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 The Hunger Games: A Ballad of Songbirds and Snakes, we’re counting down our favorite movies with birds and reptiles in the title! Let us know @SiftPop what your ranking is!
The Pelican Brief asks many important questions. Who’s behind what’s destroying the environment? Is it the same people who killed two Supreme Court judges? Are Denzel Washington and Julia Roberts their usual terrific selves? Is there tension in every moment that would rival any political thriller? Does the score chill you to the bone like it did for me? Was the President on an episode of Who’s the Boss? Am I just asking questions to mirror how this movie is constantly just asking questions? Yes, to all of the above. (Sam Nichols)
What if they made a film about Michael Keaton trying to escape the creative shadow of his work in Batman… I mean… Birdman? Alejandro Gonzalez Iñárritu creates a technically ambitious and thematically dense film about a famous movie star trying to be a “real” actor. Keaton delivers one of the best performances of his career as a man desperately trying to show the world that he is a real actor. But Keaton is not alone in this drama laced with magical realism, as Emma Stone, Edward Norton, Naomi Watts, and Zach Galifianakis give some impressive performances themselves. Iñárritu would certainly not allow himself to be overshadowed by his incredible cast, though. The film feels like it is one continuous shot, and it is quite a unique experience. It is a gorgeous and engrossing film, and director of photography, Emmanuel Lubezki, is one of the biggest reasons why. A story of fame and pride and the art of film that is overflowing with acting and filmmaking feats makes for a unique and impressive Best Picture winner. (Shane Conto)
When you think of a Marx Brother film, Duck Soup is probably what comes to mind. Groucho Marx plays Rufus T. Firefly, who’s named dictator of the fictional country of Freedonia. After war is declared over a wealthy widow, rival country, Sylvania, sends over a pair of spies (Chico and Harpo Marx) to keep tabs on him as chaos inevitably ensues. Unlike The Great Dictator, the film doesn’t ape anyone in particular, but that didn’t stop Benito Mussolini from banning the film, to the delight of its stars. It’s a benchmark of comedic film, with plenty of witty one-liners and physical comedy crammed into 69 minutes. If you’re looking to catch up on classic comedies, it is a great place to start. (Jake Bourgeois)
How did documentarian Morgan Neville follow up the heartwarming Won’t You Be My Neighbor?, the acclaimed documentary on Fred Rogers? By turning around and breaking our hearts with Roadrunner: A Film About Anthony Bourdain (the title alluding to a song from the soundtrack of the film). For those of us who grew up watching Bourdain and Andrew Zimmern’s shows on the Travel Channel, the documentary did the same for Bourdain as Neville previously did for Rogers, in which he gets the feel of both Rogers and his show. The signature Bourdain voiceover that was such a staple of his show is utilized here to great effect, and the film feels almost like an extended episode of one of his shows at time. And the use of clips from various shows, interviews, or home videos throughout, which are intercut brilliantly. Watching his friends try to wrestle with Bourdain’s suicide makes for an emotional watching experience, but one worth having for the insight into one of the culinary voices of a generation. Neville is a master at his craft, and he proved it once again with this documentary. (Jake Bourgeois)
Alfred Hitchcock is typically known for thrillers, but The Birds feels more like horror, with the slow building of suspense, and the tension formed by having no idea why things are happening or what might happen next. Fear is created in many scenes by just seeing a significant number of birds waiting; the fact the characters don’t know what they are doing, or why they’re there, makes it 10 times more scary. The seemingly harmless storyline makes this building fear all the more terrifying and captivating: A young woman, Melanie Daniels (Tippi Hedren), visits San Francisco to pursue Mitch Brenner (Rob Taylor), as well as deliver a birthday present of two birds to his younger sister, Cathy (Veronica Cartwright). For the first hour, it feels like a typical slice-of-life story, which lulls you into a false sense of security and makes the sudden dark turn shocking. It’s impressive how the film convey’s the shock and terror without any musical score, and little or no dialogue. Hitchcock lets the images and the character’s reactions tell the story. The lack of answers by the end also makes the sudden calm rather creepy, and means the characters will continue to live in fear. (John Tillyard)
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, who 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, and 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)
Greta Gerwig’s first movie is still her best. While obviously a deeply personal story about a mother and daughter in the early aughts in Sacramento, it also captures a universal feeling about growing up and always feeling like the grass is greener. What I love about Lady Bird is that it ultimately allows its main, titular character, played by Saoirse Ronan, to make a difficult decision, even if it’s not the one her mother would have preferred. The match cuts at the end are some of the most simultaneously heartbreaking and heartwarming images in film in the last 10 years, and will have you ready to call your mother as soon as the credits roll. (Robert Bouffard)
It’s really hard to make a movie that can live up to a beloved novel, but Harper Lee’s classic, To Kill a Mockingbird, is a rarity where the movie is just as well-known and acclaimed as the the book. Anchored by an all-time performance from Gregory Peck as Atticus Finch, the film is still as important as it was when it was first released in 1962. The concept of standing in another man’s shoes is still an impactful lesson in empathy and kindness, which Atticus shows during a time of hatred and racism in the deep south. (Mike Hilty)
In the midst of watching all the big hitters coming out this awards season, it’s always nice to take a step back and appreciate the great classics of film history. This week, I checked one such classic off of my list of shame, and one of the oldest and most famous bird movies of all time: The Maltese Falcon. The directorial debut of two-time Academy Award winner John Huston, this 1941 tale of private eye Sam Spade’s (Humphrey Bogart) entanglement in a murderous hunt to discover the eponymous artifact, a jewel encrusted bird of lore, is among the earliest titans of film noir. I love a good mystery, and I found the story here to be compelling and surprisingly well-paced given its age, as films older than my grandparents can often feel a bit slow. Bogart is as charming as ever in the lead role, but the real standout is then-newcomer Sydney Greenstreet as Kasper Gutman, holding his own against, and sometimes even outshining, one of the greatest movie stars of all time. I think that this may work even for those who aren’t traditionally fans of noir, as many of the elements that can often feel overdone are still in their infancy, and the excellent production and performances will forever cement The Maltese Falcon as one of the best of the classics. (Jake Hjort)
After emigrating from (what was back then) Czechoslovakia, One Flew Over the Cuckoo’s Nest was Milos Forman’s second feature-length movie made in the U.S.A., but it was the one he had his eye on for a while. Based on an acclaimed book by the same, and with impeccable Forman behind the camera, this film is a masterclass in filmmaking. From its storytelling (Forman said he had thought these themes were similar to communism, so he tried to incorporate that aspect into the film) to two stellar performances by Nicholson and Louise Fletcher, it is nothing short of a miracle. Just a couple of fun facts, not only this is only the second film ever to win the “big five” (Best Leading Actor and Actress, Screenplay, Director, and Picture), but it is also the movie that got the Best Picture Oscar when Jaws, Dog Day Afternoon, Barry Lyndon, and Nashville were also nominated. It also gave Michael Douglas (yes, the actor) his first Oscar, as he was the producer. The film alone cemented Forman’s status in Hollywood, even if he never made another movie that is as influential it was, and still is. (Luke Burian)
Birds of Prey
Before Margot Robbie took over the world as Barbie, she took over the world as Harley Quinn, who was so popular in Suicide Squad that WB green lit her very own solo movie, which transformed into a Birds of Prey. The film tells the story of Harley (Robbie), who, after leaving the Joker, goes and joins the superheroes Black Canary (Jurnee Smollett) and Huntress (Mary Elizabeth Winstead), and Detective Renee Montoya (Rosie Perez), to save Cassandra Cain (Ella Jay Basco). Cain has attracted the attention of the infamous Black Mask (Ewan McGregor), and it will take this unlikely team to save the day. Birds of Prey was very interesting — from title changes to story changes, it took a lot to get it off the road, but it was worth it. The comedy and action blend well, and Robbie is, as always, a delight. (Austen Terry)
Teenage Mutant Ninja Turtles: Mutant Mayhem
Everybody’s favorite mutated reptile brothers got a refresh this summer with the release of a new animated film, Teenage Mutant Ninja Turtles: Mutant Mayhem. In this newest version of the crime fighters’ origin story, Leonardo (Nicolas Cantu), Michelangelo (Shamon Brown Jr.), Donatello (Micah Abbey), and Raphael (Brady Noon) hope to break free of their sheltered sewer existence, under the watchful eye of their guardian Splinter (Jackie Chan), and gain acceptance from humankind by becoming heroes and thwarting the plot of fellow mutant Superfly (Ice Cube). To do so, they team up with teen reporter April O’Neil (Ayo Edebiri) to make a name for themselves. This movie is a vibe, and one I was 100% on board for. The chemistry between the turtles sings from the get-go. Their banter is perfection, with a back-and-forth that feels on brand to how kids of this age interact. The soundtrack is bangers only when it comes to the needle drops, and they’re all used so well. That’s before even talking about the animation, which is bright, colorful, and artistic. There’s always something to catch the viewer’s eye. It’s a fun ride with something for everyone. The kids (and the kids at heart, looking for some TMNT nostalgia) will have a blast watching the colorful feast for the eyes, while the adults can jam out to the soundtrack. (Jake Bourgeois)