Every year, any body may nominate up to 50 films (per year) for preservation in the National Film Registry. The only requirements are that they must be at least 10 years old, not foreign, and not currently in the film registry.
I respect this as an important step in film. With the age of digital moving in (which I do not oppose, but recognize its pitfalls), I believe it is important to preserve (in an analog format such as 35mm film), those films that have become cultural landmarks. Those films that mean something to us everyday people. Those films that have merit, and we want to exist forever.
Thus, today, I submitted my list of fifty nominees to the 2012 National Film Registry. We'll see how many are inducted in December (each year up to 25 new films are inducted into the NFR). By the way, I'm not special, anybody can nominate films (so long as they are over 10 years old and not foreign - simply email dross@loc.gov with your list (no more than 50 per year)). No explanation or otherwise required. Just email a list of films, from one to fifty. Nominate them, and perhaps they have a chance of being preserved in the film registry! I believe many of you readers would be shocked by the historically significant films that *are not* currently included in the registry.
This is my list of fifty films I believe should be included, along with a brief reason why. None of these films are currently in the registry. To note: the most recent inductee is Fargo (1996), though films as recent as 2001 are eligible. By the way, Fargo was inducted in 2006, the very year it became eligible. Also to note: This isn't a list of my favorite films (many of which are already in the NFR), but rather a list of films that I consider "culturally, historically, or aesthetically significant."
My list:
My list:
Way Down East (1920) (****)
One of DW Griffith's famous silent films (USA) post-Birth of a Nation. Also one of the few films to include color this early, either via Technicolor or Prizamacolor.
The Circus (1928) (****)
Chaplin. What more needs to be said? He pioneered much of film history. Along with The Gold Rush (a current inductee), this stands as his second best film.
Adventures of Sherlock Holmes, The (1939) (***1/2)
Besides the fact that "Elementary, my dear Watson" was made popular by this film, which ranked #65 on AFI's top 100 quotes of all time? It's a classic mystery, made even more popular by its dialect and popularity as a book series.
Hellzapoppin’ (1941) (****)
This is the first film of its kind I have seen. An outright, outrageous parody film that satirizes films from Citizen Kane (released the same year!) to many others. It's hilarious. It's horrible. It's highly entertaining. And it deserves recognition among the best of all time.
Bad Day at Black Rock (1955) (****)
Director John Sturges. Actor Spencer Tracy (win Best Actor at Cannes, nominee Best Actor Oscar). WGA and Oscar nominees for screenwriter Millard Kaufman. One of Tracy's best performances, and an icon in American cinematic history as a synthesis of the Western and film noir genres. Need more be said? Then see it!
Old Yeller (1957) (***)
Why the fuck do I have to explain this one? Who the hell hasn't seen Old Yeller? Who doesn't recognize that title? In my opinion, that's culturally and historically significant. Enough said on this one.
Anatomy of a Murder (1959) (****)
This is the end-all-be-all of courtroom dramas. Sure, several pre-dated it, but it wasn't until Otto Preminger brought to life this harrowing drama starring James Stewart (one of my favorite actors of the early days). It's twisty, it's intelligent, and all too fascinating to look away from. It's embedded in our culture, and every courtroom drama to this day owes it some due.
Rio Bravo (1959) (****)
Rio Bravo. John Wayne. The rebuke to High Noon (another great film). Tarantino considers this, along with Dazed and Confused, one of the best "hangout" films of all time. Fuck Tarantino (though I love the man). This is more than that. The musical score is haunting. The lack of close-ups is suggestive. It's a fun, entertaining, and an aggressive western that tops (imo) even Hawks' classic "His Girl Friday."
Inherit the Wind (1960) (****)
Inherit the Wind (1960) (****)
Come on! Classic Spencer Tracy. And it's about the Scopes Monkey trial, for fuck's sake. *The* trial that spurred an ever growing chasm between creationism and evolution. While the trial ended in favor of the prosecution, many saw it as a victory for the defense, and it ultimately lit the fuse that would ignite evolution into the standard curriculum for most (if not every) public school in America. Plus, it's a great movie. Need you more?
Birds, The (1963) (***1/2)
I feel little need to explain this one. Classic Hitchcock. Is the idea absurd? Sure. But Hitchcock's style and knack for suspense makes this work one hundred percent. And besides, who hasn't looked at a flock of birds sitting on a power-line and wondered how fucked we'd all be if they all turned against us? Maybe it's just me.
Still, The Birds is a classic that can't be ignored for preservation.
Doctor Zhivago (1965) (***1/2)
This epic, criticized at the time especially for its length, has become a cultural landmark of a film, and is considered today to be one of the finest films of the 1960s. #39 on AFI's top films. #7 AFI's top 10 passions. Nominated for ten Oscars, winning five. Not much explanation needed here.
Who’s Afraid of Virginia Woolf? (1966) (****)
Once again, need I explain this? This a canon in the film world. An exemplary message of what dialogue and acting can bring to a film. Some of the best acting in all of filmdom can be found in this movie.
Rosemary’s Baby (1968) (****)
Roman Polanski's classic horror film. A fantastic Ruth Gordon performance. Rape and impregnation by Satan. #9 on AFI's Top 100 Thrills. One of the most recognizable horror films of all time. I ask you - why shouldn't this be inducted in the NFR?
Roman Polanski's classic horror film. A fantastic Ruth Gordon performance. Rape and impregnation by Satan. #9 on AFI's Top 100 Thrills. One of the most recognizable horror films of all time. I ask you - why shouldn't this be inducted in the NFR?
They Shoot Horses, Don’t They? (1969) (****)
Nominated for nine Academy Awards, winning one for Gig Young as Rocky, this is a film on the surface about a group of people attempting to win a dance marathon. The film is so gloriously over the top (especially for its time period), that it approaches near farce. But Director Sydney Pollack working from a novel by Robert E. Thompson keep material from becoming that. Instead, they use the Depression-era setting to explore the extent to which people will go for money; the greed that can lead to misery, destruction, and even death for others. Looking back on it today, one can certainly draw a comparison between corrupt corporate millionaires and Jane Fonda (one of her best performances) dragging poor Red Buttons across the finish line after him suffering a heart attack. The film's titular line spoken toward the end is one of film's classic moments. It would be a disgrace to ignore a film such as this.
Nominated for nine Academy Awards, winning one for Gig Young as Rocky, this is a film on the surface about a group of people attempting to win a dance marathon. The film is so gloriously over the top (especially for its time period), that it approaches near farce. But Director Sydney Pollack working from a novel by Robert E. Thompson keep material from becoming that. Instead, they use the Depression-era setting to explore the extent to which people will go for money; the greed that can lead to misery, destruction, and even death for others. Looking back on it today, one can certainly draw a comparison between corrupt corporate millionaires and Jane Fonda (one of her best performances) dragging poor Red Buttons across the finish line after him suffering a heart attack. The film's titular line spoken toward the end is one of film's classic moments. It would be a disgrace to ignore a film such as this.
Clockwork Orange, A (1971) (***)
Kubrick, a perfectionist and master of film, brought to life a hellish world in a future dystopian Britain. Initially rated X at the time of its release for sexual violence, this is a film about youth, manipulation, psychiatry, economics, politics, and so much more. Nominated for four Oscars, including Director, Screenplay, and Picture, but winning none, in later years this would go on to be one of the most influential and recognized pictures of all time. Besides, who after seeing this film will ever listen to "Singin' in the Rain" the same again?
Kubrick, a perfectionist and master of film, brought to life a hellish world in a future dystopian Britain. Initially rated X at the time of its release for sexual violence, this is a film about youth, manipulation, psychiatry, economics, politics, and so much more. Nominated for four Oscars, including Director, Screenplay, and Picture, but winning none, in later years this would go on to be one of the most influential and recognized pictures of all time. Besides, who after seeing this film will ever listen to "Singin' in the Rain" the same again?
Klute (1971) (****)
Many haven't seen this brilliant film. But brilliant it is. Starring Jane Fonda (who won an Oscar for her performance) and Donald Sutherland, this is a film about a prostitute attempting to aide an investigator in solving a missing person's mystery. Most notable about this film and its place in history is the cinematography of Gordon Willis. Willis, if you're not aware, would go own to be the cinematography on such films as The Godfather, Godfather Part II, Annie Hall, The Parallax View, The Landlord, Zelig, Manhattan, All the President's Men, among others. Willis reinvented the nature of cinematography. Critic Steven Garrett has said "more than any other director of photography, Willis defined the cinematic look of the 1970s: sophisticated compositions in which bolts of light and black put the decade’s moral ambiguities into stark relief"
Dirty Harry (1972) (***1/2)
Many haven't seen this brilliant film. But brilliant it is. Starring Jane Fonda (who won an Oscar for her performance) and Donald Sutherland, this is a film about a prostitute attempting to aide an investigator in solving a missing person's mystery. Most notable about this film and its place in history is the cinematography of Gordon Willis. Willis, if you're not aware, would go own to be the cinematography on such films as The Godfather, Godfather Part II, Annie Hall, The Parallax View, The Landlord, Zelig, Manhattan, All the President's Men, among others. Willis reinvented the nature of cinematography. Critic Steven Garrett has said "more than any other director of photography, Willis defined the cinematic look of the 1970s: sophisticated compositions in which bolts of light and black put the decade’s moral ambiguities into stark relief"
Dirty Harry (1972) (***1/2)
"Do you feel lucky?" "Make my day." Who hasn't heard these phrases before? Who doesn't recognize that squinty-eyed Clint with his 44 Magnum? The first Dirty Harry was shocking for its violence, and Harry's transformation into an anti-hero. This is an American classic that sparked numerous sequels over the years, and forever cemented Clint Eastwood as one tough motherfucker (if the Leone films hadn't already).
Texas Chainsaw Massacre (1974) (****)
Before Halloween or Friday the 13th there was The Texas Chainsaw Massacre. Shot on a minimal budget, this film was a huge hit. I can't possibly say it invented the slasher genre; that film would be Peeping Tom, and more well known, Psycho (both released in 1960). However, TCM is the film that sparked the slasher revolution that continued through the 70s into the 80s, and was eventually revived in glorious fashion by Scream.
Before Halloween or Friday the 13th there was The Texas Chainsaw Massacre. Shot on a minimal budget, this film was a huge hit. I can't possibly say it invented the slasher genre; that film would be Peeping Tom, and more well known, Psycho (both released in 1960). However, TCM is the film that sparked the slasher revolution that continued through the 70s into the 80s, and was eventually revived in glorious fashion by Scream.
Carrie (1976) (****)
Working from a Stephen King novel, Brian de Palma brought to the screen what would ultimately become one of the greatest and most iconic horror films of all time. It's relatively standard horror material, but de Palma's style and ability as a director elevated the material to suspenseful and often terrifying heights. One of de Palma's masterstrokes is his pacing - the film is in a constant back and forth between chaos and serenity. One scene may be calm and peaceful, and the next hellish chaos. Above all else, this is a film that go down as likely the most memorable prom scene in history. Everybody knows it. And it's a shocking finale after a suspenseful, masterful build-up.
Working from a Stephen King novel, Brian de Palma brought to the screen what would ultimately become one of the greatest and most iconic horror films of all time. It's relatively standard horror material, but de Palma's style and ability as a director elevated the material to suspenseful and often terrifying heights. One of de Palma's masterstrokes is his pacing - the film is in a constant back and forth between chaos and serenity. One scene may be calm and peaceful, and the next hellish chaos. Above all else, this is a film that go down as likely the most memorable prom scene in history. Everybody knows it. And it's a shocking finale after a suspenseful, masterful build-up.
Heaven’s Gate (1980) (*1/2)
Love it or hate it, this is a film of massive culture and historical value. Produced on a budget of somewhere around $45 million, it grossed only $3 million domestically, collapsed United Artists, and destroyed the career of Michael Cimino (The Deer Hunter). Critically derided and a financial failure at the time of its release, Heaven's Gate was an utter disaster. In recent time, some critics have come to its defense, though it still holds a mere 41% on RottenTomatoes. Most importantly, however, is it's impact on the film industry. Few films have made such an impact. United Artists was sold to MGM, and effectively died. Most importantly, however, it ended the "golden age" for filmmakers. In the 70s, young filmmakers such as Spielberg, Lucas, Coppola, Bogdanovich were given money and essential free-reign to do as they pleased with their films. Not anymore. Not after Heaven's Gate. And to this day, no director holds the power that some did during that golden era. Cultural and historical value? I think fucking yes.
Love it or hate it, this is a film of massive culture and historical value. Produced on a budget of somewhere around $45 million, it grossed only $3 million domestically, collapsed United Artists, and destroyed the career of Michael Cimino (The Deer Hunter). Critically derided and a financial failure at the time of its release, Heaven's Gate was an utter disaster. In recent time, some critics have come to its defense, though it still holds a mere 41% on RottenTomatoes. Most importantly, however, is it's impact on the film industry. Few films have made such an impact. United Artists was sold to MGM, and effectively died. Most importantly, however, it ended the "golden age" for filmmakers. In the 70s, young filmmakers such as Spielberg, Lucas, Coppola, Bogdanovich were given money and essential free-reign to do as they pleased with their films. Not anymore. Not after Heaven's Gate. And to this day, no director holds the power that some did during that golden era. Cultural and historical value? I think fucking yes.
Christmas Story, A (1983) (**1/2)
Initially overlooked at the time of its release (and exactly how many classic films have suffered the same at their inception - MANY), eventually it became a sleeper hit, to the point that every 80s/90s child saw this movie. Even those not in such a category saw this film. It's on at least one cable station at any given time for the two weeks surrounding Christmas to this day. TNT runs it for 24 hours straight, dubbed "24 Hours of A Christmas Story." It's routinely ranked as the best Christmas film of all time. It's a classic, and will exist in the hearts and minds of anybody who has seen it - for many, it holds a great nostalgic value.
Risky Business (1983) (***1/2)
Who doesn't remember Tom Cruise dancing around in his underwear? Not that it was the highlight of the movie for me, but I bet many people remember it. Or driving his father's Porsche off the dock into Lake Michigan? Risky Business is a classic, a film to be preserved, remembered, and respected. It's hilarious with a heart. It's teenage brilliance at its finest.
A Nighmare on Elm Street (1984) (***1/2)
Who doesn't remember Tom Cruise dancing around in his underwear? Not that it was the highlight of the movie for me, but I bet many people remember it. Or driving his father's Porsche off the dock into Lake Michigan? Risky Business is a classic, a film to be preserved, remembered, and respected. It's hilarious with a heart. It's teenage brilliance at its finest.
A Nighmare on Elm Street (1984) (***1/2)
Name me one person who doesn't know who Freddy Krueger is. This is not the first, nor second, in a long line of slasher films, but a magnificent leap forward for Wes Craven, and a huge horror hit. It spawned a terrible sequel starring Rooney Mara and Jackie Earle Haley. It's a classic, through and through.
Ghostbusters (1984) (***)
Honestly? Explanation needed? Fuck you if you do.
The Breakfast Club (1985) (****)
Same as above. If you need an explanation, go fuck yourself.
Blue Velvet (1986) (****)
Perhaps the definitive David Lynch film (alright, along with Mulholland Drive, but Blue Velvet actually makes sense). This is a disturbing, creepy, stylish film that's a undeniable classic. Couple a severed ear and bizarre sexual material with a fantastic Dennis Hopper performance, and you've got a film where the phrase "PABST BLUE RIBBON!" will never be forgotten. Plus, who can forget this scene involving Roy Orbison's "In Dreams":
http://www.youtube.com/watch?v=5-DjluKLY14
Die Hard (1988) (***1/2)
One of the most classic action films of all time, along with Lethal Weapon and The Terminator (currently in the NFR). The career-launching and -defining role of Bruce Willis. #39 AFI Top 100 Thrills. Hans Gruber, #46 AFI Top 100 Villains. And "yippie-kay-yay motherfucker!" A cultural landmark of a film.
Perhaps the definitive David Lynch film (alright, along with Mulholland Drive, but Blue Velvet actually makes sense). This is a disturbing, creepy, stylish film that's a undeniable classic. Couple a severed ear and bizarre sexual material with a fantastic Dennis Hopper performance, and you've got a film where the phrase "PABST BLUE RIBBON!" will never be forgotten. Plus, who can forget this scene involving Roy Orbison's "In Dreams":
http://www.youtube.com/watch?v=5-DjluKLY14
Die Hard (1988) (***1/2)
One of the most classic action films of all time, along with Lethal Weapon and The Terminator (currently in the NFR). The career-launching and -defining role of Bruce Willis. #39 AFI Top 100 Thrills. Hans Gruber, #46 AFI Top 100 Villains. And "yippie-kay-yay motherfucker!" A cultural landmark of a film.
Big (1988) (***)
Tom Hank's breakout role, and first Oscar nomination. While these days this story is fairly shopworn (inspiring such films as 13 Going on 30 among others), it was inventive at the time and received virtually universal acclaim at the time of its release. Its status as a funny, smart, and sweet story about child- and adulthood hasn't withered one bit. #42 AFI 100 Laughs, #10 AFI Top 10 Fantasy Films, not to mention: "okay, but I get to be on top."
Glory (1989) (***1/2)
Nominated for 5 Academy Awards (with Denzel Washington winning), this is the true story of the 54th Massachusetts Infantry, the first official entirely African-American infantry unit, and their assault on Fort Wagner which, while unsuccessful, spurred extreme encouragement in the recruitment of black soldiers. The epilogue notes that President Lincoln considered the recruitment of black soldiers key for the Union victory. And this is the story of the men who paved that road.
Tom Hank's breakout role, and first Oscar nomination. While these days this story is fairly shopworn (inspiring such films as 13 Going on 30 among others), it was inventive at the time and received virtually universal acclaim at the time of its release. Its status as a funny, smart, and sweet story about child- and adulthood hasn't withered one bit. #42 AFI 100 Laughs, #10 AFI Top 10 Fantasy Films, not to mention: "okay, but I get to be on top."
Glory (1989) (***1/2)
Nominated for 5 Academy Awards (with Denzel Washington winning), this is the true story of the 54th Massachusetts Infantry, the first official entirely African-American infantry unit, and their assault on Fort Wagner which, while unsuccessful, spurred extreme encouragement in the recruitment of black soldiers. The epilogue notes that President Lincoln considered the recruitment of black soldiers key for the Union victory. And this is the story of the men who paved that road.
When Harry Met Sally (1989) (***1/2)
The classic go-to romantic comedy. Friends and sex. Does it work? This an absolute classic, nominated for several Oscars, and sure to go down in the pantheon of great romantic comedies forever and for always.
The classic go-to romantic comedy. Friends and sex. Does it work? This an absolute classic, nominated for several Oscars, and sure to go down in the pantheon of great romantic comedies forever and for always.
JFK (1991) (****)
A wonderfully acted, brilliantly directed, miraculously edited piece of history-based film. Winning two Oscars out of eight nominations (including Best Picture). It was extremely popular, and due to it's popularity, it led to the JFK Act and the creation of the U.S. Assassinations Records Review board, who worked, interviewing witnesses and reviewing records materials, until 1998. It also led to the release of many previously classified documents to the public. Putting aside the historical nature of the film's narrative, how's that for a cultural impact?
Reservoir Dogs (1992) (***1/2)
A wonderfully acted, brilliantly directed, miraculously edited piece of history-based film. Winning two Oscars out of eight nominations (including Best Picture). It was extremely popular, and due to it's popularity, it led to the JFK Act and the creation of the U.S. Assassinations Records Review board, who worked, interviewing witnesses and reviewing records materials, until 1998. It also led to the release of many previously classified documents to the public. Putting aside the historical nature of the film's narrative, how's that for a cultural impact?
Reservoir Dogs (1992) (***1/2)
One of the most influential films of the 90s, along with Tarantino's own Pulp Fiction. Need more be said?
Dazed and Confused (1993) (****)
This is a film about a time. An attitude. A way of life. The beginning of summer. Hanging out, drinking beer, and smoking some weed. It's exemplary of early 70s high school hangouts, and a wonderful film at that. It's about growing up, growing down, and trying to find your place in the middle.
This is a film about a time. An attitude. A way of life. The beginning of summer. Hanging out, drinking beer, and smoking some weed. It's exemplary of early 70s high school hangouts, and a wonderful film at that. It's about growing up, growing down, and trying to find your place in the middle.
Philadelphia (1993) (****)
The first commercial film to openly deal with homosexuality and AIDS. A landmark film in the progress of human history. Up until this film, AIDS patients were treated as a form of a leper. No one wanted to be around them. No one wanted to touch them. This film brought to the mainstream the facts that many others films would not: AIDS is not as contagious as you think; gay people are the same as the rest of us; and discrimination in the workplace is a common problem that needs to be addressed.
Clerks (1994) (***1/2)
Maybe not as groundbreaking as its predecessor: "Slackers" or the brilliance of film that post-dated it: Pulp Fiction. But it's no secret Kevin Smith was highly inspired by "Slackers" and built a ground-breaking, revolutionary film about doing nothing in a convenience store, while still entertaining audiences, around the idea of "Clerks." Say what you want about Smith the director, he's a great writer (his best work to appear in Chasing Amy and Red State), and he took storm of an era where few filmmakers were privileged enough to even make a film. Not that Smith had much money - that's the beauty. He put everything he had into Clerks, and it paid off in spades. A ground-breaking independent film that, along with Pulp Fiction, created a new generation of film.
Pulp Fiction (1994) (****)
This is another film that I feel I have no need to defend in its preservation of film culture. This film was a phenomenon in the 90s (though I shall admit, I was not old enough to experience its true impact at the time of release). But ever since, it has been the pinnacle of 90s indie film. Countless independent films tried to "copy" its success. One of the few "Pulp Fiction" like films that was successful was "Go" : a great, but not so landmark film of its own.
Pulp Fiction practically defined 90s independent cinema, along with Clerks. But Pulp Fiction was the blockbuster that made it. Its pop-culture references, great soundtrack, and wonderful dialogue launched it to one of the best films of all time. In fact, #4 on the IMDB top 250, just 3 behind the #1 of The Shawshank Redemption. 1994 was a year to celebrate.
Shawshank Redemption (1994) (****)
Need I honestly explain the cultural impact of this film? It's existed at the top of the IMDB Top 250 for as long as I've known. It's one of the most universally recognized and beloved films. I don't think I need to offer an explanation as to why this film should be preserved. Someone tell me why it SHOULDN'T.
People Versus Larry Flynt, The (1996) (****)
Cultural value? Historical? Fuck yeah. This is the true story of a man from Nowhereville, Kentucky who built an empire, was arrested numerous times for his work, and took his battle all the way to the Supreme Court, ending in an a decision that will echo forever in American history. Like what Larry Flynt did or not, he fought for freedom of speech. He fought for basic American rights. No question this film should be preserved for it's cultural and historical value. Ironic that it took a Czech like Milos Forman to remind us that freedom of speech isn't selective to what we like and what we don't - it applies to everyone and everything.
Cultural value? Historical? Fuck yeah. This is the true story of a man from Nowhereville, Kentucky who built an empire, was arrested numerous times for his work, and took his battle all the way to the Supreme Court, ending in an a decision that will echo forever in American history. Like what Larry Flynt did or not, he fought for freedom of speech. He fought for basic American rights. No question this film should be preserved for it's cultural and historical value. Ironic that it took a Czech like Milos Forman to remind us that freedom of speech isn't selective to what we like and what we don't - it applies to everyone and everything.
Good Will Hunting (1997) (****)
"How do you like 'dem apples?" This is a brilliant film about a brilliant young man. A young man who'd rather work as a janitor, or construction, than follow his boundless talents. A strong performance coupled with a wonderful Oscar-winning performance from Robin Williams makes for a heartfelt, expertly-written American classic.
Rainmaker, The (1997) (****)
Francis Ford Coppola. Matt Damon, in one of his earliest (if not THE earliest) starring role. Danny DeVito, Claire Danes, Danny Glover, John Voight, Roy Scheider, Virginia Madsen, Mickey Rourke, and Teresa Wright (in her final film appearance). An incredible cast, and a wonderful film. Barely making its $40 millon budget back at the box office, this wasn't a commercial hit. But it spoke to some very true, accurate issues that are, to this day, still issues. It revolves around a young lawyer, taking on a case against Great Benefit Insurance. His client? A sickly boy with leukemia, who was denied coverage by Great Benefit. Fucking insurance companies. The film deals with his legal battles with this company, their faults and general disregard for human life in favor of a few more dollars; it is a film of the time, and still a film for our time.
Titanic (1997) (**)
Okay, so I'm not the biggest fan of Titanic. I think it has solid performances, but the dialogue is atrocious (as is most of James Cameron's dialogue), and the film's melodrama makes me gag sometimes. I don't hate it, but I don't love it. However, its cultural influence and impact is undeniable. The highest grossing film at the time (unadjusted), and now the second highest grossing film behind Avatar, this film was a massive success when released - winning an record 11 Oscars out of 14 nominations, it still stands as the most winning and most nominated film in Academy history. Beyond that, the technical advancements made by Cameron were groundbreaking. It cannot be denied as an amazingly important film.
"How do you like 'dem apples?" This is a brilliant film about a brilliant young man. A young man who'd rather work as a janitor, or construction, than follow his boundless talents. A strong performance coupled with a wonderful Oscar-winning performance from Robin Williams makes for a heartfelt, expertly-written American classic.
Rainmaker, The (1997) (****)
Francis Ford Coppola. Matt Damon, in one of his earliest (if not THE earliest) starring role. Danny DeVito, Claire Danes, Danny Glover, John Voight, Roy Scheider, Virginia Madsen, Mickey Rourke, and Teresa Wright (in her final film appearance). An incredible cast, and a wonderful film. Barely making its $40 millon budget back at the box office, this wasn't a commercial hit. But it spoke to some very true, accurate issues that are, to this day, still issues. It revolves around a young lawyer, taking on a case against Great Benefit Insurance. His client? A sickly boy with leukemia, who was denied coverage by Great Benefit. Fucking insurance companies. The film deals with his legal battles with this company, their faults and general disregard for human life in favor of a few more dollars; it is a film of the time, and still a film for our time.
Titanic (1997) (**)
Okay, so I'm not the biggest fan of Titanic. I think it has solid performances, but the dialogue is atrocious (as is most of James Cameron's dialogue), and the film's melodrama makes me gag sometimes. I don't hate it, but I don't love it. However, its cultural influence and impact is undeniable. The highest grossing film at the time (unadjusted), and now the second highest grossing film behind Avatar, this film was a massive success when released - winning an record 11 Oscars out of 14 nominations, it still stands as the most winning and most nominated film in Academy history. Beyond that, the technical advancements made by Cameron were groundbreaking. It cannot be denied as an amazingly important film.
Big Lebowski, The (1998) (****)
The Dude abides. Overlooked at the time of its release (some even walked out of the theatre), it has since gone on to become one of the most famous of cult-classics. As Roger Ebert wrote, "The Big Lebowski is about an attitude, not a story." And that it is. It's about a man who takes life as it comes, loves his White Russians and weed, and remains chill throughout the entire course of events he encounters. How he manages to pay rent in LA is beyond me, but it matters not. The Dude represents a part of all of us; a part that we sometimes succumb to, a part that sometimes we wish we could embellish in, but ultimately, we can't all be The Dude.
The Dude abides. Overlooked at the time of its release (some even walked out of the theatre), it has since gone on to become one of the most famous of cult-classics. As Roger Ebert wrote, "The Big Lebowski is about an attitude, not a story." And that it is. It's about a man who takes life as it comes, loves his White Russians and weed, and remains chill throughout the entire course of events he encounters. How he manages to pay rent in LA is beyond me, but it matters not. The Dude represents a part of all of us; a part that we sometimes succumb to, a part that sometimes we wish we could embellish in, but ultimately, we can't all be The Dude.
Saving Private Ryan (1998) (****)
Often referred to as one of the most accurate depictions of World War II, especially the opening scene, Spielberg created a masterpiece in Saving Private Ryan. Veterans from the war were reported to have wept when they saw the movie and how accurate it is to the realities of war. Spielberg pulls no punches - he shows us the gruesome, terrifying, and destructive nature of war. A historically significant film with much to say.
Often referred to as one of the most accurate depictions of World War II, especially the opening scene, Spielberg created a masterpiece in Saving Private Ryan. Veterans from the war were reported to have wept when they saw the movie and how accurate it is to the realities of war. Spielberg pulls no punches - he shows us the gruesome, terrifying, and destructive nature of war. A historically significant film with much to say.
American Beauty (1999) (****)
A perfect film. An ensemble created around a protagonist in Kevin Spacey. The writing is brilliant, the direction is perfect, and the cinematography is outstanding. Balanced and even, it evokes the trueness, as well as the depression, of modern suburbia. The performances are beyond outstanding, especially those from Spacey and Bening. Nominated for eight Oscars, winning five including Best Picture, Actor, Director, and Screenplay. A true American masterpiece.
Blair Witch Project, The (1999) (***)
*The* film that launched the seemingly endless string of "mockumentary"/found-footage horror films. Sure, there was Cannibal Holocaust, but who saw that? What other BLOCKBUSTER popularized the found-footage sub-genre? The Blair Witch Project changed film forever, like it or not.
Fight Club (1999) (*1/2)
Another one of those twist endings. Let's be clear. I don't like Fight Club. I actually dislike it a good deal. The first act is brilliant, the second is a portal into teenage male fantasy, and the third is nothing more than outright trickery, undermining all that came before.
But, this list isn't about my favorite films. It's about films that have made an impact. And while Fight Club was initially not so popular, it's since become a cult classic, resting at #11 on the IMDB top 250. Say what you want about it (I say many things), it launched a new era of filmmaking for David Fincher, and is without a doubt one of the most recognizable films in recent history.
Matrix, The (1999) (**1/2)
Let's get one thing clear. I don't like The Matrix that much. I'm not a huge sci-fi fan. It's not a bad movie, but like Titanic, I don't love it as many do. But The Matrix was a visual revolution, greatly talked about at the time, and, as far as I know, essentially created "bullet time," which has been (over)used in many, many films since.
Sixth Sense, The (1999) (****)
Were there films with twist endings before this one? Hell yeah. The earliest example I've *seen* is The Cabinet of Dr. Caligari. Also, Citizen Kane. Les Diabolique. The Sting. Seven. Fight Club. Just to name a very few in the pantheon of film history. But it was this film that inspired countless successive films to try the same tricks (few were done as well). Not to mention, who doesn't recognize the line "I see dead people"?
Were there films with twist endings before this one? Hell yeah. The earliest example I've *seen* is The Cabinet of Dr. Caligari. Also, Citizen Kane. Les Diabolique. The Sting. Seven. Fight Club. Just to name a very few in the pantheon of film history. But it was this film that inspired countless successive films to try the same tricks (few were done as well). Not to mention, who doesn't recognize the line "I see dead people"?
Lord of the Rings: The Fellowship of the Ring, The (2001) (***1/2)
Plain and simple: this film was a visual revolution. It's the 26th highest grossing film of all time worldwide, nominated for 13 Academy Awards (winning 4), and is well known in world-culture, to even those who haven't seen it.
Plain and simple: this film was a visual revolution. It's the 26th highest grossing film of all time worldwide, nominated for 13 Academy Awards (winning 4), and is well known in world-culture, to even those who haven't seen it.
Waking Life (2001) (****)
A visual masterpiece. This isn't the the first film to employ rotoscoping (used as early at 1915, and Disney used it in 1937's Snow White and the Seven Dwarfs. It was used in numerous films over the years, until Linklater took it to a new level, using rotoscoping to create a dream-like effect (all too appropriate for this film). Linklater filmed entirely on camcorders, and then used the rotoscoping process to create this end result, which is not only a meditation on dreams, life, death, the in-between, and existence itself, but also a stunningly gorgeous film.
And here are a few of the films (without explanations) that I imagine, when eligible, I will be submitting to the Registry for consideration. Why? I can see each of these films being culturally, historically, or aesthetically significant in time. We'll see where history takes us.
Avatar, The Hurt Locker, Eternal Sunshine of the Spotless Mind, The Dark Knight, Where the Wild Things Are, The 40-Year Old Virgin, Borat, The Pianist, Good Night and Good Luck, Capote, Up in the Air, Catch me if you Can, The Lord of the Rings: Two Towers and Return of the King, The Social Network, Sin City, Brokeback Mountain, Lost in Translation, There Will Be Blood, No Country for Old Men
A visual masterpiece. This isn't the the first film to employ rotoscoping (used as early at 1915, and Disney used it in 1937's Snow White and the Seven Dwarfs. It was used in numerous films over the years, until Linklater took it to a new level, using rotoscoping to create a dream-like effect (all too appropriate for this film). Linklater filmed entirely on camcorders, and then used the rotoscoping process to create this end result, which is not only a meditation on dreams, life, death, the in-between, and existence itself, but also a stunningly gorgeous film.
And here are a few of the films (without explanations) that I imagine, when eligible, I will be submitting to the Registry for consideration. Why? I can see each of these films being culturally, historically, or aesthetically significant in time. We'll see where history takes us.
Avatar, The Hurt Locker, Eternal Sunshine of the Spotless Mind, The Dark Knight, Where the Wild Things Are, The 40-Year Old Virgin, Borat, The Pianist, Good Night and Good Luck, Capote, Up in the Air, Catch me if you Can, The Lord of the Rings: Two Towers and Return of the King, The Social Network, Sin City, Brokeback Mountain, Lost in Translation, There Will Be Blood, No Country for Old Men
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