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 Insidious: The Red Door, we’re counting down our favorite movies with the word “red” in the title! Let us know @SiftPop what your ranking is!
Ah, 2010: the year of getting the gang back together for one last mission. Whether it was Arnold and Stallone proving their level of expendability, or Liam Neeson putting the A-Team back in action for one more plan to come together, there was no shortage of retired spies, rebels, and catchphrases coming out of the woodwork to defend one of their own. However, while A-Team, Expendables,and other team ups had their moments and were great in their own ways, they didn’t come close to the pure absurd action joy that came in the form of the Bruce Willis-anchored hit, RED. The level of suave yet absurd fun that this film brings to the table can be summed up in example by one scene: perfectly paranoid John Malkovich shooting at a bazooka projectile midair with a handgun, setting off a massive explosion in a shipping yard. If that isn’t enough to pique your interest, how about knowing that throughout Willis’ journey to find his attacker and save his girl, he’s got the smoothest support crew, including Dame Helen Mirren and Morgan Freeman? Throw in an absolutely perfectly placed musical score and you have the makings of a fantastic film for a night of popcorn and joy. (Matt Lawson)
I can see why so many people wanted The Red Turtle to win the stacked best animated feature race during the 2016 Oscars. Going up against movies like Zootopia, Kubo and the Two Strings,and Moana, it manages to outmaneuver the competition in terms of creativity, imagination, and emotion. Studio Ghibli should be extremely proud of The Red Turtle. It’s such a simple yet beautiful story of a man whose life is forever changed by a chance encounter with a red turtle. The animation is gorgeous, as one would expect from the acclaimed studio, but the limited sound that it does have adds to the isolation that the man feels on the island. I was not expecting to have such an emotional reaction to the film, but I’m ready to declare that it should have won Best Animated Feature when it was nominated. It’s unlike anything I’ve ever seen, and more animated movies should take chances like this to stand out more. (Mike Hilty)
It’s a shame that Turning Red went straight to Disney+, because it is good, and deserved a theatrical run. When Meilin (Rosalie Chiang) turns 13, she learns the secret that she and all the women in her family can turn into a red panda. She must learn to control her new abilities, all while her mother Ming (Sandra Oh) wants her to hide her abilities. It was over eight months before I watched this Pixar movie, and I wish I watched it sooner, as it’s up there with some of Pixar’s best movies. I was emotional throughout, thanks to the family dynamic of the story. This movie rightfully deserved its Oscar nomination for Best Animated Feature. It is a brilliant story with fantastic animation and a great voice cast. Pixar always has the best animation, so it’s no surprise that even with so many good animated movies being released lately, Turning Red will always grab my attention. (Austen Terry)
Movies that (mostly) take place in a single, closed-off location have always had a little bit of a special spice to them that’s hard to find. The potential for tension always seem so much higher, and it’s easy to establish a baseline when the main character has no easy way out of their predicament. Red Eye plays in that space like few other movies do when Rachel McAdams’ character, a hotel manager, is coerced by fellow airline passenger Cillian Murphy to remotely aid in the assassination of a politician staying at her hotel — lest her own father be killed. Wes Craven’s direction gives the movie just the right feel for the psychological games between McAdams and Murphy, as most of the film revolves around her attempts to alert the rest of the plane and sabotage Murphy’s plans quietly without putting her father in mortal danger. Both leads had obviously had their big breakthrough performances already, but Red Eye still feels like something of a discovery for both of them, and their chemistry, despite their characters being in opposition, is just another aspect that makes Red Eye absolutely worth the watch. (Chris Bakker)
Once more I go to the list of shame, as this week I decided to cross off The Thin Red Line. For me, the best war films are ones that make you think and that have a deeper meaning to them, and this one does it as well as the best of them. Balancing themes such as mortality, war, acceptable costs, and the destruction of environments just to capture an inch of ground is tough, and boy does this movie succeed. That, coupled with a cast that feels like it literally has everyone in it (John Travolta and George Clooney have barely five minutes of screen time combined, and that’s only scratching the surface), and you have a truly fantastic film on your hands. (Joseph Davis)
Most of the Western world fears the idea of socialist policy. It’s a capitalist’s world, and policies that advocate for the rights of the laborer are generally not to be tolerated. Let alone more left-leaning communist policies. But at one point in America’s history, roughly 100 years ago, there was a swell of support for economic realignment and a redistribution of wealth and power for the working class. This was in no small part due to American journalist John Reed, his real life account of the October Revolution in Russia, and his attempts to bring these new ideas and policies back to America. Reds is a historical drama that recounts the adventures of Reed in a sweeping 195-minute epic that encompasses romance, as well as politics. It’s one of Warren Beatty’s most noteworthy works, as he pulled triple duty by writing, directing, and starring in the film as Reed himself. You also have big names such as Diane Keaton and Jack Nicholson filling out the cast. The movie went on to be a massive critical success, earning 12 Oscar nominations, and bringing home three wins including Best Director. Whether you agree with the film’s perspective or not, Reds is a riveting and accomplished film worthy of your attention. (Heath Lynch)
The epitome of old school Cold War espionage stories, The Hunt for Red October is a masterful adaptation of an equally great novel. It achieves a constant surge of adrenaline through suspense and tension, rather than bombastic action, and through claustrophobic confinement, rather than large-scale set pieces. That said, it also excels in providing intense action when events reach a boiling point in the final half hour. Sean Connery has cult leader charisma and stoicism as the solemnly authoritative Russian Captain Marko Ramius. Alec Baldwin brings youthful exuberance and certainty in the face of uncertain circumstances as C.I.A. analyst Jack Ryan. They are backed by a stacked supporting cast featuring Sam Neill, James Earl Jones, Tim Curry, Scott Glenn, Stellan Skarsgård, Courtney B. Vance, and many more. As the Red October submarine goes rogue and heads toward the U.S., you spend much of the movie trying to determine if they are aiming to start war or prevent it. A dynamic score and outstanding sound design add to the thrill. The twists and turns keep you guessing until the end. It’s an intense first watch, but the suspense is handled masterfully to where you’re still on the edge of your seat throughout repeat viewings. This is the best Jack Ryan story, the best Tom Clancy adaptation, and the best Cold War movie. (Jason Mack)
After witnessing the murder of a psychic, a jazz pianist embarks on a twisted journey of discovery as he and a feisty reporter seek to uncover the secrets behind this brutal killing. Deep Red is often discussed as Dario Argento’s ultimate giallo film, given that it perfectly distills all the hallmarks of the genre from its voyeuristic cinematography and hyper-stylized color palette to its shocking killer reveal. Argento’s influence on later horror filmmakers cannot be overstated. Within Deep Red, one can clearly see the seeds being planted for ‘70s and ‘80s franchise slashers like Halloween and Friday the 13th, with its shocking kills and innovative cinematography from the point of view of the killer. Deep Red also features some of the most wonderfully bonkers music of all time from Italian progressive rock band Goblin in their first ever film score. As much as it may appeal to hardcore horror fans, Deep Red is a perfect entry point for those looking to get into giallo horror, and should prove as shocking and entertaining today as it did to audiences in 1975. (Foster Harlfinger)
Dynamic, visually creative, and remarkably modern for its time, The Red Shoes is distinctive for its mastery of adaptation: While it adapts the titular Hans Christian Andersen fairy tale as its core storyline, it also incorporates the story into the plot itself, as a ballet production that acts as the centerpiece. The characters range from straight and narrow to incredibly over the top (as one would expect from the performing arts), but where the film truly thrives is in its surreal, unbroken half-hour ballet production that rounds everything out. The Red Shoes is a classic, and a hallmark of mid-20th century cinema that deserves to be more widely-known — and as much as Darren Aronofsky insists otherwise, it almost certainly inspired Black Swan. (Rowan Wood)
Who doesn’t love a trilogy of movies that have nothing to do with each other narratively, but are deeply rooted in a thematic landscape? The Three Colors trilogy, a trio of antitheses, is a fantastic work of art by Polish filmmaker Krzysztof Kieslowski. There is something special in the way that this auteur tears down the genres that anchor each of the films, and offers such a unique cinematic experience. Three Colors: Red just might be the boldest in owning its titular color visually, as the audience is treated to some breathtaking beats. This anti-romance film is used to capture one young woman exposing a retired judge and his disturbing invasions of people’s lives. Irène Jacob is a talented performer who does her duty as the lead so well. There is an uncomfortable seduction that plays well, but it is the layers below that give the film such depth. It might be the weakest of the trilogy for me, but it says something that it is still a film that feels perfectly executed. (Shane Conto)
Red Rocket
Red Rocket is a decent slice-of-life movie. Ittells the story of Mikey (Simon Rex), a washed up porn star who returns to his hometown to figure out what he wants to do with his life. Everybody who was a part of his life before he left wants nothing to do with him, so he starts selling drugs and begins an inappropriate relationship with Strawberry (Suzanna Son), who is close to turning 18. As with a lot of slice-of-life movies, Mickey’s life goes from bad to worse. This was the second movie I saw from director Sean Baker, and he has a tendency for the ending to more than likely be inside the main character’s head. Red Rocket is a good movie that I wish I could have picked up sooner. Rex has a comedic side that is not just the stupid guy from Scary Movie 3, 4, and V, and he does pretty well with the drama here. Baker really knows how to get the most out of his actors, and he uses his footage well. (Austen Terry)
Red Dragon
Retired F.B.I. agent Will Graham (Edward Norton) is brought back on board to investigate the murders of two families by serial killer Francis Dolarhyde, a.k.a The Tooth Fairy (Ralph Fiennes), and he turns to the incarcerated Hannibal Lecter (Anthony Hopkins) for help. Some people criticize the fact this film exists since Manhunter,just 16 years earlier, was already an excellent adaptation of the book Red Dragon. Manhunter probably is a slightly better film, but quite simply, Hopkins is just that good as Hannibal. Plus, they expanded Hannibal’s role in this one due to the character’s popularity. To take nothing away from Brian Cox — who did an excellent job playing Hannibal in the original — he isn’t Hopkins, who, once again, does an incredible job as the chilling Hannibal. I would go as far as to say he’s better here than in The Silence of the Lambs.Unlike that film, though, Hannibal is dealing with an agent that isn’t scared of him, and who already got the better of him in catching him years before. Being incarcerated for the entire film, he must intimate and threaten Will through the way he speaks to him. He can even work a way to threaten his family and force them into hiding from inside his cell. I also love how this is shot: It captures the same look and tone as the first time Hopkins took on the iconic role. You’d never know they were 11 years apart. (John Tillyard)
Red Cliff
Is the idea of a John Woo-directed historical epic with some truly massive battles something that appeals to you? If so, may I suggest Red Cliff? Starring Tony Leung, the film chronicles the Battle of Red Cliff in the period of Chinese history known as the Three Kingdoms in the third century. The emperor of the Han Dynasty declares war on two other kingdoms, who are forced into an unlikely alliance. The set pieces are absolutely massive and showcase the stylistic excess you’ve come to expect from Woo. It is a return to form for him after some Hollywood disappointments, and is a tale so epic it couldn’t even be contained in one part. (Jake Bourgeois)
Red Notice
The question of whether or not Red Notice is for you relies heavily on how much you’re willing to give yourself over to the charisma of the main leads. It stars Dwayne Johnson as agent John Hartley, who reluctantly teams up with art thief Nolan Booth (Ryan Reynolds) in an attempt to catch a rival thief, in Gal Gadot’s The Bishop. It’s very much what you’d expect from a globetrotting heist movie — beautiful locales, stunning outfits, and high octane set pieces. Like most Reynolds projects, this thing has quips for days and, as someone who enjoys Reynolds’s schtick, there’s a fun time to be had. Just don’t expect anything earth-shattering. (Jake Bourgeois)
Also See: Red Dawn, Raise the Red Lantern, The Big Red One, Red Lights, Red River, Red Heat