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 Oppenheimer, we’re counting down our favorite movies with a real person’s last name in the title! Let us know @SiftPop what your ranking is!
When it came time to cast one of America’s most famous and enigmatic heroes in Steven Spielberg’s epic biopic, Lincoln, there could have been no better choice possible than Daniel Day-Lewis. Firmly established as one of the greatest actors of all time, Day-Lewis perfectly embodies the soft-spoken authority of the president as he fights to end slavery in the twilight years of his life. Watching Day-Lewis transform into Lincoln is worth the cost of admission by itself, but there are certainly other positives to rave about, such as the excellent production design, or Tommy Lee Jones’s incredible supporting performance as abolitionist congressman Thaddeus Stevens. Lincoln is not just the beautiful capstone to Day-Lewis’s career that it is most remembered for, but also a well-made, technically impressive period piece. Would it be as well regarded if it didn’t have one of the greatest performances of all time? Perhaps not, but thankfully that’s not a question we need to answer. (Jake Hjort)
Most famous for being the film that won Julia Roberts her lone Oscar, Erin Brockovich tells the true story of the titular legal assistant who helped her clients bring down a California power company accused of polluting a city’s water supply. There’s a lot to love about this Steven Soderbergh flick. The messages of not judging a book by its cover and speaking truth to power both work remarkably well, but it’s Roberts’ star power that propels this narrative. Her charisma in the role is undeniable, and it’s impossible not to root for her. The supporting performances help lift things, particularly Albert Finney as Brockovich’s boss, Ed Masry, but this is a true showpiece for one of Hollywood’s biggest stars. (Jake Bourgeois)
When you combine one of the best cinematographers to ever shoot films (Roger Deakins), one of the best movie stars of a generation (Brad Pitt), and a standout cast, ruminating story, and Andrew Dominik’s direction, you get The Assassination of Jesse James by the Coward Robert Ford, one of the very best movies of the 2000s. Pitt is excellent in this film as the notorious criminal Jesse James, exerting swagger and interiority at the same time, and Casey Affleck is possibly better than he’s ever been, including when he won the Oscar. It’s an epic story of obsession, violence, and guilt, and it carries its pristine reputation for good reason. (Robert Bouffard)
Screenwriters Scott Alexander and Larry Karaszewski are known for their unconventional approach to the biopic genre, with films like Man on the Moon, The People vs. Larry Flynt, and Dolemite is My Name. As self-proclaimed critics of the life-to-death approach to biopic storytelling, Alexander and Karaszewski have coined the term “anti-biopic” to describe their preferred modus operandi in which they write screenplays with atypical protagonists whose accomplishments might not otherwise merit a film. Their thoughtful screenplay for Tim Burton’s Ed Wood is no exception, given that the film’s subject is often referred to as “the worst director of all time.” What makes the film special, though, is the quirky sincerity with which it depicts Wood’s filmmaking, providing Wood’s plight with exactly as much respect as a film like Steven Spielberg’s The Fabelmans. Most films which purport to be odes to the dreamer would be more accurately labeled as odes to the successful dreamer. Ed Wood, on the other hand, is a true champion of creativity for its own sake, and is a must-watch for all those who choose to pursue their dreams no matter the cost. (Foster Harlfinger)
In a fascinating one-on-one interview, David Frost cornered Richard Nixon into admitting his role in the famous Watergate scandal. Who would have thought that could happen? Ron Howard’s Frost/Nixon is a somewhat fictionalized version of the famous, attention-grabbing 1977 interviews. Driven talk show host Frost (Michael Sheen) has an idea to interview then-U.S. President Nixon (Frank Langella). However, Frost needs help funding the project and getting American broadcasters open to the idea. Things change when Nixon’s agent, Swifty Lazar (Toby Jones), negotiates a deal for the interview, leading Nixon to believe he can resurrect his image to the public following the Watergate scandal. The ethically charged movie keeps viewers on the edge of their seats as Howard beautifully delivers it. Langella dives into the complex character of the former president, showcasing love for power, vanity, and paranoia. Although his rants get annoying, he draws some sympathy at the movie’s end. Sheen puts on a stellar performance, showcasing Frost’s desperation with this interview, and both characters are in vulnerable positions to find a sense of self. To make the drama even more captivating, Howard wastes no time using Peter Morgan’s attractive screenplay to the film’s advantage. The movie portrays Frost and Nixon so beautifully, and it makes the audience feel their vulnerability in many ways. The performances make the movie a piece of cake. The two figures are not only remembered for the interview, but for what they did. (Christian Grullon)
No one does political satire quite like Armando Iannucci. In both Veep and In the Loop, he aimed his sharp, biting dialogue at the modern political arena. With The Death of Stalin, Iannucci turns back the clock to lampoon some of the Soviet Union’s most towering figures. With a cast filled with a who’s who of beloved character actors, the film parodies the struggle for power that ensued following the titular passing of one of the most infamous leaders of the 20th century. If you enjoy your humor best black, and can handle your Russians putting in Sean Connery in The Hunt for Red October levels of work to not speak with their usual accents, you’ll enjoy one of the smartest comedic efforts of recent years. (Jake Bourgeois)
Al Pacino’s 1970s were something else, huh? Any actor would love for their four best films to be two Godfather movies, Dog Day Afternoon, and Serpico, but for Pacino it was just the beginning of a long and storied career. Serpico in particular, Pacino’s first collaboration with Sidney Lumet, is some of his more interesting and reserved work right along with the first Godfather. Telling the story of a New York cop who wants to expose injustice and corruption within the system, it’s a well done and important story that’s highly relevant today, 50 years after its original release. (Robert Bouffard)
Some historical figures present a larger-than-life presence that can’t be denied. When audiences get a chance to see it in a movie, carefully picking who portrays that grand figure is of paramount importance. In Patton, George C. Scott not only delivers one of the best performances of his career, but also one of the best performances in the history of film. Playing General Patton couldn’t have been easy, but Scott’s carefully crafted a magnificence shows sympathy and fortitude. Technically, Patton shines bright with such epic scope for a story. The opening speech is now iconic, even if it feels a little outdated today. Patton is a movie that should be vaulted on to the top of anyone’s list of shame. (Mike Hilty)
Have you ever wondered what it would be like to see the world through someone else’s eyes? Well, through a tight passage and a drop off in NewJersey, you can have that with the film Being John Malkovich, where down-on-his-luck puppeteer Craig Schwartz (John Cusack) discovers a path into the mind of actor John Malkovich (John Malkovich). What carries this film for me is its premise: someone who is looking for mass adulation finds it at the expense of others, and is willing to go to extreme lengths to attain it. With an absurd plot and a wild story, it’s one I’m glad to say is finally off the list of shame. Fun trivia as well: The guy on the turnpike who goes, “Hey Malkovich, Catch!” ad-libbed the scene. (Joseph Davis)
We often talk about people having a very good year in the film industry, but 1993 was when Steven Spielberg gave the world Jurassic Park, one of the greatest blockbusters of all time, and also had time to make Schindler’s List, a deeply personal project for him. The horrors of the atrocity are most likely beyond any media to ever fully encapsulate, but it’s stories like this that help keep the memories and accounts from those who were deeply affected by it intact. In many ways, films like Schindler’s List are why we have films to begin with: to create documents of the human condition beyond simple entertainment, and it’s hard to think of any movie that brings so many emotions from one of the darkest times in our shared history onto the screen. Whether it’s Ralph Fiennes’ terrifying performance as Amon Goeth, or the climactic moments in which all Schindler wishes was that he did more, Schindler’s List is an incredible achievement in portraying the human condition that will hopefully continue to show generations to come the horrors of what people can do to each other — and the small but present glimpses of hope in what people can do for each other. (Chris Bakker)
Milk
Milk is one of those “important films” you initially watch out of obligation before discovering just how incredibly watchable it is. Chronicling Harvey Milk’s journey as a gay rights activist and the first openly gay man elected to public office, Milk is equal parts entertaining and emotional. If you are a fan of high-quality acting, you can’t do much better than Milk. It is simply stupid how good Sean Penn is as the film’s title character, and the entire ensemble is right there beside him, with Josh Brolin, Emile Hirsch, and Diego Luna as clear standouts. This is one to bump up the watchlist immediately, as it is one of the few films in which the biopic formula works to deliver a truly affecting story. (Foster Harlfinger)
Shakespeare in Love
Imagine a world where Shakespeare in Love didn’t win Best Picture that fateful year. The Academy Award goes to any other film, maybe the one everyone always says the award should have gone to. What do you think the legacy of this film would have ended up being? I know it’s a silly thought exercise, but I often find myself falling down rabbit holes like this. How a film’s legacy ends up being set in stone. I remember approaching Shakespeare in Love with a bit of disdain. I had heard the story for over 20 years, and I just had a built-in dislike for a movie that I had never actually seen. And finally, in an effort to satisfy my burning desire to complete a task, I watched it and I ended up actually having a blast. Shakespeare in Love is full of energy. It’s vibrant, filled with comedy and laughter, mixed brilliantly with romance and drama. In truth, it’s a wonderful homage to the man himself. The ensemble cast is electric, with each character having a distinguishable moment to shine through. It’s a script that makes everybody look great. In truth, Shakespeare in Love is a very good movie. It will forever have a shadow over its name, and that might be deserved, but we mustn’t forget the film was actually quite good on its own. You could certainly do a lot worse in the world of historical dramedies. (Nashua Doll)
Captain Phillips
“Look at me. Look at me! I am the captain now.” I am sure we are all familiar with the meme that originated from it, but it’s almost a shame that this is what Captain Phillips is most known for nowadays. If you watch the film, not just the meme, you will be rewarded with a brilliant drama with Tom Hanks in the main role. Based on the real story of a pirate hijacking, and directed by Paul Greengrass, it’s an excellent, nail-biting drama that got nominated for six Academy Awards, and yet they somehow forgot to nominate Hanks. I understand that Hanks, at that point of his illustrious career, didn’t really “feel” some negative impact of not getting the nomination, but it felt wrong back then (how is this movie 10 years old already?!), and it still feels wrong now. Especially in the last 15 minutes of this film, he makes an impact, and you will remember him as much as the meme line… well, hopefully. And not just him, but Barkhad Abdi is great, and at least he got the nomination. (Luke Burian)
Steve Jobs
One of the most influential people of my lifetime was Steve Jobs. So two movies were made about his life and the founding of Apple. Along with 2013’s Jobs, 2015’s Steve Jobs tells the behind-the-scenes stories before three product launches between 1984 and 1998. Jobs is played masterfully by Michael Fassbender, who brings a new perspective to who this man was. Danny Boyle directs this story, and you can tell a director with gravitas was behind the camera. The movie is impactful, and you get a sense of what the characters are going through. Kate Winslet, Seth Rogen, and Jeff Daniels join Fassbender, and drastically help elevate this movie. Coming only two years after Jobs, which focused on a different aspect of the man, Steve Jobs tends to focus on him as a more intense person. Aaron Sorkin wrote the story based on a biography of Jobs by Walter Isaacson. Having Sorkin writing the screenplay with Boyle directing is truly the reason for the better adaptation of Jobs’ life. We use Apple products every day, so why not check out a good movie about the man who brought those products to us? (Austen Terry)
Capote
There are very few hyperbolic statements I could give to quantify just how unbelievably, astonishingly good Philip Seymour Hoffman’s performance as Truman Capote is in Capote, but I will attempt to do so with the following claim: If I were to attempt an objective “Greatest Performances of All Time” list, I would have trouble putting any performance other than Hoffman in Capote at number one. The film itself is your standard, slightly-above-average biopic. Bennett Miller’s direction has always been underrated, and the story, as it revolves around the time Capote spent writing In Cold Blood, is fascinating. However, it is the absolutely titanic performance at the film’s center which makes Capote a must-see. (Foster Harlfinger)
Ali
How could a movie bring the story of one of the greatest boxers, Muhammad Ali, to life? He wasn’t just a vivid character, but a man who could “float like a butterfly, sting like a bee;” who could do this man justice? Will Smith is the right candidate to play “the Greatest” in Ali. Smith is charismatic and completely lost himself in the role. He shows why Ali was the best of the best, and demonstrates his vulnerability. We watch the 10 years of his life where he fights and captures the heavyweight title, defies his father by converting to Islam, changes his last name, is banned from boxing, and takes on George Foreman in Rumble in the Jungle. Michael Mann directed a poignant film about Ali’s trials, tribulations, and his triumphs. Mann’s glossy, modernistic style, even for a story set between the 1960s and ‘70s, works and keeps your interest throughout. The film snagged two Academy Award nominations: Best Actor for Smith and Best Supporting Actor for Jon Voight, who is unrecognizable as Howard Cosell. Still, they missed out on another nod for Jamie Foxx as Ali’s assistant trainer Drew “Bundini” Brown. Luckily there hasn’t been another biopic about the champ; we don’t need one. Ali is the greatest. (Chantal Ashford)
Chaplin
Who is one of the greatest filmmakers to shape the world of film in its infancy? Charles Chaplin. This man produced so many films, created one of the most iconic characters in the history of film (The Tramp), and delivered some of the most timeless comedies of all time. His story was unbelievable, coming from very little to becoming one of the most important figures in cinematic history. Chaplin certainly feels like a biopic, and hits many of the beats that you expect from such a film, but it still honors the impressive life and career of Chaplin. But one of the most impressive aspects of the film is the Academy Award-nominated leading turn from Robert Downey Jr. Iron Man? An Oscar nominee? Long before his fall and Marvel revival, RDJ was a rising star of ‘80s comedies when he took on this biopic. Let’s just say he stole the show and is the primary reason you should check out Chaplin in the first place. (Shane Conto)
Tesla
As an unabashedly enthusiastic lover of documentaries, biopics come a close second when I start a binge and fall down a rabbit hole, and boy did I find a gem at the bottom of this one. Nikola Tesla seems to pop up everywhere and in everything, from Epic Rap Battles and The Big Bang Theory, to The Prestige and Murdoch Mysteries, so I wasn’t really surprised to come across 2020’s Tesla. I was, however, surprised at how quirky and unconventional the interpretation of events being portrayed would be. The most unreliable of narrators, Eve Hewson (as Anne Morgan), pops in and out to describe the events, as Ethan Hawke (Tesla), Kyle MacLachlan (Thomas Edison), and Jim Gaffigan (George Westinghouse) reenact pivotal moments throughout Tesla’s endeavors to develop alternating current technology. It definitely feels more like you’re watching a stage play, but despite the off-kilter visual styling choices, the cast is a delight to watch, especially in their period hair and costumes. At times, the interactions even come across like they’re actually in some kind of extended episode of Drunk History. I mean, there’s an ice cream cone fight 10 minutes in, and near the end Tesla sings “Everybody Wants to Rule the World.” If you like your infotainment a little left of center, then I firmly suggest you give Tesla a whirl. Gaffigan’s facial hair and Hawke’s scowl of disdain toward his vanilla ice cream cone alone are worth a watch. (Patrice Downing)
Also See: Julius Caesar, Bronson, Marie Antoinette, Trumbo, Hitchcock