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 AmbuLAnce, we’re counting down our favorite movies with a vehicle in the title! Let us know @SiftPop what your ranking is!
On July 20th, 1969, the Apollo 11 mission successfully landed on the moon in one of the most important moments in American history. Four months later, Apollo 12 did the same. In another five months, in April of 1970, NASA attempted to approach the lunar surface once again, and things did not go as planned. Apollo 13 is the story of that mission, the astronauts involved, and the harrowing events in space that almost led to their demise. The film wastes no time, as they launch upwards about 30 minutes in, and we’re off to the races as Jim Lovell (Tom Hanks) and his crew make their way to the moon before trying to save themselves in heroic and captivating fashion. Considered to be one of Ron Howard’s best films, garnering nine Oscar nominations and two wins, while being anchored by fantastic performances from Hanks, Gary Sinise, Bill Paxton, Kevin Bacon and Ed Harris, Apollo 13 has rocketed its way into becoming a classic of the nineties. (Jacob Kinman)
The plot for United 93 feels like something Hollywood might have written — passengers on a plane stop a group of terrorists from reaching their target. The difference was these were real people, and none of them survived. For that reason, there is no main character. It is very much just the story of the development of 9/11. Despite the title, there is a significant focus on the air traffic controllers working things out as the events unfold, the gradual build from the beginning of what appears to be a typical day. Then the first speculative talk that there may have been a hijacking transitioning into the realization that something was happening is quite horrifying and gives you a natural feel of what it must have been like for them. You can feel the mix of confusion and fear as things escalate. It is also chilling to watch the moments right before the terrorists onboard United 93 hijack the plane, and you see the passengers making small talk while the audience knows their lives are about to end. There is a clear vision from director Paul Greengrass for it to feel like a documentary and for the dialogue and communications of people to seem real. Many people play themselves, and others are played by people who have similar jobs. I, therefore, think seeing this is a must if you are too young to remember 9/11 and are looking to learn more about it. (John Tillyard)
Drive My Car isn’t about a man and driving his 1987 red Saab 900 Turbo. There’s actually more to the narrative. Two years after losing his wife abruptly, an aging and renowned stage actor Yûsuke Kafuku (Hidetoshi Nishijima) has received an offer to direct a production of Uncle Vanya in Hiroshima. Yûsuke is required to be chauffeured in his own car, which he objects to since his drive is for him to study lines. But the actor relents when his driver, Misaki Watari (Tôko Miura), is revealed to be a skilled driver. With their time shared, Yûsuke and Misaki began to form a bond through their own stories (in due time) of their own contrition. Director Ryûsuke Hamaguchi gives us a calming, melancholic three hour ride with Yûsuke, alongside the supporting cast, trying to maneuver through this international drama of loss, regret and self-acceptance. The beautiful visuals of the landscape in Japan, and the jazzy, melodic score keep you engrossed with the lives of these humans gracing the screen. If you have the time in your day, sit back, relax, and enjoy the drive. (Chantal Ashford)
Choose Life. I feel like Trainspotting is not talked about enough. And that’s a shame as not only is it up there with Requiem for a Dream (movies about drugs that make you want to avoid drugs at all cost), but people often forget this was one of “those” films that confirmed the ‘90s were about indie films and their influence on Hollywood. And let’s be real, I don’t think we would have had Ewan McGregor as we know him now (mainly Obi-Wan) if it wasn’t for this film. Trainspotting is a sobering, raw, and very Scottish view on drugs, but what many might not know it’s also a critique of Margaret Thatcher’s drug policies. Yes, even in the U.K., they tried to have the “war on drugs” (albeit with different measures), and as pretty much much everywhere else, the drugs have won. That is why I love this movie: it’s about way more than drugs. It’s a very aware film — politically and socially — full of soon-to-be-great stars, such as Kevin McKidd, Robert Carlyle, Johny Lee Miller, and a very young and very naked Kelly Macdonald. It’s hard to watch at times (there is a baby sequence you won’t forget any time soon), but it’s so worth it. Also, what is worth mentioning, the sequel (called T2 Trainspotting) is one of the best “20 years later” sequels ever made. It captures the characters who now have a new set of challenges to overcome and it never feels out of touch. The drugs play a part, but they’re not as important as they used to be. So if you haven’t seen either movie, do give them a shot. The first one is one of the best films of ‘90s, and the second one is one of the best and most satisfying sequels ever made. (Luke Burian)
I recently watched Stagecoach for the first time — it was another one to cross off my list of shame. What I saw was a little surprising. For a movie that is 83 years old, there is a lot going on that I really like. Stagecoach is as early as I can think of for a road-trip movie, as a group of people set out on an adventure into Indigenous People’s territory. This is (shockingly) John Wayne’s 80th-ish role in Hollywood as Ringo Kid. From a technical aspect, it was cool to see how it made the stagecoach movements go and how it made it look like it was traveling a super long distance. In addition, the ending is a banger that is full of suspense and is really cool. This is one to check out, particularly if you’re looking for a good intro to westerns. (Mike Hilty)
Shortly after Antonio sells his own bedsheets to purchase a bicycle for his new job, it is stolen on his first day of work. Bicycle Thieves tells the deceptively simple story of Antonio and his son, Bruno, on a quest to retrieve the stolen bicycle. Undoubtedly the most influential film to come out of Italian neorealism, the film tenderly conveys the hardships and sorrows of everyday life for the working class. As with other neorealist films, the heartbreakingly raw, boots-on-the-ground feel of Bicycle Thieves comes from the fact that director Vittorio De Sica shot his film on location exclusively with untrained actors. In addition to profoundly moving performances from Lamberto Maggiorani and Enzo Staiola (only eight years old at the time of filming), Bicycle Thieves manages to leave a permanent mark with its absolute whopper of an ending. Dealing with themes of empathy, moral ambiguity, and the lasting effects of poor socioeconomic conditions on the working class, Bicycle Thieves has rightfully earned its place as one of the most moving, thought-provoking, and important relics of film history. (Foster Harlfinger)
Alfred Hitchcock directed 67 films, and Strangers on a Train came right at the beginning of his ‘50s golden streak. It still stands the test of time as one of his top-tier films. Guy (Farley Granger) is an amateur Tennis player on his way back home to his philandering wife, Miriam (Kasey Rogers), who he plans to divorce so he can marry a new love. Bruno (a stranger, played by Robert Walker) strikes up a conversation with Guy, and as they talk over their lives and current stresses, Bruno suggests the perfect way to get away with murder. You see, Bruno wants his father dead for no other reason than he hates him. Guy happily humors Bruno with no intent of actually going through with the psychotic idea. He leaves the train to see his wife, but absent-mindedly leaves his engraved cigarette lighter behind, which Bruno pockets. When Guy meets his wife to announce he wants a divorce, she reveals she is pregnant with another man’s child, but will not grant him a divorce. Guy gets back on a train to Washington, while Bruno stalks Miriam and murders her at an amusement park. Guy is questioned by police for Miriam’s murder, but not detained. Bruno continues to pressure Guy in various ways to fulfill his end of the “deal” by stalking him around town. Strangers on a Train is an enthralling game of cat and mouse as Guy tries to not only escape the constant harassment from Bruno, but also maintain his innocence, and convince the authorities of it. (Adam Ritchie)
I have always held a deep seated (some might argue unhealthy) interest in the sinking of the RMS Titanic. Thus, with next week being the 110th anniversary of the sinking of the ship of dreams, it’s worth touching on for the BEC. Titanic takes a story that defined the disaster genre and combines it with a romance film to create something that, in my opinion, redefined what a blockbuster movie could be. Leonardo DiCaprio and Kate Winslet provide dynamic performances of characters in vastly different walks of life colliding aboard the ship of dreams, and a telling of a great many historical moments that just provide a deeply immersive film that just pulls you in. While I do have my issues (James Cameron, I love ya buddy, but you did Molly Brown dirty), overall the tension, the drama, and the love of a story that has enraptured the history of the world since the ship of dreams slipped under the waves and into legend more than makes up for the flaws. You can rarely find a move that combines a fictional love story and one of the greatest historical moments as well as this one does, especially when that story is filled with extreme detail and stories that you see in their own right. I could go on for hours about this, and one day I very well may. (Joseph Davis)
What is the perfect example of what is called the acting “method”? There was a rawness and a realness that actors brought to their performances. They lived these characters… they became them. Director Elia Kazan was a frequent director of the best and brightest actors of a generation. His adaptation of A Streetcar Named Desire is one of the best acted films in the history of cinema. When a troubled woman comes to live with her sister and her aggressive husband, things get tense and fiery. One of the greatest actors of all time, Marlon Brando, brought one of the sexiest and rawest turns by a performer on screen with his role as the physical and intense Stanley. Vivien Leigh is an electric and bold Blanche, who brings a whole other level of emotion to the role. With supporting turns from Kim Hunter and Karl Malden, this film offers up one of the greatest quartets in film. When Tennessee Williams’ words flow from these actors’ mouths as directed by Kazan, there is true movie magic to be had. (Shane Conto)
Back in the mid ‘70s Martin Scorsese gave us one of the great masterpieces of cinema, Taxi Driver, a character study that dissects the vulnerable mind of a veteran suffering from PTSD. He is incapable of traditional social relationships, and the film explores the dangers that are implicit when an individual of this nature is left alone and shunned by society. This comes jam packed with intense writing from Paul Schrader, a legendary performance from Robert De Niro, a terrific mainstream introduction from Jodie Foster, a memorable ending that will spur conversations for years, and more taxi driving than you could ever hope to see. Seriously, I bet over a third of the runtime of this film is watching De Niro driving a taxi around Manhattan. Though this movie is often imitated, most recently with Joker, none of them will ever hold a candle to the original. Taxi Driver remains one of the greatest character studies in the history of film and is well worth your time. (Heath Lynch)
The Hunt for Red October
The Hunt for Red October is my favorite Jack Ryan movie. It has everything you could be looking for in a modern action thriller, and it was made over 30 years ago. But if we are talking about the best movies with a vehicle in the title, then let’s focus on the vehicle in question, as it has one of the fiercest vehicles in all movie history. The Red October is a modified Typhoon class submarine, built with a revolutionary stealth propulsion system called a “caterpillar drive,” which is described as a magneto-hydrodynamic drive, making her nigh undetectable when activated. Almost the length of an aircraft carrier at 198 meters, and able to hold a crew complement of 163 people, she is equipped with two pressurized-water nuclear reactors, two bronze propellers, and a backup diesel engine. The Red October can achieve speeds of up to 27 knots (50 mph), can reach depths of up to 400 meters, and has potentially an unlimited range as long as her reactor core remains active. In the movie, to emphasize just how scary a ship like the Red October could be, Jeffery Jones’ character says, “When I was 12, I helped my daddy build a bomb shelter in our basement because some fool parked a dozen warheads 90 miles off the coast of Florida. Well, this thing could park a couple hundred warheads off Washington and New York, and no one would know anything about it till it was all over.” And as Sean Connery’s Captain Ramius described it, it is a ship to “Settle everything in one moment.” This is a ship that deserves respect and although it may not be as flashy as a DeLorean or the Batmobile, it’s the only one that pulled a “Crazy Ivan” through “Thor’s twins!” (Nick Ferro)
Planes, Trains & Automobiles
Drunk Frank has made his return to talk about Planes Trains & Automobiles, a movie that came to mind as I spent a horrible day traveling trying to get to Nashville for SinWeek (A CinemaSins related thing. You might have seen their videos on the YouTube). All I could think about is at least my day isn’t as bad as the events of this John Hughes classing starring Steve Martin and John Candy. This movie is a great example of buddy comedy odd couple traveling. You know, the original Due Date. This is a perfectly fine rated R movie that’s also a PG-rated movie. What does that even mean? Simple. This entire movie is family friendly. No foul language. Then it gets to one ———— scene where Steve Martin just ———— let’s loose all over the ———— scene with every other ———— word being the ———— f bomb. He doesn’t just ———— say it once, he doesn’t ———— say it twice, but over ———— and ———— over again. Just go check it out. (Frank Kemp)
Pirates of the Caribbean: The Curse of the Black Pearl
“You best start believing in ghost stories. You’re in one.” Way back in 2003, Gore Verbinski brought us one of the best swashbuckling pirate movies with Pirates of the Caribbean: The Curse of the Black Pearl. The film follows Will Turner (Orlando Bloom) and Captain Jack Sparrow (Johnny Depp) on an adventure to save Elizabeth Swann (Keira Knightley) from the pirate Barbossa (Geoffrey Rush) and his crew and help break a curse that’s been plaguing them. Where is a good pirate movie without a magnificent ship? Here, we have the Black Pearl, the fastest ship in the Caribbean, and which was a real set built around a working boat. This film sparked a franchise for Disney spanning five total films and some amazing feats and stories. But this first film is one of the better ones and could have stayed a standalone piece. If you haven’t seen this movie or its sequels. I recommend checking them out. (Austen Terry)
Ford v Ferrari
In the mid-1960s, Henry Ford II attempted to purchase Ferrari, but was spurned and personally insulted by Enzo Ferrari himself. Seeking revenge, Ford hired engineer Carroll Shelby to spare no expense in building a car that would defeat Ferrari at the world’s most prestigious race, the 24 Hours of Le Mans. Ford v Ferrari recounts this storied motorsports tale, and it’s the kind of film that makes you want to immediately Google the accuracy of it all and learn more about the real life events that took place and the people at the center of it. Shelby (Matt Damon) hires Ken Miles (Christian Bale), the best driver he knew at the time to help develop a Ford that would upset Ferrari, and the result of their efforts is the still-to-this-day iconic, GT40, which would go on to beat Ferrari at Le Mans in 1966, taking first, second, and third place. Racing in the 1960s was insane, when cars easily topped 200 mph, but scarcely had the safety precautions afforded to race car drivers today. Director James Mangold conveys this frenetic, fast-paced insanity on the track, while carefully balancing the inspired engineering behind the GT40, the corporate interference with its creation, and the personal demons Shelby and Miles were themselves battling at the time. I myself am not a racing fan, but I nonetheless always find my eyes glued to the track with so much to cheer for watching Ford v Ferrari, a riveting movie about friendship, passion, and talent. (Jonathan Fedee)
Airplane!
It’s not easy for a comedy to break into the hallowed ground that is comedy movies that hold up through the decades. Comedy is inherently an ever-changing medium; it adapts with the times, and a joke from even a few years ago can now induce a cringe. This is precisely why Airplane! is one of the all-time great comedies, and in the conversation for all-time great movies. It’s somewhat humorous to think of parody films now. When we hear that moniker, it often stirs up a feeling of distaste after many of the parody films we experienced in the last 20 years. But that’s actually an interesting parallel to when Airplane! originally came out. At the time, parody movies were in that same space of low regard by masses and critics. Then Airplane! comes out and completely revitalizes the genre, setting a benchmark that would be extraordinarily hard to ever meet again. The comedy is unrelenting, layering visual and verbal jokes on top of one another to great effect. The slapstick toes the line of cheesy, but never goes overboard. And everybody involved is giving total commitment to their roles. There is also something to be said that the cast was made up of people all predominantly known for drama at the time. All in all, Airplane! was a complete swing for the fences and it cleared by a mile. Easily one of the most rewatchable and quotable movies of all time. (Nashua Doll)
Prometheus
After taking a 33-year hiatus from the Alien franchise, visionary director Ridley Scott chose to return with the ambitious prequel entitled Prometheus. The film is a marvel to look at — the visuals are breathtaking and are enhanced by the score provided by Marc Streitenfeld. The score has connective tissue to its predecessor, but is also unique enough to not be a carbon copy. Whether it is a planet landing, investigating ominous planetary caverns, or our character struggling to survive, the score always heightens what takes place on the screen. Scott always has a keen eye when it pertains to sets and creatures, whether they be practical or CGI. The Engineers are literally these larger-than-life creatures that have an appealing design and truly appear godlike when compared to the mundane humans they have created. The tech that is aboard the Prometheus is cutting edge and sleek, everything from the suits they use to explore the planet to the elaborate interiors of the ship. Prometheus is full of visual storytelling that helps add legitimacy to the overall narrative. (Joe Vargas)
Train to Busan
Zombie flicks normally fall into one of two categories for me: laughably dumb or just downright ridiculous beyond saving and just a way to burn a couple of hours of my time. However, in 2016 director Yeon Sang-Ho decided to change my expectations with a little gem from South Korea called Train to Busan. I didn’t think it was possible for a zombie movie to ever break me on an emotional level like Train to Busan, but man oh man is this the perfect cast to do it. From Gong Yoo playing the flawed but growing father, to Jung Yu-Mi as the perfectly caring maternal figure, to an absolutely lights out heartbreaking performance from Kim Su-an as the young Soo-An, there is nobody in this cast that isn’t giving it their all. If you want an edge-of-your-seat, soul-crushing film that incorporates some of the best aspects of zombie films to date, while also throwing in some creative new takes, Train to Busan is your cup of tea, and I can’t recommend it enough! (Matt Lawson)
Gran Torino
Boy fails to steal old man’s prized car. Boy is given handiwork by said old man as penance. Boy and old man develop friendship that defies initial stereotypes. It’s a tale as old as time. The most curmudgeon-y of the glut of late-career Clint Eastwood’s curmudgeons, retired auto worker Walt Kowalksi somehow manages to pull off being racist and endearing. It sounds like it shouldn’t work, but somehow the relationship that develops between Eastwood’s crusty old widower in need of a friend and a Hmong family (if not the community at large) does, despite his less than politically correct speaking tendencies. It’s a film that will have you laughing, crying, and, obviously, doing your best Clint Eastwood impression as you grouchily and gravelly grumble at some young whippersnappers to get off your lawn — even if you don’t have one. And to think it all started when some punk trying to steal your Gran Torino. (Jake Bourgeois)
Serenity
When Firefly got cancelled way too early, the small yet loud fan base got mad. And they demanded something. So Joss Whedon took the concept for what was supposed to be seasons two and three and made it into a film. Serenity is an amazing movie. But only if you watch it right after Firefly. This might sound obvious, but the movie won’t work on its own if you have not seen the TV show, or if you have, but it’s been a while. I watched it just once, right after I finished the TV show, and had a blast. Everybody from the original cast is back, plus we got some new actors (like Chiwetel Ejiofor before he was a big name star). And Whedon manages to comprise what should have been two seasons of TV into a two-hour film very well. What I admired about Serenity the most is the fact it feels like a movie. The camera work is more cinematic (the fight sequence at the end where it feels like Summer Glau is almost dancing rather than fighting) is spectacular to look at, and the main story is compelling enough. Plus, we also get to learn about Reavers and their origins. It’s harder to recommend Serenity because realistically, you can’t watch it on its own. But if you haven’t seen the Firefly, you really should. And then you should watch this film. (Luke Burian)
Sorcerer
There are quite a few things that might be responsible for the fact you don’t really know about William Friedkin’s Sorcerer. The first is the fact that this was his follow-up to The Exorcist. Plus, it’s called Sorcerer, and it’s not about anything supernatural. The other minor inconvenience the movie faced upon release is that it opened against a little indie movie called Star Wars. Initial reviews weren’t all that hot on it, but over time I’m glad to say it’s been recognized as the masterpiece it is. Starring Roy Scheider, Sorcerer is an adaptation of the novel The Wages of Fear, and involves four expats with very little going for them in their lives but their troubled pasts banding together to transport two trucks — named Lazaro and Sorcerer — loaded with ungodly amounts of nitroglycerin through a Latin American jungle. I mean, that’s it, right? I don’t need to tell you anything else? I don’t need to tell you this movie features some of the most white-knuckle tension I’ve ever felt watching a work of fiction, and I don’t need to tell you you’ll never look at a rope bridge the same ever again. All I need to tell you is that if you can get your hands on a copy, you really should see Sorcerer. (Chris Bakker)
Fury
There has certainly been no shortage of World War II stories told in cinema, but over the past number of years, the stories have gotten a bit more focused. Audiences are getting more slice-of-life stories focusing on specific stories or aspects of the war. One of the best examples of this is Fury. We and Logan Lerman’s Norman are dropped into the crew of the titular tank, Fury, in the final days of fighting through World War II’s Nazi Germany. The cast of this film is absolutely fantastic, with Brad Pitt, Michael Peña, Shia Lebeouf, and Jon Bernthal rounding out the crew of the tank. There’s plenty of nuance among our protagonists, and the line between “good guy” and “bad guys” isn’t always black and white. Tough decisions are made and actions will have you debating whether your “heroes” are people you want to be rooting for. Everyone is on their “A” games with some great performances under some tense circumstances. Director David Ayer really makes the tank action pop in a way I’ve never seen before or since in what is a truly visceral watching experience. (Jake Bourgeois)
Cars
Pixar has been great at making animated movie hits over the years, and very few have been as memorable as Cars. From the excellent soundtrack, the scene with the cool young hotrods (a.k.a. the coldest movie scene ever), great racing, and a stacked voice cast, this one was destined to be a classic. Auto racing has been a part of American culture for over half a century, so giving the cars the ability to talk and have personality was genius. All of the car puns were just an added bonus. Through it all, though, this movie is filled to the brim with heart. We get to see Lightning McQueen learn that there is much more to life than winning. Making friends, uplifting others, and genuinely being kind can go a lot further in the long run. And call me sappy, but I feel like these lessons never lose their impact or meaning. That’s the beauty of this movie: no matter what age you are, you can take something away from it and apply it to your life. (Kaleb Wolters)
Chitty Chitty Bang Bang
Looking at the films available this week, one immediately sprang to mind on my board purely for the nostalgia trip: Chitty Chitty Bang Bang, a movie based on the novel of the same name by Ian Fleming (yes, that Ian Fleming). I cannot tell you how many times I watched this movie as a kid, enjoying the tale of the magical car and of the Potts family as they save a car from the scrap heap. Dick Van Dyke is nothing but sheer charisma in this movie as Caractacus Potts, as he both tries to be a good father to his children while courting confectionary empire heiress and possible Bond Girl Truly Scrumptious (Sally Ann Howes). To this day, I love to go back and revisit some of the moments of this film and the songs that I loved to sing along to as a kid (“Me Ol’ Bamboo” I still wish I could perform). I’d honestly hazard a guess that of any film I watched as a kid, this one had one of the biggest impacts, and it is why I have always looked up to Dick Van Dyke. So, if you want a fun movie or a trip down memory lane, hop on in and sing along. (Joseph Davis)
Air Force One
Air Force One movie is easily the best Die Hard movie that is not called Die Hard. More importantly, this fits perfectly on our list because what vehicle is more famous in the world than Air Force One? Maybe the Popemobile? As fun as the plot of this movie taking place on the Popemobile might be, the claustrophobicness of this action thriller sets in at multiple points throughout this movie, creating the hard-to-pull off feat of the setting playing the role of a character. The fight scenes are constricted by the tight quarters of the cargo hold and the cockpit. Shootouts are tense because there are so few places to hide. But what makes this movie truly stand out is the character work from Harrison Ford as President James Marshall. President Marshall is conflicted in the worst way as he has to choose between duty and family. The conflict he feels as best-villain-ever Ivan Korshunov (Gary Oldman) threatens to kill a hostage unless he shows himself is heart wrenching. Watching Ford pace back and forth trying to figure out what is best for his country truly hurts. In such a ridiculous premise, I should not be feeling these emotions, but that is what makes this the best movie not just for this challenge, but arguably the best movie ever. (Scott Batchelor)
The Love Bug
What happens when you mix the slapstick style of the 1960s with a story about a living Volkswagen Beetle? You get The Love Bug, one of the most underrated movies from Disney, filled with chase and racing sequences that manage to keep you on the edge of your seat, while laughing at the titular car’s shenanigans. For being made nearly 60 years ago, the cinematography and editing have hold up quite well. The human cast of the movie is a deep one with Dean Jones, Michelle Lee, David Tomlinson, and Buddy Hackett. Where this movie really surprises me is the depth of its message. No, it doesn’t have something profound to say about the world, but the reminder it provides that if you love your car and treat it well, it will do anything for you is helpful. It will literally shear itself in half for you if you need that. Now that’s a good car. (Sam Nichols)
The Polar Express
Some may say The Polar Express is full of uncanny valley and NQR visuals. Others may say the use of adults as children is also concerning. Know what I say? This is magical to its core. From the heartfelt music and the universal story of believing, to the Tom Hanks-iness of it all, this is a movie that is on my Christmas list every year. Touting what was once groundbreaking technology, yes, it’s a nostalgia trip for those reasons, but also due to its effervescent look into the mind of a child that is beginning to lose that all important innocence. It’s calling into question the idea of calling things into question, but in a way that spreads magic and whimsy (not so much misinformation and conspiracy). I really recommend giving it another chance if you haven’t gone there in a while. Look past the tech of yesteryear and enjoy the jolly good cheer. (Alice-Ginevra Micheli)
Dude, Where’s My Car?
For someone who has never done an illegal drug a day in their life, I sure watch and love several stoner comedies, and one of my favorites is Dude, Where’s My Car? This 2000 movie tells the story of Jesse (Ashton Kutcher) and Chester (Sean William Scott), who, after a very wild night out wake up the next morning to find Jesse’s car nowhere to be found, hence the title of the movie. This leaves Jesse and Chester no choice but to go on another wild journey to retrace their steps to find the missing car. Kutcher and Scott are excellent together and play off each other so well that it makes it that much better. The comedy is very dated and seems to be where the film troupe of guys having a wild night doing some of the most outrageous stuff in a single evening only to wake up the next morning with no memory of the previous night began. It’s directed by Danny Leiner, who worked on several other comedies in the early 2000s, and written by Phillip Stark, who worked with Kutcher on That 70s Show. This is one comedy that stuck with me — if you ever have the time, check it out. (Austen Terry)
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