some depending on their life experiences. The film even starts to play into the biblical as the ending of this movie takes a wild turn straight out of Exodus. This movie is brilliantly shot by PTA, with long one takes and a sweeping score that’ll put you on an emotional roller coaster. It has tremendous performances through the ensemble, especially from the likes of Philip Baker Hall, Julianne Moore, Philip Seymour Hoffman, and Tom Cruise. In fact, I’d argue that Cruise is putting our career work here. Magnolia is a fantastic film, worthy of your attention. (Heath Lynch)
Mass is a heavy film, to say the least. Two couples sit down for a raw, tense, and often uncomfortable conversation following a violent tragedy — that’s the film. The premise may seem deceptively simple, but first time writer-director Fran Kranz’s brilliantly layered screenplay offers such striking moments of overwhelming empathy, awareness, and understanding that one can’t help but feel emotional at all this film accomplishes. Mass is the perfect example of why storytelling matters. As Kranz peels back the layers of pain, judgment, blame, and repressed emotion for our four leads, we as audience members reflect on our own shortcomings when interacting with our friends, family, neighbors, and strangers. Mass acts as an exercise in empathy and in learning to offer grace and forgiveness for others in the face of seemingly unbearable pain. The film’s beautiful message is anchored by four truly magnificent performances from Martha Plimpton, Jason Isaacs, Ann Dowd, and Reed Birney. The lack of awards recognition for these brilliant performers and the film’s honest, delicate screenplay will not age well. If you have yet to see Mass, I simply can not recommend it enough. (Foster Harlfinger)
America always has been and will be a safe haven for immigrants. This country should be a place where anyone in the world can make their own way and prosper for it. When Lee Isacc Chung’s family moved to Arkansas to try to start a farm, he experienced this firsthand. Minari is Chung’s autobiographical depiction of this event in his childhood. Starring Steven Yeun as Jacob Yi, Minari places the Yi family in Arkansas after they move from California. Monica (Han Ye-ri), Jacob’s wife, is skeptical that this life will provide for them and their two children. After a short while, they send for Monica’s mother, Soon-ja (Youn Yuh-jung) to stay with them, soon bonding with her grandchildren Anne (Noel Kate Cho) and David (Alan Kim). Working with an eccentric local, Paul (Will Patton), Jacob attempts to make his dream work as his marriage struggles because of it. This film is so sweet and earnest. It makes you really want to root for this family and see them succeed. Alan Kim is adorable and may possibly steal this movie, and adds a lot of heart to what is already there. Minari is beautiful. Minari is the American dream. (Jacob Kinman)
Some directors take time before finding their groove, before they make a truly amazing film. And then, there is Christopher Nolan, whose Memento was one hell of a, “Hey, I have arrived and will shape the cinema from now on, thanks,” message. Memento might technically not be his feature film (as that would be Following), but it definitely put him on the map. And as it is with most of his original films, the idea is simple, but it’s Nolan’s execution that pushes it far and beyond “just” a good idea. Think about it: this film’s USP is a story told backwards about a guy who can’t contain any memory. That’s not a difficult idea to comprehend, same as dreams within dreams (Inception) a feud between magicians (The Prestige) or the same story taking place during three different timelines (Dunkirk). But in all these cases, including Memento,the intriguing idea is merely a part of it, Nolan’s execution is where this film truly shines. Especially lately, we’ve had first time directors make some excellent movies as their features (Jordan Peele and his Get Out comes to mind instantly), but only a few truly announced themselves the same way as Nolan had. Because of his packed filmography full of excellent films, people often forget about Memento, and that’s a shame as that movie is definitely more than “just a gimmick.” It’s a great story told in a fresh way that keeps you guessing its entire time, and that at times, can be surprisingly funny. (Luke Burian)
It really is a shame that Moonlight will forever be associated with being not La La Land, the mistakenly announced winner during the 2017 Academy Awards. It was arguably the most controversial thing that ever happened at the Oscars (until this year), and at the end of the day, all of that overshadows just how great of a movie this is. Mahershala Ali gives an outstanding and much-deserved award performance as a father figure for the main character. We follow Chiron (Alex R. Hibbert, Ashton Sanders, Trevante Rhodes) as he grows up struggling to find his place amid questions about his identity and ultimately his sexuality. This feels like a very intimate and important story that shows how much representation truly matters and how great it is to see storytelling in such a unique way. Barry Jenkins directed Moonlight with grace and beauty that told a great story. I get it, La La Land was a great movie but that shouldn’t change that Moonlight is also a great movie that deserves its chance to shine. (Mike Hilty)
Give me any reason to discuss baseball or a baseball movie and you know I’m going to take it. Moneyball just so happens to be one of my favorites, largely due to how it discusses a period of time that ultimately changed the way the sport is evaluated. And it just so happens to have been written by Aaron Sorkin. Moneyball details the 2002 Oakland A’s as general manager Billy Beane (Brad Pitt) attempts to field a competitive team on a small budget following the loss of their previous season’s best players. Beane happens upon a young Peter Brand (a dramatic breakout performance by Jonah Hill), and together they help fundamentally change how players are valued. Regardless of your opinion on baseball, I challenge you not to get amped up as we follow the A’s incredible win streak which allowed them to shoot up the standings. And watching Chris Pratt’s Scott Hatteburg hit that home run is almost as chill-inducing as the real life clip. Moneyball feels like the ultimate love letter to the modern game, and it’s a great way to introduce yourself to the game if you have previously been on the outside. It’s a yearly watch for me, and I highly recommend it if it’s still on your not yet watched list. (Nashua Doll)
An early masterpiece from cinematic innovator Fritz Lang, M follows the police and the criminal underworld as they both seek out a serial child killer that is inciting a panic in a German town. In the early days of sound in cinema, the use of the whistled “In the Halls of the Mountain King” by the killer (Peter Lorre) and the ending narration were both groundbreaking. Besides the innovations, sound is used to perfection throughout. Astonishingly, this film was Lang’s first foray into non-silent filmmaking. Aside from the technical prowess, it’s also thematically rich. The message hammered home at its conclusion becomes all the more powerful given its release as the Nazis were rising to power. (The film would later be banned by the Nazis.) Both Lang and Lorre would flee the country in the ensuing years. It’s a truly fascinating film that will drag you down a rabbit hole of video essays and thinkpieces. If you’re looking to expand your film horizons (either internationally or with classic films), this would be a fantastic hole in your filmography to fill. (Jake Bourgeois)
Moonstruck
It’s crazy to think Raising Arizona did not feature the craziest Nicolas Cage performance of 1987, but here we are. Moonstruck is full of unhinged characters, and that’s the point. The term “moonstruck” refers to being unable to think or act normally. It often relates to being in love, but here the cause of the chaos features unrequited love, loss, a marriage stalling out in its later years, failed dating, and more. This is the only Cher movie I’ve seen, and her Oscar-winning performance proves that is clearly a criminal oversight. She is equal parts cynical, snarky, and sad in this dark comedy as a young widow going through the motions and choosing predictable boredom rather than opening herself up to the possibility of further suffering. She is a cautionary tale of how playing it safe can ironically be the most dangerous option. The movie’s greatest strength is also its biggest weakness as there are so many intriguing storylines propped up by engaging performances, but it leaves you wanting more from each of them with so many people sharing the 102-minute runtime. When the harshest critique is being hungry for more, you are doing something right. If nothing else, this is worth the watch to get a taste of the early days of manic performances 35 years before entering a Cage renaissance with Pig and The Unbearable Weight of Massive Talent. (Jason Mack)
Miracle
For most of my life, I’ve been a fan of sports movies, even when I haven’t been a big fan of sports. Remember the Titans and Moneyball, were some of my favorite movies even when I stopped caring about their relative sports. For one reason or another, I never checked out Miracle until I started to get into the sport of ice hockey, but when I finally saw it, I realized this is one of the best sports stories of all time and one of the best sports films of all time. There is really no way in such a short blurb to describe how important this story is. In the height of the Cold War, the Soviet team was considered the best hockey team ever assembled and the United States were not even considered underdogs, as they were predicted to not advance at all in the tournament. Miracle shows the journey of the United Sates team, comprised mostly of college kids, to beat the Soviet team four-to-three and win the gold medal in New York. Basically, if you’ve ever seen D2: Mighty Ducks, you have seen this story played out. Miracle is a film filled with spectacular moments both on the ice and off the ice and is truly a triumph of the human spirit. (Aaron Schweitzer)
Midsommar
If there’s one thing that horror movies can often pride themselves on, it’s how they can get at some universal truth by creeping you out, and Midsommar is probably the most recent best example of that. On its face, it’s a film about a young woman who goes on a trip with her boyfriend and his friends, and ends up living among a macabre cult; but underneath it is an incredibly layered movie about processing grief, and getting out of a toxic relationship. I might almost say Midsommar is too good at being a horror movie, despite the fact there isn’t that much actual horror in it. It’s a dreadful movie in the best meaning of the term, and it is at times brutally gory and sickening, but a lot of it works with a lingering tension in the mystery and a slow descent into the depths of the cult Florence Pugh’s character Dani finds herself held by. For all of that, you would be excused for simply seeing it as a horror film, but the work it does underneath its unsettling imagery is its real strength — and it’s a strength I’m almost sad to say might be overwhelmed by its horrific aspects. (Chris Bakker)
Moon
If you sit me down in front of a television and throw on a sci-fi film with an interesting ethical dilemma, my eyes won’t leave the screen the entire time. And if the team is able to fully deliver on the complexity of its concept, you’re well on your way to making it into my top 100 list. Moon is the perfect example of this. The film is an airtight, minimalistic exploration of isolation. Sam Rockwell’s performance as Sam Bell is flawless, which is important because the success of the film depends on it. The plot is simple: Sam is an astronaut who has been alone on the moon for almost three years. As he nears the end of his mission, it becomes clear that the solitude is getting to him. Sam, and the audience, begin to question their sanity as certain events unfold. I tried to remain vague because it is most rewarding when you go into your first viewing as uninformed as possible. This isn’t an easy film to make. The performances must be perfect. The sets and CGI have to make the audience feel like they are in space. And the cinematography must deliberately work to enhance the lonely, ethereal atmosphere. Fortunately, I can confidently affirm that Duncan Jones fully delivered with a compelling, confusing, and often frightening directorial debut. (Jack Grimme)
Macbeth
I really haven’t seen that many film adaptations of Shakespeare plays in my life, so I don’t have a lot to compare it to, but the 2015 version of Macbeth, directed by Justin Kurzel, is a really special film. There’s no other way to describe it than as visually stunning. It has brutal action sequences in slow motion, and lots of scenes that would be best described as atmospheric. You have the well-known story of Macbeth, but with Michael Fassbender playing an off-the-rails, but controlled version of the titular character. It might not be exactly what you expect from a Shakespearian tale, but its originality and unique take makes it stand out. (Robert Bouffard)
Munich
I usually pick a movie I’ve not seen before for the BEC, and once more I decided to do that with the 2005 drama Munich, which occurs in the aftermath of the 1972 Munich Massacre, Operation “Wrath of God” from the perspective of one of its operatives. Director Stephen Spielberg could have made a movie where the characters lived in a black-and-white world with their goals and motivations, but instead he did a phenomenal job in ensuring that the characters, much like real life, lived in a world of gray areas and questionable moralities. Rather than a clear line of good and bad or right and wrong, you have an intricate web where some characters don’t question their actions, others do, and where allies one day are threats the next. This, plus some great acting by the cast, makes this one a good pick for me. (Joseph Davis)
Mother!
In 2017 Darren Aronofsky brought us one of the most paranoia-inducing and weirdest horror movies in Mother! The film tells the story of Mother (Jennifer Lawrence) and Him (Javier Bardem), who retreat to a home in the middle of nowhere to have kids and write poetry.one night Him brings some guests into the home, which causes everything to go downhill. This movie is the first time I watched an Aronofsky film, and it still haunts me because it can quite literally cause anxiety and paranoia through camerawork. I can’t say too much without spoiling, but Lawrence shines here, truly bringing everything she has to the screen. When it’s all said and done, this film will leave you asking yourself, “what did I just watch?” It might not be for everyone because it goes places, takes you places, and is sometimes grotesque in nature, but it’s one that shouldn’t be overlooked. If you like complicated horror concept movies then I recommend you check it out. (Austen Terry)
Matilda
For those of a certain age, Roald Dahl books — as well as their adaptations — were a big part of growing up. It says a lot about the quirkiness of his bibliography that Matilda, about our smart and telekinetic titular character, is among the most “normal” of his entries. While Dahl entries already have a bit of a built-in audience due to his beloved legacy, this particular adaptation really shines with its casting. Mara Wilson was perfect for Matilda, and real-life married couple (at least at the time) Danny DeVito and Rhea Pearlman appear to be having a blast chewing the scenery as her parents. DeVito as director should be commended for his handling of Dahl’s book — in addition to the behind-the-scenes support given to Wilson that recirculates every couple of months on social media. Beloved as they are, bringing some of his stories to life can’t make for the easiest of adaptations. He not only succeeds in telling a beloved story, but delivers a result that’s bursting with charm and impossible not to smile along with. (Jake Bourgeois)
Mandy
There is one film that is the perfect balance of arthouse that crashes violently into grindhouse, and that film is Mandy, a film that is the perfect vehicle for the likes of Nicolas Cage, who is able to take things to great extremes with his character. Red (Cage) goes through a nightmarish rollercoaster of emotions when unsuspecting tragedy takes someone precious from him. The man he once was comes bubbling up to the surface in a drug-filled fit of unbridled rage. To help bolster this vision of Red’s mind-altered hellish world, director Panos Cosmatos takes his time with the first half of the film. This helps establish characters with visual storytelling and allows for a far more slow burn pace to start. When the second half of the film kicks in and Red’s old ways start to come out, you can see the world itself shift from ethereal to a nightmare fueled world with no hope in sight. Mandy isn’t a film for every viewer, but if you are a fan of something more off-kilter, this may be the film for you. (Joe Vargas)
Melancholia
When a bout of depression or anxiety hits, or when you think about the finiteness of life, it can feel like a planet careening towards earth. Well, Lars von Trier’s Melancholia literalizes that feeling, and for a premise that could potentially seem a bit cheesy, he’s able to pull it off really well. Starring Kirsten Dunst as Justine, a bride who decided against her new marriage on her wedding day due to her deep depression and Charlotte Gainsbourg as her sister Claire, who’s struggling with the anxiety of her sister’s mental health as well as the planet Melancholia comes straight towards earth, this film is deeply emotional and deeply personal. Its nuance is the strongest selling point for me, as we see how mental health is different for literally every person. It’s a deeply existential movie that will make you think and feel, in many different ways. (Robert Bouffard)
Megamind
Megamind is an underrated gem about what happens to a supervillain when they finally best their hero (or at least think they have). Will Ferrell’s turn as the blue big-headed alien is one of his best roles in years. His sarcastic wit works perfectly against the standard comic book schlock of 2010. Supporting work from Tina Fey, David Cross, and Jonah Hill is strong as well — they brought in quite a few comedians to back up their star. On top of this, it got ahead of a popular trend of doing some kind of twist with a Superman-esque character. Invincible made their Superman to be a complicated, genocidal conqueror. The Boys has their Superman as a psychotic diva with a murder complex. Even DC themselves made Superman into a dictator for the Injustice games. But Megamind tops them all by making Brad Pitt’s Metro Man just a tired individual who wants to take some free time to learn who he is. Sounds like a mega-good movie in my mind. (Samuel Nichols)
Micmacs
Micmacs is a film I would not be surprised if you never heard of, but also one I think if you gave a shot, you would think of fondly. Directed by Jean-Pierre Jeunet, the director of the acclaimed Amelie, Micmacs follows Bazil, a video store worker who is struck in the head by a bullet that was never intended for him. The doctors tell him they cannot remove the bullet without killing him and that the bullet eventually would, but they had no idea when. When Bazil is released, his whole life is turned upside down, and that is where he encounters a band of misfits, each with their own quirk. Together, they decide to use the best of their abilities to try to take down the weapon manufacturers in town who made the bullet that struck Bazil in the head. Nothing about this film is done in a typical style. It is constantly humorous, often clever, and intentionally silly. The full French title of the film is Micmacs a tire-largiot, which translated literally to “non-stop shenanigans” and that is exactly what this movie becomes. Micmacs is reminiscent of some of our other favorite films, like Sneakers, Lucky # Slevin, and Oceans Eleven, but it still manages to be its own thing and it is really enjoyable! (Aaron Schweitzer)
Mallrats
Have you ever been walking in a mall, and you came across one of those Magic Eye pictures? And you decide to try and see the hidden image? So you’re standing there for hours on end, not seeing anything, and every time someone walks by they tell you that they can see a picture of the sailboat, even though you have been looking at this picture for a while now, only you see the same blob of an image which looks nothing like a sailboat, and you would just give anything to see the supposed glorious picture that everyone else can see, but not you… No sir! You can’t see the sailboat! Maybe you could see it if people would just leave you alone, but noooo! They are erecting some kind of stage around the corner and your one friend won’t stop whining about his girlfriend every time he walks by, and if he and his friend could stop talking about girls and comic books and that kid who is BACK ON THE ESCALATOR AGAIN for like five seconds, you might just be able to make out a portion of the sails on the sailboat that EVERYONE ELSE can see! And even that jerk-hole from the fashionable male can see that it’s a sailboat BUT WHY? WHY GOD WHY?? WHEN DO I GET TO SEE THE SAILBOAT??? No, you haven’t? Well then you should definitely check out the Jay and Silent Bob movie Mallrats. (Nick Ferro)
Madagascar
I wasn’t really drawn to this movie when it first came out. The trailer’s tone and the characters’ designs made it look like a buddy comedy with animals. The humor may not be for everyone, as it has the typical pop culture references you expect from a Dreamworks movie. It’s probably best remembered for the penguins and the “I Like to Move It”musical number. But there was actually a more original idea buried deeper in there. This turns the animals-wanting-to-be-free trope on its head and asks what would happen if they had lived in captivity their whole lives and were sent back to the wild against their will. The group is divided — Marty (Chris Rock) is happy now living in the wild, but the rest felt life was easier for them in captivity. There are some exciting character moments between Marty and the lion Alex (Ben Stiller), as the two of them argue about what the better life is, and Alex tries to resist giving in to his instincts as a carnivore. The visuals in the Madagascar jungles are great to look at in both sunlight and in the twilight, even if they slightly clash with the anthropomorphic animal designs. (John Tillyard)
Mama
Before Andy Muschietti absolutely terrified us with his adaptation of It,he had an overlooked and forgotten horror movie called Mama. Mama tells the story of Lucas (Nikolaj Coster-Waldau) and Annabel (Jessica Chastain), who take in Lucas’ two nieces Victoria (Megan Charpentier) and Lilly (Isabelle Nélisse) when they are found after living five years alone in the woods. They are only allowed to take their nieces in once they agree to allow psychological studies to be done on the girls to figure out how they survived. For being Muschietti’s first foray into horror, this movie is surprisingly good and will leave you wrecked at the end; at least I was. As with most modern horror movies, there has to be a supernatural presence, jump scares, and slow build to action, but that causes the characters and the audience to decide who is the right choice for the girls. The setting to get there might truly be absurd and definitely wouldn’t happen in the real world. With Muschietti going on to have success in the horror field later, this movie needs to be revisited and checked out if you haven’t seen it. (Austen Terry)
Mimic
Guillermo del Toro has always been the maestro of monsters, and early in his career he released a science fiction horror film called Mimic, following a group of scientists attempting to contain an outbreak of “the Judas breed” — giant, bug-like creatures who are evolving to blend in with humanity. Aside from featuring stars like Mia Sorvino, Josh Brolin, and F. Murray Abraham, Mimic is initially a pandemic movie, which I suppose makes it more topical than one might think. The Judas breed — whose gooey designs are terrifying, if not dated — were created as a method of containing Stricker’s disease, a powerful plague that is wiping out children in the United States. Of course, they mutate and become a threat themselves, and along the way, we get a pretty awesome horror film that continued to establish my favorite director as one to watch for. Mimic is far from del Toro’s best work, but it’s an essential part of his filmography, showcasing the evident talent behind the camera that makes him one of our best working directors. It wouldn’t be long before he outgrew poor practical effects and cheesy dialogue, but he still makes Mimic his own, quirks and all. (Rowan Wood)
Mainstream
Andrew Garfield is the reason why this film works. Mainstream is about a young woman named Frankie (Maya Hawke), who becomes an internet sensation with the help of a charismatic, anti-establishment stranger, Link (Garfield). It’s a satirical look at the world of social media and the content influencers produce and become known to the masses. The film is offbeat, sometimes funny, sometimes serious; sometimes you feel like you’re on an acid trip. You get cameos from Jason Schwartzmann, Johnny Knoxville, Charles Melton, and Jake Paul, to name a few. We also get a glimpse of Euphoria’s star Alexa Demie, in a small, but decisive role. You’re on a rollercoaster for the whole dramedy, but you’re always pulled back to Garfield. He’s insanely good as Link. He’s appealing, easy on the eyes, repulsive, egotistical, and a bit manic. Mainstream is a ride you have to take until the end because once you’re on, you’re on. Also, this film makes you look at yourself and wonder, “do I really like these influencers?” (Chantal Ashford)
Also See: MacGruber, Mud, M*A*S*H*, Moonraker, Malignant, Milk, Mank, Ma, Maleficent, Marnie, Marshall, Midway, Minions