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 Don’t Worry Darling, we’re counting down our favorite movies with an apostrophe in the title! Let us know @SiftPop what your ranking is!
You can’t make this list without talking about John Hughes’ best film, Ferris Bueller’s Day Off. The film tells the story of friends Ferris Bueller (Matthew Broderick) and Cameron (Alan Ruck), who, after taking a sick day from school, enjoy one of the most epic days anyone could have. This movie has become such an ‘80s classic that scenes have shown up in several other movies. Hughes wrote and directed several movies, including some that have been held dear to a lot of people. Ferris Bueller can definitely be added to a list of movies I call, “how can this character do all this in one day?” Watching this when I was little, I wanted to be Ferris, but I ended up becoming more like Cameron, and that’s not a bad thing. I think one of the biggest lessons this film can teach is to be yourself. Hughes captures the ‘80s feel, and makes the era and the city of Chicago true characters in their own right. We must save Ferris from being rebooted because he truly is a righteous dude. (Austen Terry)
Problematic portrayals by Mickey Rooney aside, there’s a reason that Breakfast at Tiffany’s is one of the hard classics in cinema. Not only that, but it’s one of those that come from an era where things didn’t have to be so serious. The romantic lead could be a gigolo, and the main character can be quirky enough to eat pastry outside a jewelry store each morning, and have a nameless cat by her side. The charm that oozes off Audrey Hepburn here is magnanimous, and does a lot to hold up much of this film many years later, as she struggles through life as one of the original manic pixie dream girls. The music is also one of those elements that has stood the test of time, and done so in an impeccable way. But overall, this is a movie that is enjoyable to watch, romantic to witness, and just oozes charisma out of every fact of its creation. It may be over 50 years old now, but its modern sensibility still makes it highly relatable, and worth checking out after all this time. (Alice-Ginevra Micheli)
Chances are this is already your favorite heist movie, but if it isn’t, take a moment to ask yourself why not. Ocean’s Eleven is probably the poster child for a movie that’s just incredibly cool despite how good it is or isn’t. I’m sure a sharp eye and a cynical mindset can poke holes in this masterfully put together caper, but there’s no room for those things when a movie is just this dang cool. From George Clooney’s freshly-out-of-jail Danny Ocean strolling into a casino to go flirt with his ex in front of her new man, to Brad Pitt for some reason eating something in every single scene, to an expertly crafted heist sequence that both shows and tells at the exact same time, Ocean’s Eleven is the rare kind of movie where every little part of it works by itself, but the whole is so much greater than the sum of its parts. Steven Soderbergh might just be one of the most unsung directors of his generation — and I firmly believe that to be the case, no matter how duly sung he actually is. (Chris Bakker)
Talk about a relevant topic right now. All The President’s Men is a classic through and through. It talks about the need for dedicated journalists to bring down corrupt individuals. Dustin Hoffman and Robert Redford work wonders together, while also portraying Bob Woodward and Carl Bernstein with such grace and dedication to their craft. This is now a relic of a time when news mattered and opinions weren’t considered newsworthy. When newspapers were king and journalist integrity was paramount. Woodward and Bernstein show the audience what it takes to bring down the most powerful man in the world. Watergate will go down as one of the worst moments politically in the United States, and even that feels tame given the current political climate. (Mike Hilty)
There is a constant sense of dread and anxiety with each viewing of Rosemary’s Baby. This film is able to hold tension throughout its rather long runtime, which is over two hours. The constant paranoia and gaslighting of Rosemary (Mia Farrow) is terrifying, as her world spirals out of control slowly over time. Her husband, Guy (John Cassavetes) and their all-too-helpful neighbors only toss gasoline on the fire. The story keeps you guessing on how deep this situation goes, and who are all of the players involved; you feel for Rosemary and her dilemma. The amount of distrust that she feels continues to be bolstered by the actions of those around her. Rosemary’s Baby is a classic that has spurred off an entire subgenre of films surrounding demons and the occult. (Joe Vargas)
In recent years, it’s become clear that Morgan Neville is one of our best documentarians, particularly when it comes to profile pieces — even if the Academy apparently is unaware that his last two films exist. Mister Rogers’ Neighborhood impacted generations like few programs before or since, and it’s something that Won’t You Be My Neighbor? captures perfectly. The documentary both manages to show us that Fred Rogers was the caring, kind figure he portrayed on his show, while also exploring how he was more complex than that. It dives deep on a show whose low production value made it an unlikely hit at the time, and whose widespread messaging would not have been possible today with the fracturing of media, both in the sense of consumption and politicization. What’s perhaps most amazing about Neville’s work here is that the entire thing manages to capture and exude the warmth that was Fred Rogers and his show. It’s just a film that will leave you smiling from beginning to end. It truly is the Paddington 2 of documentaries. (Jake Bourgeois)
Writing, “One Flew Over the Cuckoo’s Nest is a perfect film” seems almost pointless, so let us recap some facts. Number one, this is the movie that won all the major Oscars in the year when Barry Lyndon, Dog Day Afternoon, Nashville, and JAWS were all nominated. Yep, that was one hell of a year. Fact number two — it’s only the second (out of three!!!) movie ever to win the “big five” (Best Screenplay, Leading Actor and Actress, Director, and Picture). The other two films are It Happened One Night and The Silence of the Lambs. Yep, only these three films have managed to win in all “principal” categories. And if you watch One Flew Over the Cuckoo’s Nest,you will understand why it has had such an impact. The story is more than just a tale from a mental institution about some “broken residents.” It is about freedom, control, and sanity, and how those are inherently intertwined. It is also a tour de force both for Jack Nicholson and Louise Fletcher, as it gave Jack his first Oscar (out of three) and Louise her only one (but talk about making your mark on pop culture). Her nurse Ratched became synonymous with the most awful, controlling, and evil behavior. I have to rewatch it, as it has been a while, but movies like this made me appreciate films, life, and Hollywood. Because only in Hollywood could a Czech filmmaker “win” over Spielberg the year he made Jaws. (Luke Burian)
It IS a wonderful life, isn’t it? Frank Capra took his brand of outlook to the silver screen with this fantasy drama about one man’s doubt about his significance in the world. This butterfly effect sets the stage for a harrowing tale of George Bailey (Jimmy Stewart), a dreamer who put that aside to be a hero to his small town, and a husband to the woman he loves. It’s a Wonderful Life is mostly a framed narrative as told by a pair of angels who look through George’s life as he considers suicide. This dark story is full of weighty themes and ideas that come together to be heartwarming and inspiring. Stewart is an absolute delight as one of the most iconic protagonists in film, as we can all feel the sacrifice that he made. Capra takes that performance and wraps a narrative stacked with fantastical elements, romance, and drama to create one of the most beloved holiday films of all time. It took me until later in life to hop on the train, but if you haven’t, don’t wait and miss out on this classic any longer! (Shane Conto)
It’s an unfair advantage for a movie to combine such technical proficiency with such charm. Singin’ in the Rain warms the soul with its inventive repackaging of classic songs, self-referential Hollywood humor, mesmerizing dance numbers, and aggressively creative capitalization on the Technicolor format. The story of navigating the transition from silent films to talking pictures doesn’t feel dated, despite being released 70 years ago, and set 25 before that. It’s the equivalent of a jukebox musical today featuring hits from the late ‘90s. Gene Kelly turns in a career-defining performance as silent film star Don Lockwood, who is perfectly suited for the shift to musicals. His singing, dancing, and wit are somehow matched by equally adept work behind the camera. Kelly’s perfectionism made filming difficult, as constant long takes showcase remarkable choreography and synchronization, and his push-ins and tracking shots add to the allure. Debbie Reynolds excels as romantic lead and struggling actress Kathy Selden. Jean Hagen is underrated for the conflict she brings as delusional star Lina Lamont with absurd vocals, a crass attitude, and steady aloofness. The true scene-stealer is Donald O’Connor as best friend Cosmo Brown, who speaks exclusively in zingers, yet somehow lands them all. He moves in ways that defy logic and gravity, especially in “Make ‘em Laugh,” which is some of the most fun three minutes ever. “Singin’ in the Rain” and “Good Morning” are superior songs, but the visual gags elevate “Make ‘em Laugh” above the rest. (Jason Mack)
Schindler’s List immortalized the touching true story of Oskar Schindler and his work to protect the lives of Jewish people in Europe during World War II. With the greatest work from Steven Speilberg, incredible acting from Liam Neeson, Ben Kingsley, and Ralph Fiennes, and moving cinematography from Janusz Kaminski, it bares a legitimate argument to be considered the best film ever made. Its name is synonymous with greatness. But behind all of that great work and artistry, its message matters even more. Near the end of the war, Schindler (Neeson) makes his titular lists of Jewish people he essentially purchases away from the Nazis to save them from being killed. As he prepares to flee from the remaining Nazi forces, he is confronted with the reality that he wasted so much of his life’s wealth and work on things that pale in comparison to the lives he could have saved. Breaking down into tears, he laments every possession he owns and talks of the lives he could have gotten in exchange for them. Neeson’s performance in this scene is heartbreaking. Yet his right hand man Itzhak Stern (Kingsley) reminds Schindler of the great work he did by saving all the people standing around him. The line, “Whoever saves one life saves the world entire” is one to be remembered as we all live our lives too. Knowing that each person is more valuable than anything on this planet should remind us how how we ought to treat our neighbor each and every day. (Samuel Nichols)
Sophie’s Choice
For this week’s BEC, I had a few movies to pick from. However, I decided to go with one of Meryl Streep’s earlier movies in 1982’s Sophie’s Choice, which helped coin the iconic phrase of the same name. There aren’t many films that I would call a true case of no one having a happy ending, but this movie is easily up there on that list. From characters who suffer from mental illness, to the trauma of surviving one of the greatest crimes against humanity the world has ever seen, this movie leans into some extremely heavy subject matter. It’s one that pulls at the heartstrings by the end, as you see the events of the world through the eyes of an aspiring writer whose life happens to line up alongside that of Sophie, telling a story of loss and of betrayal that knows the story it is telling and tells it in a way few movies could. (Joseph Davis)
Pan’s Labyrinth
Pan’s Labyrinth is a fairy tale for adults. Ofelia (Ivana Baquero), our 10-year-old protagonist, finds herself crossing paths with all manner of fantastical creatures as she confronts the possibility that she may be the reincarnation of Princess Moana, daughter of the king of the underworld. Pan’s Labyrinth is a film that creeps into the back of your mind at unexpected moments. Though a similar blend of fantasy and reality can be found in magical realism literature, the film’s lyrical, mesmeric quality remains wholly unique in cinema. Guillermo del Toro’s warm, detail-oriented direction results in a gorgeous storybook aesthetic that seeps through every element of the film, from Guillermo Navarro’s inquisitive camerawork to composer Javier Navarrete’s haunting lullaby theme. Special praise must also be issued to the brilliant makeup effects brought to life by the impressively elastic dual performance of Doug Jones, whose five minutes as the nightmarish Pale Man might be the finest horror sequence ever put to film. Del Toro remains a never-ending well of awe-inspiring creativity, and one need look no further than Pan’s Labyrinth to assure themselves of this fact. (Foster Harlfinger)
Ma Rainey’s Black Bottom
Sometimes simpler is better, as evidenced by this adaptation of legendary playwright August Wilson’s work. In Ma Rainey’s Black Bottom, tensions run high between our titular performer (Viola Davis), her bandmates, and record executives during a recording session. The story is simple and the set is contained, which allows for the performances to really shine through. There’s a reason that both Davis and the late Chadwick Boseman (playing a cocky trumpeter) were nominated for their performances. The focus on dialogue and emotion gives the film’s actors some weighty moments. Though limited in scope, what the production does put on the screen evokes the Roaring Twenties in which it is set. It earned wins for costuming and makeup at the Oscars, and an additional nomination for production design. With the combination of stunning performances and spectacular visuals, there’s something for everyone to latch on to. (Jake Bourgeois)
The King’s Speech
This film is very fitting for this time of year. The King’s Speech tells the story of future King George VI (Colin Firth), coping with a stammer and how to overcome it with the help of an Australian speech and language therapist, Lionel Logue (Geoffrey Rush). After King Edward VII (Guy Pearce) abdicated the throne, King George VI has now taken over the mantle as King, which he is not ready for, but must take over. To do so, he needs to get over his fears of public speaking before his first wartime radio broadcast as Britain declares war on Germany in 1939. Firth is astounding in his Academy Award-winning role. We watch a man, struggling with the world being thrown onto his shoulders, and not having a chance to take a step back. It’s defying. But Firth makes the role believable with the nervous ticks, and doesn’t go over the top. Rush is nothing short of amazing as the speech therapist helping out the future King. The two of them go toe-to-toe sometimes, but they find medium ground, and a budding friendship prospers. With the ensemble cast is rounded out by the amazing Helena Bonham Carter and impressive Pearce, and a resounding score by Alexandre Desplat, this is the most amazing recent storytelling of British Royalty (besides The Crown)you will find. (Chantal Ashford)
What’s Eating Gilbert Grape
What’s Eating Gilbert Grape?This is a question for the ages. What is it that is indeed eating every man? Nay, every person? That is a question we’ve been asking ourselves since the dawn of time. Perhaps it’s the weight of his job, needing to make ends meet for his family. Maybe it’s the weight of his brother’s learning disability and his innocent penchant for climbing water towers as an adventure. Perhaps is is the weight of being responsible for the sexual desires of a hot mom in his area. Maybe it is the weight of his budding relationship with his girlfriend. One might say it’s even the weight of his momma. Starring the ever-lovable Johnny Depp, who can do nothing wrong (just ask his attorney — she’s working long, hard hours for him now), and featuring now-Oscar-winning Leonardo DiCaprio, what’s eating him? Everything. It is a question we must ask ourselves. Perhaps it’s even a little bit of everything all of the time. (Frank Kemp)
Winter’s Bone
The film that earned Jennifer Lawrence her first Oscar nomination (one of four for the film, including Best Picture) and which helped catapult her into superstardom, Winter’s Bone is a look at one girl’s struggle to help her family survive under harsh conditions. She plays Ree, a 17-year-old who must track down her father after he put their house up for bail and then disappeared, leaving the family in danger of becoming homeless. Her character here is not dissimilar to her role as Katniss in The Hunger Games trilogy. Lawrence’s nomination is well-earned, as her performance really pops on screen. Director Debra Granik immerses you in the setting of the rural Ozarks in a way that helps make the setting a character. As Ree continues down a dangerous path by trying to uncover the truth among those driven by a code of silence, it creates an atmosphere of unease and tension that will have you on the edge of your seat. (Jake Bourgeois)
C’mon C’mon
While he’s often more known for his intense, dark, and sometimes disturbing roles, I think Joaquin Phoenix’s best performance is in the Mike Mills feature, C’mon C’mon. When his sister (Gaby Hoffmann) asks Johnny (Phoenix) to look after her son Jesse (Woody Norman) while she’s away, Johnny takes Jesse on a trip across the U.S., where they stop at many different major cities. On their trip, they each begin to learn a new perspective on life. Sometimes it can be good for an adult to look at things from a child’s point of view and vice versa. Phoenix is so tender in this movie, and his relationship with Norman is one of the most wholesome to come out of last year’s movies. The film’s black-and-white cinematography takes the color out of cities like New Orleans and New York, but that’s the point. It helps you focus on the budding relationship. C’mon C’mon is a simple yet emotionally resonant film about love, perspective, and family. (Robert Bouffard)
The Emperor’s New Groove
The Emperor’s New Groove is probably one of the most appropriately-rated Disney movies. It is loved just the right amount. Not overly talked about, but not ignored when the discussion of great Disney movies is brought up. There is an incredible amount of one-liners that can be pulled from any scene featuring David Spade, Eartha Kitt, or Patrick Warburton. John Goodman plays the most perfect of straight man to Spade’s often eccentric Emperor-turned-llama. Even though it may be an animated role, I believe this highlights why Goodman is so beloved. His character of Pacha is so patient with Kuzco (Spade), all while Pacha is seemingly being deceived every step of their incredible journey together. You get the feeling that Pacha would be an amazing conversationalist that genuinely cares about you because of the softness in which Goodman brings him to life. As wonderful of a pairing as Goodman and Spade are, Warburton and Kitt play equally perfect off of each other. Warburton’s Kronk is a scene stealer as he follows Yzma’s (Kitt) every order, often with comedic results. Kronk tries so hard to be a good henchman for evil, but when his childish tendencies and innocence shines through, it is impossible to not love him. You would be hard pressed to find someone who walks away from this movie without laughing at a single joke. (Scott Batchelor)
A Bug’s Life
A Pixar film that I don’t hear talked about enough today, and one I thoroughly enjoyed as a kid is A Bug’s Life. It is a story about an ant colony who, every year, gathers food for the evil grasshoppers and their leader, Hopper (Kevin Spacey), until one day a clumsy inventor, Flik (David Foley), knocks over the pile of food. The grasshoppers demand they start over, but Flik has had enough and sets out on a journey to find warrior bugs to stop the evil grasshoppers — what he finds is not what he expected. So many of my fellow millennials talk about how much they love the first Toy Story,but I’ve always loved A Bug’s Life more. I sympathize with Flik because he is like me. I see more of myself in Flik than any other Pixar character. The voice cast for this movie is stacked as well, with Julia Louis-Dreyfus, Hayden Panettiere, Phyllis Diller, Richard Kind, Denis Leary, and Brad Garrett. In 2022, this film gets overlooked and might not be one you have seen, but take it from me: it’s not one you want to miss. (Austen Terry)
Molly’s Game
Just in case anyone still needs to be sold on Aaron Sorkin, Molly’s Game is the story of a high stakes poker game played among an unfortunate few. In charge of that game, Molly Bloom (Jessica Chastain), who used to be an Olympic athlete, and later devolved into the aforementioned ringleader behind a highly exclusive game of poker for some of the world’s more extravagant characters. Based on the real life story of that same Molly Bloom, Sorkin’s quickfire dialogue is as sharp as ever, and he debuts as director here as well. For all the criticism that’s leveled at Sorkin as a writer, there certainly is a bit of bloat going on in the runtime here, but there are very few writers who can make the setup and eventual fallout of a poker game as effortlessly engaging as he can. (Chris Bakker)
Harry Potter and the Sorcerer’s Stone
The first Harry Potter movie is literal magic. To create a world from such a wonderful story is nothing short of amazing. Chris Columbus created something so captivating and doesn’t get enough credit for shepherding these stories to the big screen. Harry Potter and the Sorcerer’s Stone has a tall task of not just setting up a good chunk of the magical world, but introducing us to heroes that are just starting to learn magic as well. Daniel Radcliffe is amazing as Harry, and the cast all around is spot-on. It’s hard to remember a time when Michael Gambon wasn’t Dumbledore, but Richard Harris as the original Dumbledore was perhaps the best casting of everyone. It’s a great movie with such a great story that has such strong callbacks. I walked away from this blown away at how it could capture so much of the book and still manage to stand on its own. (Mike Hilty)
Bridget Jones’s Diary
If you show me a romantic comedy that’s at the very least serviceable, I will have a good time. And if you show me one that’s great, I’m gonna have a great time and enjoy visiting it in the future. Such is the case with Bridget Jones’s Diary. The fact that Richard Curtis, who is essentially the king of romcoms, is a co-writer (along with Andrew Davies, adapting the Helen Fielding novel) certainly adds to its charm. Renée Zellweger is the perfect down-on-her luck lead who rarely has anything go right, Colin Firth is lovably awkward, and Hugh Grant is everything you’d expect in the middle of his romcom heyday. This movie is just a ton of fun, and kicks off one of the best and most consistent trilogies of all time. Yeah, I said it. (Robert Bouffard)
Pee-Wee’s Big Adventure
If you tried to name Tim Burton’s first feature film, you’d probably struggle to recall some macabre tale, surely starring Johnny Depp and/or Helena Bonham Carter. But in 1985, Burton burst into theaters with one man’s odyssey to the Alamo in Texas in search of his stolen bicycle. Pee-Wee’s Big Adventure is a curious collection of whimsical vignettes, frenetically arranged to take full advantage of Paul Reuben’s talent as the titular Pee-Wee Herman. The film is a comedy at its core, but it’s also a romance, with Pee-Wee’s short pairings with Simone (Diane Salinger) the waitress and Dottie (Elizabeth Daily) the bike store salesperson. Then it diverges into horror with the terrifying likes of Large Marge (Alice Nunn), and even delves into the supernatural with the ominous Madam Ruby (Erica Yohn), who declares Pee-Wee’s stolen bike to be stashed in the basement of the Alamo. It’s also briefly a Western in Texas, an intimidating biker story, and a dance movie featuring one of the most memorable dance sequences ever committed to film. Who among us aren’t still captivated by Pee-Wee’s Rube Goldberg breakfast machine, or awestruck by the majesty of his bike itself? This movie is all over the map, with its disparate plot elements and genres and dramas and a pet shop engulfed in flames near the end of the runtime that all have no business coalescing. But they do. And as an audience we’re grateful for it, and for all manner of weirdos we meet along the way. (Jonathan Fedee)
Charlotte’s Web
When it comes to the adaptation of the beloved children’s book, Charlotte’s Web,by E.B. White, though I do have a soft spot for the Dakota Fanning live-action remake (because who doesn’t love school field trips to the movie theater?), we’re going with the original animated film. The classic story tells the terrific tale of some pig, who, in an effort to save himself from ending up on the dinner plate, partners with a spider in his pen whose web-weaving turns the humble runt of the litter, Wilbur (Henry Gibson), into a local celebrity. The friendship that blossoms between Wilbur and Charlotte, voiced by Debbie Reynolds, is just… wait, I’m sorry what?! Like, Singin’ in the Rain’s Debbie Reynolds?! Um, anyway, where was I? Right — the friendship between our two anthropomorphic leads is just beautiful. It’s short, sweet, and an emotional rollercoaster. A film that will both give you a radiant smile and make you bawl. (Jake Bourgeois)
Don’t Look Up
One of our nation’s biggest problems is the political polarization between both parties. It’s so bad that some Americans predict a second civil war in the future. No better film relates to this issue than the apocalyptic political satire film, Don’t Look Up, starring Leonardo DiCaprio and Jennifer Lawrence. Don’t Look Up is a darkly comedic film about an apocalyptic future in the United States filled with social media notoriety, conspiracies, celebrity worship, and political corruption. The danger of a giant comet wiping out all of humankind is ignored for the most part. Michigan State Astronomy Ph.D. candidate Kate Dibiasky (Lawrence) discovers an unknown comet. Professor Dr. Randall Mindy (DiCaprio) finds that the comet is headed towards Earth. There are about six months until the comet hits. The comet is powerful enough to wipe out all humankind. Mindy and Dibaisky inform U.S. President Jamie Orlean (Meryl Streep) about the comet, but are not taken seriously. Chief of Staff and President Orlean’s son Jason Orlean (Jonah Hill) sometimes makes fun of Dr. Mindy and Dibiasky. Dr. Mindy and Dibiasky leak the news to the media, but their findings are dismissed and treated frivolously. Lawrence does a great job of displaying frustration, and Streep uses her character’s power and influence to manipulate her supporters. Throughout the movie, Dr. Mindy and Dibiasky face persecution from the public for their revelations. Don’t Look Up highlights the dangers of a “Post-Truth” society in this disinformation age. (Christian Grullon)
Pete’s Dragon
With this week’s topic of movies with apostrophes, I couldn’t pass up the opportunity to discuss another beloved movie from my childhood, Pete’s Dragon. The movie tells the story of orphan Pete (Sean Marshall) and his magical dragon Elliot being on the run from his abusive adoptive parents. Pete and Elliot eventually come to stay with a Lighthouse keeper, Lampie (Mickey Rooney), and his daughter, Nora (Helen Reddy), who seek to help Pete. This Disney movie is a beloved classic that also got the Disney remake treatment back in 2016. The film doesn’t hold up as well in the 2022 lens, but it was still one of the VHS tapes I wore out growing up. I will tell you a piece of information a friend of mine was never told before he watched it for the first time: this film is a musical. The songs and story are just bonkers, and I need to watch the remake to see what they changed. Rooney is always a plus, and he makes this story that much better. If this is one you haven’t seen, it’s worth a watch for a good laugh. (Austen Terry)
Can’t Hardly Wait
Can’t Hardly Wait is both an atypical and very typical teen comedy that somehow manages to play all the hits, yet still be surprising and fresh. This “happened one night” high school party movie can only be described as a snapshot of the late ‘90s. It will forever live on as a time capsule of what it was like growing up in that era. Although it came out a couple years before my own senior experience, watching it, I was overwhelmed with nostalgic memories of the music, lingo, and uncomfortable stereotypes that existed in the late ‘90s. But as with any movie not made today, it was an honest depiction of growing up in that time. If nothing else, this movie deserves all the praise for bringing together part of the crew that would eventually make Robot Chicken. Seeing Breckin Meyer, Seth Green, and Donald Faison in a movie together is always fun, but these three in particular were my favorites, especially in the scenes with the band. I was incredibly surprised the first time I saw Can’t Hardly Wait because I really thought I knew where the movie was going, but it threw a couple curve balls at me, and I was genuinely impressed by the outcome. And although one of the story’s conclusions is definitely a fantasy and would never happen anywhere other than a movie, I still left with a smile on my face. (Nick Ferro)
She’s Out of My League
Okay, so let’s get the big elephant in the room out of the way. She’s Out of My League is about an average-looking, shy, slightly lacking in self-confidence guy who ends up with the super hot girl. While rare in real life, that is a pretty common thing to happen in the movie world. So there’s nothing all that original about the end goal of this film, but how they get there makes it interesting because the girl asks out the guy. Kirk (Jay Baruchel) has no intention of making a move on Molly (Alice Eve), even after hanging out a few times, but Molly decides he is the kind of guy who wouldn’t hurt her emotionally. Suddenly, Kirk isn’t choosing to step into a lion’s den. Molly is throwing him in there before knowing if he’s ready. I particularly love the casting of Baruchel, and his voice immediately tells you the type of character he is. Ultimately the lesson here is that it doesn’t matter if your girl thinks you are good enough for them. What matters is if you think you are good enough for them. Another small lesson I like is that when you have a falling out, it is crucial always to tell the other person the truth, even if that’s humiliating. (John Tillyard)
Also See: Miller’s Crossing, A Hard Day’s Night, Carlito’s Way, Coal Miner’s Daughter, Alice Doesn’t Live Here Anymore, I’m Not There