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 Amsterdam, we’re counting down our favorite movies with a city in the title! Let us know @SiftPop what your ranking is!
With all the war movies about battles and plans to defeat the enemy, Dunkirk is about a retreat. The central soldier in this, Tommy (Fionn Whitehead), doesn’t fight. His primary mission is to survive and help his fellow soldiers do the same. The closest thing to a hero in this is Mr. Dawson (Mark Rylance), a civilian. He bravely crosses the channel to enter a war zone to help the evacuation, picking up a stranded soldier and an RAF pilot along the way. The former is so traumatized by what he has seen he tries to convince Dawson to turn back. Dawson, however, holds firm in the belief that it is immoral to do nothing while others may be dying. Some criticism comes from the story’s unconventional and slightly confusing structure, cutting back and forth across three perspectives that take place over different periods. I can certainly see the issue for some, but once you know that’s how they tell things, it should be easy to work out what’s happening. Director Christopher Nolan delivers his usual stunning visuals and impressive use of sound. There are even a couple of scenes where the lack of sound enhances the situation’s tension. But it’s a shame, after The Dark Knight Rises, he put poor Tom Hardy in another role where you only see his eyes for most of the time he’s on screen. (John Tillyard)
Once more I dig into the list of shame for an old movie I’ve heard nothing but good things about, in the classic film Mr. Smith Goes to Washington. Starring one of the true greats in James Stewart, alongside Jean Arthur, it tells the story of an unlikely assignment to the senate that upends the corrupt political machine of his home state and a fight for what’s right against self-interests. In many ways, I find myself identifying with our lead character Jefferson Smith, fighting for his career and reputation against the machine that makes the decisions for the people representing his home state, fighting for the good of his home against people wanting to line their pockets. It feels fitting and well-timed in a way as a reminder of how fragile a democracy is, and how there are those with the passion and drive to ensure that government of the people, by the people, for the people, shall not perish from the earth. (Joseph Davis)
One of the most notable directors to make cinema of the 1970s so prolific was Robert Altman. In the midst of an incredible run of releases, his 1975 film Nashville stands out as a rich, textured, and nuanced look at a fictional world of country music in a version of the titular city. The film boasts a huge ensemble cast, most notably including Ned Beatty, Lily Tomlin, David Arkin, Ronee Blakely, Henry Gibson, Timothy Brown, Shelley Duvall, and Jeff Goldblum. With over a dozen protagonists and many intertwining storylines, the film expertly presents this large scope in a cohesive and entertaining way. There is so much going on here that it’s honestly kind of hard to summarize. The film takes many opportunities to put their characters in the same space and move between conversations. Of course, no Altman film would be complete without some overlapping dialogue; his direction is brilliant in being able to layer these moments efficiently without it feeling cluttered or overwhelming. Altman tells almost every story from the Nashville experience: superstars, quarreling groups, newcomers trying to make it big, the press, and everyone in between. At 160 minutes, Nashville is lengthy, but well-paced, and is careful to give all its characters due screen time, which makes the whole viewing experience even more worthwhile. This is an underseen gem of the 1970s that everyone should check out. (Jacob Kinman)
There are few places created in film as charming and dynamic as The Grand Budapest Hotel. Wes Anderson has quite the knack for creating a perfectly singular perspective on the world. One of his greatest creations and most mature outings is The Grand Budapest Hotel. This hotel is one of the great characters that Anderson created, and it represents the great city of Budapest. The towering and beautiful marvel was the toast of Europe until war and other horrors turned it into a monolith of hollow sadness. But the story that is wrapped in this web is equally dynamic, as Anderson dives into a murder mystery with perfect fringes of prison breakers, cat-and-mouse chases, and big shootouts. The pitch perfect ensemble brings so much vigor to this tale with the illustrious talents of F. Murray Abraham and Jude Law. But the crown jewel of this crown jewel is the wry wit of Ralph Fiennes. When those credits begin to roll, you know you are leaving one of the most impressively realized worlds on screen. (Shane Conto)
Vincente Minnelli loved himself a musical. While An American in Paris would also qualify, I’m going to focus on another Minnelli movie starring the great Judy Garland. Meet Me in St. Louis follows Garland and her sisters, including Margaret O’Brien of Secret Garden fame, and the excitement around the rapidly approaching 1904 World’s Fair to be held in the titular town. This was a recent first time watch for me. Garland, and Turner Classic Movies’ string of her greatest hits in celebration of what would have been her 100th birthday earlier this year, was the draw for me. Her voice remains as spectacular as always, and “The Trolley Song” is up there with her best. For a time when most films were still shot in black and white, the early use of color here provides a brightness to things visually that was still fairly unique. If you’re in the mood for a classic romantic musical, St. Louisisn’t a bad spot to visit. (Jake Bourgeois)
Wim Wenders’ Paris, Texas is almost two and a half hours long, but you never feel its length for a second. It immediately grabs you when Travis (Harry Dean Stanton) appears in the middle of the Texas desert alone and unable to speak. After collapsing, he ends up at a hospital, where his estranged brother Walt (Dean Stockwell) comes and picks him up all the way from Los Angeles. A film about looking for direction in life, regret, love, family, and parenthood, Paris, Texas is deeply moving. Its use of long takes for dialogue make the incredible performances from Stanton, Stockwell, and Natassja Kinski stand out. One scene at the very end in particular won’t leave your mind any time soon, and it’s perhaps the cleverest and most effective use of a reflection that I’ve ever seen in a movie. Most people would probably consider this slow, but it’s slow in just the right way. It pulls you in and makes you consider the mixed truths and realities of existence. (Robert Bouffard)
I defy you to tell me anything that would be more awesome than a movie starring Frances McDormand as a pregnant detective investigating a brutal murder while sporting a thick Minnesotan accent and saying, “you betcha.” That’s right. You can’t. Even with the Coen brothers’ vast and impressive filmography, Fargo still stands out as one of the very best. I love the Coens and their films, but I don’t think they ever hit the heights of wacky, self-destructive characters mixed with truly dark subject matter that they hit here. McDormand is incredible, William H. Macy is nearly as great as she is, and Steve Buscemi is funny looking. Just a great cast all around. (Robert Bouffard)
L.A. Confidential is a masterclass for the crime and mystery genre due to its strong direction, writing, and most of all, performances. The film sheds light on the corruption occurring in the LAPD during the 1950s. The viewer largely follows three cops with completely different ways in which they pursue justice. The strength of the character writing and how they interact with one another makes this film the standout that it is, especially the relationship between Bud White (Russell Crowe) and Ed Exley (Guy Pearce). While their goals are aligned, and they seem to want to do right by the badge, that is where their similarities end. Bud is always seething with rage and aggression, where Ed is calm and collected, but always looking to move up the ranks as quickly as possible. They have their hangups, but they are dedicated to the job, and sometimes maybe a little too much. Other recognizable performers include Kevin Spacey, Kim Basinger, James Cromwell, Danny DeVito, and David Strathairn. Fans of mystery and crime that are also period pieces will find a ton to enjoy with L.A. Confidential. (Joe Vargas)
What a progressive story for 1940! The Philadelphia Story, a movie about a woman choosing her partner and not being forced into it by parents or society, was not exactly par for the course at this time. Katharine Hepburn finds the perfect balance between comedy and drama with her performance. Having legends like Cary Grant and James Stewart to back her up certainly helps as well. The shenanigans are hilarious, and the dialogue is witty and fun. Even 80 years later, this movie still plays extraordinarily well. Also, the final resolution to the romantic triangle (or square after the last decade of basically only sad divorce stories being what drives movies about marriage — looking at you, Marriage Story), it is nice to see an amicable end to a relationship where everyone. (Sam Nichols)
A mix of funny, dramatic, heartbreaking, heartwarming, depressing, inspiring, cynical, and charming, Casablanca runs the gamut in emotions expertly. The themes ring true 80 years later, and the quotes are as memorable as ever. Even if you’ve never seen it, you’ll recognize lines like, “Here’s looking at you kid,” “I think this is the beginning of a beautiful friendship,” and “You’ll regret it. Maybe not today, maybe not tomorrow, but soon and for the rest of your life.” It even featured an “I know” response to “I love you” decades before Han Solo. There’s something remarkable about a movie written, filmed, and released during the war it features. Humphrey Bogart is the perfect fit as cynical nightclub owner and ex-patriate Rick Blaine, who is hardened by World War II and more so from being spurned by his love. He’s content to coast through life in Casablanca, Morocco until Ilsa Lund (Ingrid Bergman) shows up in his gin joint, along with her husband and notorious rebellion leader Victor Laszlo (Paul Henreid). Rick routinely must choose between self-interest and the greater good, and Bogart blends the internal conflict and cool facade beautifully. The music is crucial and delightful throughout, whether it’s Sam’s recurring version of “As Time Goes By” or Victor leading the patrons in a rousing performance of the French National Anthem to drown out the crooning Nazi soldiers. The ending isn’t what you expect to want, but it’s perfect. (Jason Mack)
Midnight in Paris
Midnight in Paris showcases the beauty of Paris in a way that proves that someone behind the camera was truly in love with the city. From the opening scene, which cycles through the stunning locales of the city, to the last scene, where a beautiful display of the Eiffel Tower over the Siene, the grandeur and mystique of Paris is always on display. The movie itself is a quirky, unconventional time travel story where struggling writer Gil (Owen Wilson) is on holiday in France with his fiancé (Rachel McAdams). One night, he goes on a walk through the city, and as the clock strikes midnight, he is approached by an old 1920s automobile where he is whisked away to a party that consists of famous artists from the 1920s like F. Scott and Zelda Fitzgerald (Tom Hiddleston and Allison Pill). As the night goes on, he meets Earnest Hemingway (Corey Stoll) and realizes that he has in fact gone back in time. He always returns to his own time before the night’s end, but over the next several nights he returns to the 1920s and meets other famous artists like Gertrude Stein (Kathy Bates), who all inspire him in both his writing and his outlook on life. Midnight in Paris is a story about not romanticizing the past in sacrifice of the present, and I always enjoy its whimsy with each viewing. (Nick Ferro)
Dallas Buyers Club
One of Matthew McConaughey’s best performances is the one that rightfully earned him the Best Actor Oscar, and that’s 2013’s Dallas Buyers Club. The film tells the story of Ron Woodroof (McConaughey), an electrician who one day in 1985 learns he has AIDS. Ron, desperate to save his life, sets out with the help of Rayon (Jared Leto) to get some non-FDA-approved medicines for himself and others in the Dallas area struggling with AIDS. This is a polarizing film that I was glad to finally check out. McConaughey and Leto deserve their Oscar wins for this movie. It may be a film many in the LGBTQIA+ community looked over because of Leto playing a trans woman, but it is still a film worth seeing. The message of sticking it to big pharmaceutical companies is one that rings clearer today. (Austen Terry)
The Trial of the Chicago 7
The more I watch The Trial of the Chicago 7, the more I end up enjoying it. There’s something about Aaron Sorkin that I just love, and having him in the writer’s room and the director’s chair is an added bonus. As someone who lives close to Chicago and knows that the convention is among one of the worst moments in the city’s history, I know how important it is to tell this story. This is an actor’s showcase, and they all let Sorkin’s dialogue flow. A lot of the performances are pretty amazing, and kudos go to Mark Rylance, Frank Langella, and Sacha Baron Cohen for their outstanding performances. It bummed me out that this didn’t get more recognition at the Academy Awards when it was released in 2020. This film will go down as a prime example of just how talented Sorkin is. It is among the best Netflix originals out there now. (Mike Hilty)
Straight Outta Compton
Straight Outta Compton is my favorite musical biopic of all time. Biopics have a pretty checkered history in terms of quality, and a lot of that comes down to telling stories that no one was asking for or needed. This film bucks the trend and the reason that I let myself get excited about upcoming biopics. Led by a perfect cast, primarily O’Shea Jackson Jr., Corey Hawkins, and Jason Mitchell, Straight Outta Compton manages to encapsulate the careers of the members of N.W.A., but more importantly, share the reason why they were so revolutionary. As someone who was born right about the time Easy-E died and years after N.W.A.’s split I had known the group as nothing more than gangster rappers — and arguably the best to do it. What I didn’t realize was all of the context surrounding the group. N.W.A. feels more like a revolution than anything with the reality that pushed the group together, the pressure when they started writing and rising to popularity, and seeing their response. With so much strength displayed and plenty of rich storytelling here, I would just find it hard for someone to not love this film. (Aaron Schweitzer)
3:10 to Yuma
Sometimes, the movies with the simplest of premises hide the most compelling stories. For me, James Mangold’s 2007 remake of the classic western 3:10 to Yuma proves that more than most. On the surface, there’s little to it: a rancher is paid by lawmen to help them escort a captured outlaw to the town of Yuma, where he is set to board a train that will take him to prison. It’s that simplicity that belies the true root of the film: the worth of a person’s life and what someone’s willing to do to provide for their family. The movie features a lead performance from Christian Bale that’s on par with just about anything you’ve seen from him, and a truly excellent turn from Russell Crowe as the outlaw, but the real standout among them all is a spectacular Ben Foster, who is firing on all cylinders among actors who’d be expected to carry the film by themselves. The 2010 remake of True Grit is often touted as overshadowing the original, but to my mind, 3:10 to Yuma is easily on equal footing with the Coen brothers’ effort, and it’s well worth the watch. (Chris Bakker)
Chicago
Nothing quite has all that jazz like 2002’s screen adaptation of the world-renowned Broadway play. From the opening number, you wouldn’t be able to tell that this movie is funny. Honey, let me tell you this movie hits all the right beats. The music simply courses through your cells as you block away all the worries and tango with the characters as they weave their lies to further their careers. I think what really makes this movie is that it knows it is a good movie. When you’re good to mama, to papa will be rushing to tell everyone about it. And this isn’t just a little bit of good, this is Academy Award-winning good. All I cared about after watching this movie, is to spread the good word because I knew I couldn’t do it alone. What really makes this movie its own best friend is how cellophane the themes are. When Velma takes the stand, you know exactly what is going on. The razzle dazzle and charm makes it worth teaching whole classes dedicated to Chicago. Nowadays, there is not a person who shouldn’t envelop themselves with the amazing music from the overture to the final act…II. (Scott Batchelor)
In Bruges
Before you check out The Banshee of Inisherin, you should go back into the past and re-watch the original film directed by Martin McDonagh which has Colin Farrell with Brendan Gleeson in the main roles. In Bruges is an incredibly funny, witty, sharp, quick, and gut-punching film that mixes comedy with drama, and does it effortlessly. That is what many often forget while talking about this movie — yes, it’s a hilarious and witty film. But it has moments that will surprise you with how raw they feel, especially when you learn why these two killers had to go into hiding. McDonagh delivers one of the best films of the 2000s and not only that, it was his feature debut! Talk about filmmaking announcing to the world, “Hey, I am here; pay attention now.” Often directors take time to “mature” or “nail” it, whether that means finding their voice or style. Many greats have not delivered such a strong film as their debut. But not McDonagh; you could say he keeps getting better and better with each film, which is hard to comprehend, given the immense quality of In Bruges. This film “feels” like it was shot by an experienced storyteller with at least 10 features underneath his belt. This is why I love these BECs; now I am in the mood to re-watch In Bruges because this film deserves it. And so are you, if you haven’t seen it in ages. (Luke Burian)
Belfast
My personal favorite film of last year, writer-director Sir Kenneth Branagh’s Belfast is everything you could ask for in city-centric cinema. It serves as a semi-autobiographical look at the Troubles between the Catholics and the Protestants in Northern Ireland’s titular capital city that began in the 1960s, when our story takes place. We follow young Buddy, played by Jude Hill in his feature debut, and his family as they struggle with the love for their home and the realization that they may have to leave it. It’s obvious that the story was an important and personal one for Branagh, and it brings out his best as both a writer and a director. The writing balances the seriousness of the times and the very real threats on the ground in Belfast, while also highlighting the immense childlike joy Buddy is able to find under trying circumstances. The tones are balanced without it feeling jarring. Branagh’s shot-making is also in top form. Largely shot in black and white — with the exception of the intro and cinematic reflections — it’s no less beautiful because of it. The city, as much as the family, is a character and Branagh’s affection for the place he was born shines through. (Jake Bourgeois)
Philadelphia
Philadelphia forever changed the tenor of what I thought Tom Hanks was capable of. His recent comments about having four movies that are “pretty good” gives credence that his run in the 1990s of Philadelphia, Forrest Gump, Apollo 13,and Saving Private Ryan are among the best he has to offer. Philadelphia is a tough film to watch for a variety of reasons. The prejudice against LGBTQIA+ people is palpable and emblematic of the time period. The AIDS epidemic was entering its second decade and still a topic that was top of mind to people. Hanks won his first Oscar for his role, and Denzel Washington is fantastic playing a rival lawyer who takes up the wrongful termination suit Hanks’ character Andrew Beckett files. Would some things be adjusted if it was made today? Probably, yes, like having LGBTQIA+ actors play the lead roles. For the time, though, this was a pretty drastic departure from Hanks’ happy-go-lucky roles. The Bruce Springsteen song, “Streets of Philadelphia,” also is great. (Mike Hilty)
Detroit
Detroit is a movie that I love, but for some reason never got the praise it deserves. The third collaboration between screenwriter Mark Boal and director Kathryn Bigelow, Detroit follows The Hurt Locker and Zero Dark Thirty. This duo has made some of the most compelling films, and Detroit is simply no exception. Set during the 1967 Detroit Rebellion, this film reaches peak intensity as we follow several groups throughout one of the most stressful nights in the city’s history. With an incredible cast including John Boyega, Anthony Mackie, Chris Chalk, Will Poulter, Kaitlyn Dever, Jason Mitchell, and many others, Detroit shares one of the most important stories of brutality and persecution during the civil rights era. I was going to call this film ahead of its time, but honestly, it feels perfectly fitting that it would come out in 2017 with good reviews and a stellar cast and crew, and that it would still flop and be forgotten quickly. The best way to describe it is white-knuckle-film, where for two and a half hours, every second feels tense. (Aaron Schweitzer)
Munich
Munich will go down as one of Steven Spielberg’s most underappreciated and underrated movies. It goes through the days following the massacre of Israeli athletes at the 1972 Olympics in Munich, Germany. It’s a tragic day in sports, and one that doesn’t get enough attention because the Olympics are meant to be a time of global unity. Avner (Eric Bana) is tasked with trying to find the men responsible for the attack. It’s a tense and nerve-wracking movie that I spent most of it on the edge of my seat with a feeling of dread. Munich sports great tension between doing what’s necessary to avenge those who have been killed and amazing performances. I honestly didn’t know that Bana had these types of acting chops, as Hollywood has largely forgotten about him now. Munich is one of Spielberg’s better movies that that doesn’t get the appreciation it deserves. (Mike Hilty)
Beverly Hills Cop
Eddie Murphy plays street-wise Detroit police officer, Axel Foley, in the fish-out-of-water story that is Beverly Hills Cop. Directed by Martin Brest, Murphy seamlessly stitches together the divide between action and comedy with Axel’s relentless assault on Beverly Hills mores. I fell in love with this movie at around eight years old, which is admittedly far too young to adore anything so gratuitously violent and foul-mouthed. What has always landed for me is the comedy, even if at an early age I didn’t understand a lot of it — Murphy’s laugh was just too enormously infectious not to be charmed. Equally as infectious is Harold Faltermeyer’s beeping synth riff, “Axel F,” which permeates the audience’s ears during several scenes, though one could argue that we don’t hear it often enough during the 105-minute runtime. Beyond the humor and heroics of the story is the the touching heart showcased by Axel’s relationship with Detective Billy Rosewood (Judge Reinhold) and Sergeant John Taggart (John Ashton), local members of the Beverly Hills Police Department, tasked with keeping tabs on the in-from-out-of-town cop “on vacation” in the glitter capital to investigate his friend’s murder. The three officers are adversarial to start, but by the time the story concludes on a freeze frame of Axel pumping his eyebrows at the duo, there’s a genuine love and mutual respect between the three men. (Jonathan Fedee)
The Cincinnati Kid
As much as I have a love for the movie Rounders, no film has ratcheted up the tension at the poker table quite like The Cincinnati Kid. Hollywood icon Steve McQueen plays the titular up-and-coming poker player trying to make his name in New Orleans against the best of the best. To do that, the Kid sets his sights on the current king of poker, Lancey Howard (Edward G. Robinson), who’s in town. McQueen gives the Kid an undeniable air of charisma and earns are rooting interest in the big game to come. Legendary director Norman Jewison creates an undeniable atmosphere around not only the big poker showdown, but building out an entire world of underground gambling. It’s got a definitive ‘60s feel, but no other movie as effectively captures the marathon nature that would define a big poker game. It’s a slow build to start, but that ground work pays off as you’re riveted for the duration of the lengthy stud showdown. (Jake Bourgeois)
Fear and Loathing in Las Vegas
Fear and Loathing in Las Vegas is one hell of a psychedelic ride. The cult classic follows Raoul Duke (Johnny Depp) and Dr. Gonzo (Benicio Del Toro), who journey to Sin City for the Mint 400, but finds themselves under hallucinogenic drugs and exploring the city. With their suitcase filled with screamers, laughers, uppers, and downers, and in just under the movie’s two hours, mayhem ensues: the giant lizard people, trashing hotel rooms, Raoul Duke running into his older self, crashing a Debbie Reynolds concert, and losing motor skills while acting “normal.” The movie features familiar faces: Cameron Diaz, Christopher Meloni, Harry Dean Stanton, and Tobey Maguire in a wig, just to name a few who you may be surprised to see. Depp as Raoul Duke is truly Hunter S. Thompson in reincarnation. As a character actor, Depp fell right into place with this role, and he makes you believe he’s the real deal. An almost unrecognizable Del Toro plays the deliriously funny and sometimes tense Dr. Gonzo. You never want to look away from him whenever he comes on the screen. With the evil and madness Duke and Gonzo cause, there’s still a significant moment when Duke gives the best monologue about chasing the “American Dream.” It’s one wild, trippy excursion, but it’s an adventure you must see from beginning to end because you won’t believe the things you’ll see. (Chantal Ashford)
Also See: An American in Paris, Last Tango in Paris, Gangs of New York, Sleepless in Seattle, New York, New York