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 X, we’re counting down our favorite movies in which an actor plays a fictional actor! Let us know @SiftPop what your ranking is!
It is absolutely, monumentally imperative that every single mention of Quentin Tarantino’s Inglourious Basterds includes, or maybe even starts with, the reverence that we all have for the opening sequence, and Christoph Waltz’s performance as Colonel Hans Landa in general. So, now that we have that out of the way… One of the ideas behind the movie is the use of movies as a tool for propaganda, of course, and this is the part that Daniel Brühl and Diane Kruger play. While Brühl’s character is a soldier who is to have his story turned into a propaganda piece, Kruger’s character is an actor whose fame is used for military espionage. The fact that the climax of the film takes place in a cinema is definitely not just for the set piece it provides, but also to drive home the idea that propaganda films are a powerful tool, and it’s important to be able to see through them. (Chris Bakker)
“For relaxing times, make it Suntory time,” says Bill Murray, a.k.a. Bob Harris while shooting a commercial for a whisky in Japan. Why? Because that is where his career is — he’s a has-been star, now delegated to commercials. And potentially, that is how Murray might have felt at one point, when he was getting older. Lost in Translation was one of, if not the movie that put him back “on the map.” Not only did he give a stellar performance, he was also nominated for an Oscar for that year. If you ask me, Scarlett Johansson should have been nominated alongside him, as she is the perfect “partner in crime.” She isn’t manic pixie dream girl; she has her own dreams, aspirations, and agendas. And they form an unlikely friendship simply due to the fact both are in the right place at the right time. That friendship, by the way, never crosses any lines, and they only stay friends. That’s something I continue to appreciate, as not many movies would do that. Lost in Translation has been my favourite film ever since I first saw it back in 2004 or ’05…? I can’t remember the exact year, but I remember how it made me feel. This might also be one of those movies that showed me the power of cinema. It’s not for everybody, that’s for sure, but I assure you, if it hits you the way it hit me, you won’t forget this film any time soon. A true masterpiece. (Luke Burian)
If you’re aware of David Lynch, you already know his abstract and sometimes nightmarish imagery that haunts the viewer. However, while it is not my favorite of his, but still pretty close to the top, Lynch’s experimental nature comes full circle with his 2001 film, Mulholland Drive. From the moment the film begins, you notice a woman falling asleep, as we see Naomi Watt’s Diane live in a dreamscape, finding the mystery behind the unknown Laura Herring’s Rita. As the two dig deeper down the rabbit hole, the more Betty’s dream starts to end and her nightmare reality ensues. Lynch shows off his experimental style by using off-kilter dialogue that could pass this film as a comedy, and again imagery that haunts viewers for days on end. But what really drives this nightmare to come together is its mysterious aura that with every viewing, the audience gets more confused. Watts delivers the best performance of her career here, playing nearly two different people — one that is upbeat and charming, and the other that feels traumatized within her own psyche. There is a reason why so many Lynch-heads claim this to be his masterwork. (John Bizub)
Hollywood loves movies about movies. Though La La Land isn’t necessarily centered around the film industry, Mia Dolan (Emma Stone) is the idealistic picture of a Hollywood success story: after years of auditions, Mia meets a man who changes her life, and they open each other’s eyes to their own potential. Music and magic abound, and though I would hesitate to describe La La Land as a “feel-good” film, there’s a certain sense of triumph shared with the audience when Mia finally performs her one-woman show, and things start to look up. It’s a love letter to those who have ever wanted and tried for success, perhaps as a way of saying that it’s never too late, even when life takes a nosedive and nothing seems to be working. If you’ve never seen La La Land, do yourself a favor and check it out. It’s far from a waste of a lovely night. (Rowan Wood)
Pornography is a massive player in the filmmaking industry. It can be a wild and fascinating industry with the lavish lifestyle and characters it can bring on you. Casting a young Mark Wahlberg as Dirk Digler was the perfect choice for an up-and-comer in this world director Paul Thomas Anderson created. Wahlberg’s naivety and innocence early on slowly morph into an arrogance that permeated every relationship he has here. For someone who is not particularly a fan of Marky Mark’s acting, he really does show up big time in this movie. When you include the other terrific performances by Julianne Moore, John C. Reilly, Burt Reynolds, Don Cheadle, Heather Graham, William H. Macy, Phillip Seymour Hoffman, and Alfred Molina, this makes for quite an ensemble movie, perhaps P.T.A.’s best ever. (Samuel Nichols)
I’m typically not one for horror movies, but I found myself watching Rosemary’s Baby one day, and I was gripped from beginning to end. Like many movies on this list, it’s a movie about making movies, with John Cassavetes playing the big star. While the movie doesn’t quite center on him — the titular Rosemary (Mia Farrow) is the main focus — it’s his actions that drive the plot. It’s basically the gaslighting movie to end all gaslighting movies with a bit of the occult sprinkled in. Rosemary’s Baby is by no means an easy or fun watch, but it’s a layered one that’s full of meaning and (on-the-nose) symbolism. (Robert Bouffard)
When reality TV was just in its infancy on network television and was more a niche genre versus mainstream, The Truman Show showed audiences (and also probably warned us) how consuming reality TV could be for people. For Truman Burbank, played to perfection in a career-defining role for Jim Carrey, everyone around him is an actor. The questions that come into play with this revelation include, after being around each other for so long, is anything real? And to what lengths will people go in order to keep up the illusion? The Truman Show offered our first glimpse at Laura Linney as a main actor in her role as Meryl, Truman’s wife. I can’t imagine how difficult that role like that would have been, if the actual show was real. Linney balances her “love” for Truman with the need to find avenues to entertain the audience. In addition to Linney, Noah Emmerich is Truman’s best friend Marlon. Marlon has a tall task similar to Meryl, but we see how Marlon is fed lines during emotional moments, showing how destructive and deceptive all the people around Truman were. The Truman Show was ahead of its time, while also showing us a worst case scenario of a future that is coming to fruition with people being accessible all day every day. (Mike Hilty)
Who is the greatest actor character in the history of cinema? If you asked her, Norma Desmond would certainly say herself. Sunset Boulevard is a fascinating film in the history of cinema. Of course, Hollywood loves films that play “inside baseball.” Nothing is more interesting to Hollywood than Hollywood. But back in 1950, there was something huge going on. The talkies had fully taken over the cinematic landscape, leaving silent films in the dust. The towering performers of that time were lost in memory. But Sunset Boulevard overturns those stones to reveal the tragic fate of one of its greatest silent stars, Desmond (portrayed by a real-life silent film star getting a chance to shine again in Gloria Swanson). And she certainly shines. Swanson is a towering inferno waiting for her close-up. Joe Gillis is a floundering writer (portrayed by the infinitely charming and somber William Holden). The combo of Swanson and Holden in front of the camera just elevate the incredible material that legendary filmmaker Billy Wilder brings to life. A movie about movies, this is a classic that needs to be sought out and experienced. (Shane Conto)
Talk about an acting rivalry for the ages. Bette Davis plays “aging” (and by aging, they mean just turned 40 *GASP*) Broadway star Margo Channing. Her life and career are turned upside down by the arrival of seemingly innocent superfan Eve Harrington (Anne Baxter). Among the 14 nominations and five wins at the Academy Awards (including Best Picture), nearly every performance of note is nominated — including dueling Best Actress in a Leading Role nominations for Davis and Baxter. Not a shock because they are both utterly sublime. Davis is sharp and cutting — particularly as she begins to notice something rotting. Baxter is the picture of innocence, until required. The twisting web that is weaved is truly something to admire until the final frame. When Margo tells you to, “fasten your seatbelts,” it’d be in your best interest to listen. (Jake Bourgeois)
Singin’ in the Rain is not only one of the best musicals ever made, it’s also a fascinating look at the Hollywood landscape in the midst of change. It follows a studio’s bid to transition from silent films to “the talkies.” We follow Gene Kelly’s star actor Don Lockwood as he and his friend Cosmo Brown (Donald O’Connor) try to make the studio its first non-silent hit despite the shortcomings of the clueless Lina Lamont (Jean Hagen). Lockwood becomes enamored with chorus girl Kathy Selden (Debbie Reynolds), and the trio of Lockwood, Selden, and Brown have the bright idea to turn the film into a musical and make the most of Selden’s talents. This plot point also has the benefits of giving us one of the best and most joy-inducing numbers of the film in “Good Morning.” As a cinephile, I find the examination of this particular period of Hollywood history fascinating. Watching both the characters of Lockwood and Lamont try to carry their star power over into this new era with the differing skills it requires is a fascinating dichotomy. O’Connor and Reynolds are also bursting with charisma. It’s no surprise that this was a star-making role for both Reynolds and her fictitious counterpart. Rooting for the pairing of Lockwood and Selden to have their Hollywood success story makes the film’s conclusion all the more satisfying. (Jake Bourgeois)
The Artist
Is it possible that a Best Picture winner could be underrated? Well that is what it feels like with The Artist. The conversation surrounding this film’s win has been along the lines of it being overrated, or one that the Academy loves because it’s about “Old Hollywood,” but I genuinely love this movie. Starring Jean Dujardin as George Valentin, an incredibly popular silent film actor, and Berenice Bejo, an up-and-coming star and pupil of Valentin as the film industry transitions into “talkies,” The Artist is as full of charm and charisma as any other film I have seen. Filled with incredible supporting roles by actors such as John Goodman and James Cromwell, and the confident direction by Michel Hazanavicius, it baffles me that the conversation around this film isn’t adoration. If you’re looking for charm, it’s here; a film exploring a period of transition in Hollywood, also here; a film where a sidekick dog nearly steals the movie, definitely here. Whatever you might have heard recently about The Artist, I promise you, it is absolutely deserving of its Best Picture award. (Aaron Schweitzer)
Who Framed Roger Rabbit
Robert Zemeckis created the gold standard for incorporating animated characters into live-action with his 1988 film, Who Framed Roger Rabbit. This movie provides the viewer with a fully realized world that is inhabited by both humans and toons alike. Taking place in 1947 Los Angeles, a reluctant and toon-averse private detective named Eddie Valiant (played by the late Bob Hoskins) accepts a case that might have been more than he asked for. Hoskins is great as Valiant and does a fabulous job of sharing scenes with both his physical and animated co-stars. A large portion of his interactions are with the neurotic Roger Rabbit (Charles Fleischer), and they supply plenty of gut busting laughs. The most iconic and longstanding character would have to be the sultry Jessica Rabbit (Kathleen Turner); she is deeply ingrained into pop culture and is immediately recognizable by her silhouette alone. While mostly fun and gags, the malicious Judge Doom (Christopher Lloyd) is no laughing matter. It is also a great joy to point out all of the small toon cameos in the film, especially if you’re a fan of older cartoons. Who Framed Roger Rabbit is a world that is always a gaggle of laughs with each viewing. (Joe Vargas)
Birdman or (The Unexpected Virtue of Ignorance)
With the Oscars coming up, I felt like it was time to finally cross a big movie off my list of shame, 2014’s Birdman or (The Unexpected Virtue of Ignorance). Starring Michale Keaton as washed up actor Riggan Thompson, Emma Stone as his daughter Sam, and Edward Norton as Broadway mainstay Mike Shiner, I cannot tell you how much I fell in love with this one. For one, it’s framed as a single long take, something that I’m a sucker for to begin with. You also have some truly phenomenal actors in dynamic roles, generating some amazing conflicts and story pieces. There’s a conflict across generations, with a dad not being there for his daughter, between the old guard of superhero movies and the new breed coming out today in universes, and the idea of Hollywood against Broadway itself. It also has internal conflicts on who a person is and who they want to be, which just permeates this entire movie in beautiful and glorious ways. This movie is an artistic masterpiece and an acting masterclass of the highest order, and is one I wish I got to sooner. (Joseph Davis)
Black Swan
Arguably Darren Aronofsky’s greatest achievement to date behind the camera, Black Swan is a haunting masterpiece that stays with you long after the credits roll. In her Oscar-winning performance, Natalie Portman plays Nina, an obsessive ballerina given the coveted role to be the lead in a production of Swan Lake. Living with her mother (Barbara Hershey), once a dancer herself, is suffocating and overbearing, as she attempts to live vicariously through Nina. Nina faces further duress from a competitive new dancer Lily (Mila Kunis), who is out to take the role for herself. Nina is rigid, structured, and disciplined, suited to the white swan role, whereas Lily is more of a free spirit and suited as the black swan. Nina and Lily strike up a friendship, although Nina knows Lily is out to steal her role, the mounting pressure from jealousy, the expectations of her mother, and the director drive her deeper into madness. How much is Nina willing to pay for perfection? (Adam Ritchie)
Waiting for Guffman
Waiting for Guffman marks Christopher Guest’s first attempt at directing a film in the mockumentary style popularized by his and Rob Reiner’s This is Spinal Tap 12 years prior. Guffman is one of the most hilarious and surprisingly thoughtful comedies around, and even if the film’s style of humor is not your cup of tea, the skill on display from Guest’s legendary crew of comedians is undeniable. Rather than craft a traditional film script, Guest begins each of his mockumentary films with a scene-by-scene, dialogue-free outline of the story beats each actor will need to hit in order to deliver a cohesive story. Half the fun of Guffman comes from the awareness that actors like Eugene Levy, Catherine O’Hara, Fred Willard, Parker Posey, and Bob Balaban are doing their darndest to make their co-stars laugh with their entirely improvised dialogue. Guest’s portrayal of flamboyant theater director Corky St. Clair is so over the top that it would be considered offensive if not for the unabashed love Guest shows for all his quirky characters. For my money, Waiting for Guffman is one of the funniest films ever made, and through it all, Guest somehow manages to tell an earnest tale of small-town Missouri life filled with joy, laughter, and unexpected heart. (Foster Harlfinger)
Kiss Kiss Bang Bang
Don’t you just hate it when you’re being chased by the cops after burglarizing a toy store at Christmas, stumble into a casting call to hide, get handed some pages, and are instantly discovered? That’s exactly how Harry Lockhart (Robert Downey Jr.) became an actor, for about a week, until he attended a party which got him caught up in a murder mystery and lead to him becoming an out of his depth detective alongside actual private eye, “Gay” Perry (Val Kilmer). Kiss Kiss Bang Bang is an excellent meta take on detective noirs, while simultaneously being an irreverent comedy. Shane Black, in his directorial debut, presents an excellent murder mystery that is purposefully not really a mystery thanks to the comical narration provided by Downy Jr. The charm in this movie comes from its characters and their chemistry. Black’s witty dialogue is expertly delivered by both Downey Jr. and Kilmer throughout, and their bickering is sure to leave any audience in stitches (pun intended). Kiss Kiss Bang Bang was a stepping stone on the way toward the meta comedy we see in movies today. You can tell that this is a concept Black was continuously trying to push in his early movies, like in Last Action Hero and his more recent hit The Nice Guys. Unfortunately, his movies always seem to be ahead of their time, but I believe they are now starting to find an audience, and I hope you can add Kiss, Kiss, Bang, Bang to your list of favorites. (Nick Ferro)
Shakespeare in Love
Shakespeare in Love sometimes gets a bad rap due to it upsetting Saving Private Ryan for Best Picture at the Oscars. I personally did like this more than I thought I would. It was funnier than I thought it would be and has a captivating love story for Shakespeare. The acting performances all around are stellar, from Joseph Fiennes’ turn as a struggling Shakespeare trying to write one of his new performances to Geoffrey Rush as Henslowe. Even Dame Judi Dench has a great turn as Queen Elizabeth — maybe not Oscar win worthy, but still memorable nonetheless. What’s great about Shakespeare in Love,though, is the actual performance of Romeo and Juliet. Ben Affleck gives an underrated and underappreciated performance as Ned Alleyn in the movie, but also Mercutio in Romeo and Juliet. He gives a devastating performance in Romeo and Juliet. The audience feels for the emotion he brings. Gwyneth Paltrow is the standout, though, as Viola. She breaks barriers by wanting to act and gives a beautiful performance as Juliet. The performances for the movie are great, but dare I say, the performances as actors in Romeo and Juliet were even better. (Mike Hilty)
Galaxy Quest
“Never Give Up. Never Surrender.” What if you were an actor in a popular sci-fi show, when one day at a convention, actual aliens show up to ask for your help because they believe your show was real life? Well that’s the premise for Galaxy Quest, a movie from 1999. This movie was more than just a Star Trek parody. The aliens go and find actors Jason Nesmith (Tim Allen), Gwen DeMarco (Sigourney Weaver), Alexander Dane (Alan Rickman), Fred Kwan (Tony Shalhoub), Tommy Webber (Daryl Mitchell), and Guy Fleegman (Sam Rockwell) to don the roles and costumes of their once-great characters to save of the Thermians. The Thermians are an alien race who have modeled their lives and culture after the television series Galaxy Quest in this universe. The actor characters in this movie, all played by great actors, seem to be playing themselves without going too far into self parody. Nesmith seems like the suave type who would still be trying to be his character, and you feel both Demarco and Dane’s struggles to be taken as serious actors after these roles. I think this is what makes this movie so great — it doesn’t just try to be a parody, but a legitimate story of, “What if this happened? Could these actors pull off being real life heroes?” This is a movie you don’t want to miss. (Austen Terry)
Don’t Think Twice
Mike Birbiglia is one of my favorite standup comedians working right now, and my love for his only grew when I saw Don’t Think Twice. Following an improv group that has been together for a long time, different life circumstances keep pulling the actors beyond their past experience and beyond their comfort zones. With an excellent cast including Birbiglia, Keegan-Michael Key, Gillian Jacobs, Chris Gethard, Kate Micucci, and Tami Sagher, Don’t Think Twice manages to be as heartfelt as it is comical. Whether you’re a fan of improv or not, there is guaranteed to be something here for you to connect with. There is just something so genuine about this film that it makes me wish everyone reading this checks it out! (Aaron Schweitzer)
Notting Hill
Ah, here we have Hugh Grant at his floppiest, and also his most charming and handsomest. A movie that could also act as the local definition for charm, Notting Hill is a story about hope, dreams, and totally unrealistic love stories. But all of that is sold well with the cast of accompanying kooky, yet lovable side characters, impeccable British humor, and of course, the undeniable chemistry of our two leads. Bookseller meets infamous and multi-award winning actress is not your typical love story, but it’s certainly one that engages you. It’s a film designed to produce that warm, fuzzy feeling, and you’ll never feel disappointed for having given it a chance… (Alice-Ginevra Micheli)
Forgetting Sarah Marshall
In the 2000s, cinema was in the midst of a great run of comedies. One of the shining stars of this era is the 2008 film Forgetting Sarah Marshall, with Judd Apatow producing and Nicholas Stoller directing. The film boasts an astonishing all-star cast, including Jason Segel (who also wrote the screenplay), Kristen Bell, Mila Kunis, Russell Brand, Bill Hader, Jonah Hill, Paul Rudd, and Jack McBrayer. After Peter Bretter (Segel) is dumped by Sarah Marshall (Bell), star of the fictional procedural Crime Scene: Scene of the Crime, he retreats to Hawaii, only to find that Sarah and her new beau, flamboyant rock star Aldous Snow (Brand) are also there. Peter connects with Rachel (Kunis), a receptionist at Turtle Bay where the film takes place, and he begins to fall for her while getting to know the odd cast of characters at the resort. This film is unique in its ability to convey the raunchy and improvisational style of the era, while also having a lot of interesting and poignant things to say about love and loss. Segel is charming, honest, and vulnerable; he also has amazing chemistry with Bell and Kunis. With scene-stealing performances from Hader as Peter’s stepbrother, Hill as the awkward and sarcastic waiter, and Rudd as a lovable but moronic surf instructor, Forgetting Sarah Marshall has cemented its place as one of the best comedies of the last 20 years. (Jacob Kinman)
Tropic Thunder
Tropic Thunder, a movie about a movie being made by actors playing actors, some of which are playing a guy playing another guy who’s playing a guy. This incredibly hilarious film probably wouldn’t get away with some of what it does nowadays, but the creative angle and ridiculously well-committed cast makes every moment a spectacle. I absolutely love these characters and their egos. The creative lengths they put in to who each of these actors are and their wonderful stereotypes, especially the fake trailers at the beginning; I honestly would watch most of them unironically. Every performance is at 11 the entire film, and Robert Downey Jr. even stays in character for the commentary track, which in and of itself is worth a listen. There are characters that have stuck with me since its release nearly 15 years ago. (Evan Lucken)
Bolt
The 2008 film, Bolt, stars John Travolta as the titular, Bolt, an adorable white shepherd canine on a television show, the premise of which finds him protecting a precocious 12-year-old girl named Penny from your stereotypical baddie. Miley Cyrus stars as Penny, and the young actress handpicked the star of the show when he was just a puppy. Bolt’s performance is unwaveringly authentic because to him, it’s not a performance. From the time he was adopted five years prior, he’s only ever known car chases, explosions, and super-barks in an effort to save Penny on a weekly basis. That’s because the television studio behind his show painstakingly maintained the illusion of Bolt’s reality his entire life, believing his ratings-generating performance to be predicated on his genuine belief that he is the resolute hero of his own story. When accidentally separated from Penny, Bolt finds himself in an existential predicament, dumbfounded by the realization that he is merely an ordinary dog. Bolt was the first animated film to be entirely produced by Disney following the studio’s merger with Pixar, and that influence can be felt throughout, especially with Bolt’s arc resembling that of Buzz Lightyear in the first Toy Story. Bolt begins as self-assured and confident, fully immersed in his fantasy, duty bound to protect his person, but after being thrust into the real world, the totally unprepared dog is aided on a journey of self-discovery with the help of a few friends along the way, ultimately learning that you don’t need superpowers to be a good boy. (Jonathan Fedee)
Iron Man 3
I can already feel your complaint. Why Iron Man 3? Why not Shang-Chi, the other film that features Trevor Slattery? Well, this entry is for Iron Man 3 because you’re all wrong about it. It is, indeed, the best Iron Man movie, and I will not be taking further questions. One of the great problems Marvel was faced with when bringing the Mandarin to life is the fact that the character itself had been a very racist caricature for such a long time. By both presenting him as a far more serious version of that initial character and also pulling the rug out from under the very idea of the Mandarin, Marvel was able to have its cake and eat it too. It gave us a very intimidating performance from Ben Kingsley, and I suspect people were upset that this version of him didn’t turn out to be real. But I think the character of Trevor is a lot more interesting for it. Having a literal mouthpiece as a projected villain is something an evil mastermind would actually do and it’s incredibly comic book-y. My issues with the villain of the movie run back to the decision to not have Rebecca Hall’s character actually be the villain she was meant to be, and I’m actually personally offended that a large part of the audience won’t stop complaining about the Mandarin rug-pull instead. (Chris Bakker)
Bowfinger
1999 will forever be known as one of the greatest years for film of all time, giving us some of the most classic films in our lifetimes. A sad side effect of such a prolific movie year, however, is that many great movies went unseen and have largely been lost to time. Bowfinger falls into that category for me. I went and looked at all the comedies released in 1999, and I could make a strong argument that Bowfinger is among the funniest movies released that year, as well as a movie that continues to be funny over 20 years later. What makes it particularly interesting is what this movie marks for its two lead stars: Steve Martin and Eddie Murphy. This may in fact be the last truly great live action, straight comedy film from either of them. Murphy does one of his classic moves in that he pulls double duty, playing the characters of Kit and Jiff. But what makes this one so remarkable is that those two characters feel so totally realized as individuals. Like, it’s obvious it’s Murphy, but he embodies each with such different energy; it perhaps is my favorite example of his playing multiple roles. Then there is Martin, throwing his zany energy into the part of the titular Bobby Bowfinger and perfectly capturing the chaotic energy of a struggling Hollywood producer/director. Director Frank Oz just wonderfully captures the energy of the time, perfectly toeing the line between earnestness and absurdity and ultimately striking comedy gold. Check this one out if you haven’t gotten the chance yet. (Nashua Doll)
Mrs. Doubtfire
Everyone remembers Robin Williams’ improv in Aladdin, but for me, Mrs. Doubtfire was his finest ever use of it, especially given that he effectively has to play two characters. Williams will have likely improvized any funny line you think of. It’s fitting the actor Williams plays should lose a job for doing too much improv in the opening scene. The story, loosely based on the novel by English author Anne Fine, features divorced father Daniel Hilard (Williams) going to extreme lengths to ensure he can keep seeing his kids, and therefore has to deal with some jarring shifts in tone. But it finds a good balance of comedy and family drama, between the scenes with Williams’ antics as a woman and the heavier scene where he argues with his ex-wife Miranda Hilard (Sally Field). Williams is also phenomenal as Daniel. I particularly enjoy his messing around with the dinosaur toys when he thought no one was watching, another scene that likely had a lot of improvs. The climax where Daniel has to keep switching between himself and Mrs Doubtfire at a restaurant is a pretty big cheat, as there is no way he’d be able to change quickly enough. But at the same time, that adds to the comedy of the sequence. I would also watch the hell out of Euphegenia’s House if it were a real show. (John Tillyard)
Jay and Silent Bob Strike Back
When you make a list about actors playing actors, Jay and Silent Bob Strike Back needs to be part of the discussion. The movie is about how Jay (Jason Mewes) and Silent Bob (Kevin Smith) discovered that a movie is being made about their comic book counterparts Bluntman and Chronic, and people are not saying good things about the movie online. So Jay and Silent Bob set out to stop the film being made. When you make a film about going to Hollywood, you have to have some actors and directors show up, especially if they are into self-parody. Who better to play these roles than allowing the actors to self parody themselves, and two scenes stand out that are clever and funny. The first scene includes Ben Affleck and Matt Damon playing what I hope is over-the-top versions themselves. The second scene includes Jason Biggs and James Van Der Beek, where they riff on each other for their past roles. Even directors Wes Craven and Gus Van Sant stop by to poke fun at their own movies. Only one man could make a film like this that it still is good today, and that’s Kevin Smith, who blends the movie’s humor, self parody, and meta references very well. This movie and its sequel are both very good, and I recommend them both. (Austen Terry)
Eternals
“Kingo, the movie star!” An immortal alien race, the Eternalshas been on planet Earth for over 5,000 years, protecting the human race. To blend in, they had to find a way to live among everyone without being sought out. One of the superheroes in particular, Kingo (Kumail Nanjiani), who was always a fan and enamored with one of his teammates, Sprite’s (Lia McHugh) stories and became a popular Bollywood actor for over 50 years. He was his great-great-grandfather, down to the man he is today. Nanjiani was the comic relief and exceeded my expectations with the time given between nine other cast mates sharing the screen. The moments of chemistry with Karun (Harish Patel), Kingo’s valet, were the best moments on the screen. I wanted Kingo to have more time because my eyes would always go to him. A wise-cracker with the looks and the body of a leading man, you have yourself Kingo. (Chantal Ashford)
Three Amigos!
Steve Martin, Chevy Chase, and Martin Short are among the funniest actors to ever live, so when they were all the stars of one film, there was no way it would suck. The premise of Three Amigos! is that Martin, Chase, and Short played The Three Amigos on a canceled silent TV show where they would ride into villages and save the day by playing music on stringed instruments. When they get a job they believe to be an acting gig in a Mexican village, they head down to there to get paid, but the village believes them to be real heroes, so the trio has to be real heroes, not just play heroes. The rest of the film plays out like you’d expect, but that also includes all the humor you can expect to come along with it. Three Amigos! is definitely a classic comedy, and if you haven’t seen it yet, it’s about time you do! (Aaron Schweitzer)
Scream 3
This may be the worst of the Scream franchise, but I would still put this up against nearly anything from Friday the 13th or the middle portion of Halloween. By the time we get to the third installment of Scream, the meta can no longer be contained — that’s right folks, Ghostface goes Hollywood! Our cast of survivors finds themselves drawn to Los Angeles as the fictional movie of Stab 3 is being filmed with Dewey (David Arquette) now acting as a consultant. And because we have gone full meta, there is nearly a full cast of ridiculous doppelgängers to Flanderize the main cast, including Emily Mortimer as faux Sidney (Neve Campbell). But the real star of this Best Ever Challenge is Parker Posey playing the Stab 3 version of Gale Weathers (Courteney Cox). By this point in the franchise, Gale is no longer the annoying reporter out to find a story to make her career, and instead has grown into an actual caring person. Posey’s version of the character is what we originally fell in love with from the first Scream, which creates a fascinating confrontation of a character being able to come face to face with their past self. (Scott Batchelor)
Also See: Tootsie, The Producers, Hail, Caesar!
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