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 Knock at the Cabin, we’re counting down our favorite movies with a building in the title! Let us know @SiftPop what your ranking is!
I never thought a movie about two lighthouse keepers trying to keep their sanity on a remote island in the 1890s to be traumatizing and fun. Robert Eggers’ black-and-white psychological thriller flick The Lighthouse stars Robert Pattinson and Willem Dafoe as Ephraim Winslow and Thomas Wake, respectively, which is enough for me to sit back and enjoy this feral spectacle. Their stay on the island starts like any other, getting to know each other and hoping to get along before the delirium sets in. The men cannot trust each other, seeing things that are not there… or are they? Eggers skillfully tilts this film on its head to the point you don’t know what is real until it’s too late, and the damage is already done. Several times on screen, you didn’t know what is real. Eggers keeps you locked into what is happening. Pattinson and Dafoe keep the scenes rolling with their unhinged performances as Ephraim and Thomas. Like a married couple at their wit’s end, between aggressiveness and intimacy and ready to kill each other, The Lighthouse is a darkly comedic (to an extent) horror film that everyone should see. (Chantal Ashford)
School of Rock works because the kids in the movie legitimately rock. They’re genuinely good at playing instruments, and as actors they each stand tall next to larger-than-life lead, Jack Black as Dewey Finn. Fired from his own band and facing a mountain of debt, Dewey accepts the job of substitute teacher at a preparatory school, posing as his roommate, Ned, for whom the position was meant. Once you accept the hijinks, the magnetism of Black’s performance and the passionate portrayal of talent and individuality that he fosters in each student, that they themselves didn’t know they had, will leave you smiling. Much of rock music is birthed in rebellion, and so too is the classroom band in the movie. Forced to practice in secret at school while studying classic rock at home, the students are convinced by their new teacher that rock music is an expression of oneself by venting anger toward “the man.” Still, so much of the heart of the story comes from Dewey just making the kids feel like they belong, like they’re worth it just the way they are, and that’s a powerful message that resonates with audiences young and old. I’d be remiss not to mention that the music throughout this story simply rocks, culminating in a Battle of The Bands performance for the ages. Now raise your goblet of rock. It’s a toast to those who rock! And a toast to this movie, now 20 years old, that still reverberates as a lesson in charm. (Jonathan Fedee)
Horror is a genre that is dense with possibilities, especially when delving into its subgenres. One subgenre that is entertaining for horror fans is that of the meta variety. There is no better example than Drew Goddard’s Cabin in the Woods. It takes horror tropes and pokes fun at them in the best ways imaginable, and gives you some highly relatable characters to follow through their horrific cabin getaway. The film is bolstered by its clever script, drafted by both Goddard and Joss Whedon, which expertly splices laugh-out-loud moments with truly tension-filled moments. There is a character for everyone within this film: the virgin, the intellectual, the flirt, the jock and last but definitely not least, the stoner/burnout. The visual effects are used really effectively and are quite impressive at times, especially the gore effects splattered throughout. For fans of the horror genre who like a little meta commentary in their films, this is the perfect fun time for you. (Joe Vargas)
You know when you watch a movie and it brings to the forefront a conflict that you had no idea was even a thing? That was Hotel Rwanda for me. I graduated high school the year this came out, so the conflict between the Hutus and Tutsis in Africa was out of view, since I was nine years old when it actually happened. This also introduced me to Don Cheadle as one of my favorite actors. Cheadle gives a stellar performance as Paul Rusesabagina, a hotel manager who housed hundreds of people and protected them from the oppression during the genocide. This was an eye opening experience for me, and showed me why I need to pay attention to world events. (Mike Hilty)
Casino Royale, in my opinion, is responsible for launching Daniel Craig into super stardom, and for earning him three more Bond films. The film shies away from the corny jokes and overuse of gadgets that had plagued many of the Bond movies before Craig’s. It instead is successful in both grounding the Bond character and highlighting his vulnerability, as well as making him seem as cool and fearless as ever. This is a movie that once again brings serious stakes and consequences to the story of James Bond. Mads Mikkelsen is perfect as Bond’s creepy villain, and Eva Green and Jeffrey Wright steal the show several times when sharing scenes with Craig. All in all, this movie is stylish, sleek, and daring. It’s one of the best Bond movies, and one of the best performances of Craig’s career. (Kaleb Wolters)
Let’s be honest, if there’s a building draft, castle is obviously going number one overall. Unless, perhaps, you’re the one tasked with cleaning it. However, Howl’s Moving Castle isn’t anything like the ones you’ve seen in history books. This titular scuttling structure is more something out of a steampunk fantasy and filled with the charm you’ve come to expect from Hayao Miyazaki and Studio Ghibli. When the shy Sophie is cursed by the vengeful Witch of the Waste, the key to lifting the curse falls with the enigmatic wizard Howl. It’s impossible not to fall in love with the dwelling and its inhabitants, from young Markl, fire demon Calcifer, and always smiling Turnip Head. Even the Witch of the Waste has more to her than initially meets the eye. On top of the character work, it’s a true feast for the eyes. Now if you’ll excuse me, I have the inescapable urge to fry up a massive pan of bacon and eggs. (Jake Bourgeois)
What are you looking for in the perfect cinematic hotel? You want class and distinction. The reputation better proceed itself. The interior should be vibrant and beautiful. There should be excellent service, like a concierge who will do ANYTHING for his clientele. The Grand Budapest Hotel is a beautiful and striking film, and the hallowed halls make for an engrossing and impactful caper. Wes Anderson delivers his most refined and impressive film, as it balances murder mystery, adventure, missing persons, prison breaks, and romance along the way. The superb (and unbelievably stacked) cast and technical aspects are the cherries on top of this deliciously wonderful film that dazzles every time. (Shane Conto)
Telling the story of a tragic day in 1966 where a sniper fires hundreds of rounds at civilians on and near the University of Texas campus, Tower is one of the most engaging documentaries I have seen in a long time. One of the biggest reasons for that is its unique style. Since the film is animated in rotoscope, I was worried that the animation might take me out of the film because we would see less real footage, and create a barrier to seeing the reality of this horror story. I was also worried it may be used for gimmicks, such as revealing that one of the victims they had been telling the story of had died during the attack. Instead, the film stays true to telling the story of the victims, capturing the moment, and ultimately sharing stories of heroism. Another thing that impressed me the most is the choice to not focus on who the shooter is, or what his motive is. We do hear his name and are offered small glimpses into his life, but only when relevant in context with the stories of the survivors. It is a truly bold choice to not have the documentary focus on who Stephen King called “America’s favorite sniper.” Lastly, as someone who was born in 1995, mass shootings have been so part of our reality that I have just become desensitized. Given that this shows a story in 1966, it gave me renewed empathy to see the reaction of people who genuinely couldn’t understand what was happening. (Aaron Schweitzer)
If you’re looking to catch up on the best that classic Hollywood has to offer, the filmography of Billy Wilder is a great place to start. Case in point: The Apartment. Coming at the end of a run of three films that was preceded by Some Like it Hot and Witness for the Prosecution, this film follows a Manhattan insurance clerk (Jack Lemmon) who climbs the corporate ladder by letting his higher-ups use his apartment for trysts, until coworker Fran (Shirley MacLaine) complicates the arrangement. Both Lemmon and MacLaine are at the top of their respective games, and it helps sell how their relationship progresses over the course of the film. It’s a masterclass in writing, with Wilder helping pen the script as well as direct, and he expertly utilizes a small number of locations, mainly the office building and the titular dwelling, in service of the story. By the time the story’s over, we feel like we’ve lived in that apartment as long as Lemon’s character has. It’s no wonder the film took home Oscars for Best Picture, Best Director, its screenplay, the set, and the masterful editing work. Everything works in perfect harmony. Wilder is a legend for a reason, and The Apartment is worth your time, even if it requires a rent. (Jake Bourgeois)
There is no denying how The Two Towers may be the most stunningly beautiful entry of The Lord of the Rings trilogy. From the sweeping landscapes of Rohan to the tranquil forests of Fangorn, there is not a minute of this movie that doesn’t have amazing cinematography. This chapter has by far the best opening scene, starting off with the peaceful beauty of the Misty Mountains, leading directly into the confrontation of the Balrog of Morgoth at the end of Fellowship, and resulting in the epic battle that occurred as the two fell leading to the death of Gandalf the Grey. I was absolutely floored by this scene when I saw it in theaters 20 years ago, and am still in awe of it today. From start to finish, The Two Towers is an achievement in filmmaking, from all the practical models and costumes, to the innovative use of CGI to enhance the visuals. This part of the story really pulls at your heartstrings as we follow Frodo and Sam struggling on their own to find a reason to keep going when there is just so much bleakness and doom surrounding them, intercut with the battles of Helm’s Deep and Osgiliath. There is hardly a dry eye in my home by the end of Samwise’s speech when he says, “There’s some good in this world, Mr. Frodo. And it’s worth fighting for,” proving once again why this trilogy of films has achieved GOAT status. (Nick Ferro)
Castle in the Sky
Who is better at creating vibrant and beautiful fantasy than Hayao Miyazaki? Not many. Whether it is Spirited Away, My Neighbor Totoro, or Princess Mononoke, there is something special about the world of Miyazaki. He might even have a special love of castles as they are central elements to quite a few of his fantasy adventures. Castle in the Sky just might be one of the best. Praised for its steampunk world and its beautiful animation, this story of a boy and girl going head to head with the military, spies, and pirates is quite the unique experience. This has long ranked as one of the greatest animated films and anime offerings ever (and it is in some great company). The name recognition might be there like its fellow Miyazaki offerings but it is a film that will take you on a wondrous journey and inspire so much imagination. (Shane Conto)
Casino
The deck is stacked in favor of Casino, starting with the ace that is director Martin Scorsese. Any movie involving Scorsese and organized crime will always be exceptional. Casino takes it to another level by giving him a noir-style and the backdrop of the bright lights of Las Vegas to work with. The lush environment is filled with brilliant performances from an all-star cast of crime movie actors. Completing the royal flush is one of the greatest film soundtracks ever assembled, featuring The Animals, B.B. King, Fleetwood Mac, Muddy Waters, Otis Redding, and of course “Gimme Shelter” from The Rolling Stones, because it wouldn’t be a Scorsese movie without it. Robert De Niro leads the cast as expert gambling handicapper-turned-casino manager, Sam “Ace” Rothstein. The film is driven by his relationships with his former hustler wife Ginger McKenna (Sharon Stone) and his childhood best friend turned mob strongman Nicky Santoro (Joe Pesci, in his most intimidating and high-energy role). Their success is routinely undermined by their greed and pride. Scorsese perfectly encapsulates the glitz and glamor of Las Vegas, along with the brutality lurking underneath. (Jason Mack)
Hotel Mumbai
There are lots of movies that cover unspeakable tragedies, but I haven’t seen any that make you empathize with the main characters as much as Hotel Mumbai does. It tells the true story of when terrorists attacked the Taj Hotel in Mumbai, and guests and staff of the hotel come together to save whoever they can. The film never glorifies violence, and that it barely goes into the terrorists’ perspective makes it so that you’re in the shoes of the victims the entire time, which creates a deep sense of empathy. Directed by Anthony Maras, this kind of movie is important because it helps you see the perspective of, and empathize with, the kind of person who typically becomes yet another statistic on a screen once the event is over. It’s not easy to watch by any means, but it will cause some introspection nonetheless. (Robert Bouffard)
Office Space
Have you ever wanted to just stop worrying about everything in your life, and just be? In 1999, Mike Judge released Office Space, a comedy that answers that question. A stressed out, overworked Peter (Ron Livingston) finally hits a wall and stops caring about everything, and he convinces his friends Michael (David Herman) and Samir (Ajay Naidu) to stick it to their employers. This is a movie that works on so many levels, and at each age that I have watched it, I have learned something new. The movie has an amazing cast who all work well together to deliver not only a funny movie, but a really good story. This been a lasting artifact since it was released, and if you haven’t seen it, well, it’s always worth a watch. (Austen Terry)
Sh!thouse
Most people who went away to college — and especially in the case those for whom this meant leaving home for the first time — have experienced the deep loneliness and anxiety that comes from being in a new place. It’s a very specific feeling that so many people have experienced, and that’s what makes a movie like Sh!thouse so effective. Cooper Raiff’s feature directorial debut (which he also stars in) is personal and universal at the same time. It’s filled with humor, drama, whimsy, and emotion, all surrounding such a seminal event in the lives of so many people, and the kind of indie hit that tends to last. (Robert Bouffard)
National Lampoon’s Animal House
I had no interest in rushing fraternities in college. The idea of spending four formative years of my young life in a disgusting home overrun by loud and frequently drunk idiots made me want to puke. And you know what the funniest part about it all is? I have never been inside a frat house, or even come close to one. National Lampoon’s Animal House is the reason fraternities have that reputation. For decades upon decades, when people think of wild college movies, this is the movie they think of. It is brash, offensive, and downright gross at points. But all the major comedies of the last 50 years have walked in its footsteps, trying to one-up the ridiculousness of this classic. Of course, some of the humor has not aged well, but if you don’t laugh at some of the slapstick and humiliating scenes that unfold, you’re missing out. It is the perfect movie to turn on after a rough day when you just need a stupid laugh. The epitome of a “turn-off-your-brain” movie. Unlike poor Flounder, it is a legacy to behold. (Sam Nichols)
The Night House
The conversation about the best horror film of the last few years, I find, has tended to gravitate towards Midsommar or Hereditary, or even The Witch, and I do not see nearly enough mention of The Night House in that conversation. That’s a shame, to my thinking, because it makes me think that simply means not enough people have seen it. Rebecca Hall is one of the finest actors of her generation, and it’s exactly her ability to embody characters like Beth that makes this a movie worthy of being in the conversation. She brings to life a concept that’s as inventive as it is creepy. (Chris Bakker)
The Terminal
Some of the most memorable fictional stories have a kernel of truth to them. For The Terminal, starring Tom Hanks as Victor Navorski, the story is loosely based on the life of Mehran Karimi Nasseri. Stuck, and unable to get out of JFK to unable to return home to the fictional country of Krakozhia, we see a story of someone making the best of a bad situation, and of the people who both want to be rid of him and who show him kindness when they don’t need to. It may not be the apex of Stephen Spielberg’s filmography (a tall order if I have ever heard one), but it’s easily one of his most memorable and heartwarming films. That, and with such a focus on life stuck inside a terminal, with no way to leave, is such a fascinating backdrop for me. Despite its flaws, The Terminal is still up near the top of my Tom Hanks films, and one I was more than happy to catch again. (Joseph Davis)
Night at the Museum: Battle of the Smithsonian
“We’re Americans; we don’t plan, we do!” This might be surprising to some, but I prefer the sequel to Night at the Museum rather than the first or third film of this the trilogy. One almost wants to write a franchise, since there is an animated one out just now, but since it has nothing to do with these films and I have not seen it yet, I will ignore it for the sake of this review. Night at the Museum: Battle of the Smithsonian is one of those sequels that is better than the original. I know, in this trilogy, that’s not such a high bar to climb, but all of these films are just silly comedies that want to entertain you, and possibly get you interested in some history. This sequel adds Amy Adams before she became the Amy Adams we know today, and her portrayal of Amelia Earhart steals the movie for me. Now I won’t say if you haven’t seen it, you need to, because this isn’t A+ comedy by any means. But it is a silly enough movie with some stakes and fine performers (Robin Williams, you are missed) that you should have a good time. (Luke Burian)
Also See: Skyscraper, Monster House, 99 Homes, The Orphanage