The PG Cooper List Thread: Gamer Days

3. Buried Alive (Watched October 31st)


The only reason I even watched this schlock was because it was a drunken Halloween themed, Riffrax style viewing. In that context, the film was fun, but there’s no denying that the direction is amateurish and the acting is uniformly horrible. Objectively speaking, this is probably the worst thing I saw all year, but given the low-budget and the lack of any real professionals, it gets a bit of a boost.

2. Texas Chainsaw 3D (Watched October 31st)


Immediately following Buried Alive, my friends and I popped in this turd for more Halloween schlock. Texas Chainsaw 3D is meant to be a direct sequel to Tobe Hooper’s original classic, but the connections are pretty poor. Case in point, the film is meant to be set twenty years after the original (which would make it 1994) yet the film clearly takes place in the 2010s. A simple rewrite could have fixed this problem entirely, but no action was taken. Given how little the filmmakers seem to care about their world or story, why should any audience? Anyway, the film is a blatant example of a cash grab based on name recognition and the film offers little outside of watching a few teenagers get killed. I’m not necessarily above slasher movie thrills, but there really isn’t any creativity here and the film doesn’t come anywhere close to the outright horror of the original film. The third act of the film becomes especially stupid.

1. Fanny (Watched February 20th)


Fanny is adapted from a Broadway musical but the film removes all of the songs. So what’s left is a film with the thin story and characterizations that often plague terrible musicals, but it doesn’t even have the songs to keep things going. And yet, in spite of the lack of content, the film still runs an incredibly painful two hours and fifteen minutes. I’m not usually one to bitch about runtime, but there is nothing going on here. The film is very poorly directed and is just a chore to sit through. The other films in my top five are all terrible, but at least there interesting in their awfulness. Fanny lacks anything of interest and is just a bore.

The Top 30 Best Non-2015 Films I Saw for the First Time in 2015

I’m probably living in a golden age of my own film viewing. Going into 2015, I had already seen dozens of major classics as well as some less appreciated gems which I found to be tremendous works all the same. At the same time, there was enough awesome stuff that I hadn’t seen, to the point where I can compile a list of 30 great films watched for the first time last year and still have to make some hard cuts. Like the last list I posted, the list will not consider films released in 2015, nor will it consider 2014 films I only caught in their theatrical run in 2015. So, without further ado, my top 30 films viewed for the first time in 2015 that were not released in 2015.

30. A Tale of Two Cities (1935) (Watched September 27th)


I’ve made it a personal goal to see every film nominated for the Best Picture Oscar and it’s been something of a mixed journey. The 1930s in particular feature nominees of varying quality, but every so often I’ll come across something special. This adaptation of A Tale of Two Cities is certainly among the better nominees of the decade. The film has a really epic scope, large production value, some great scenes, and it actually handles it’s themes with surprising maturity and grace. It’s not exactly a perfect film, the ending doesn’t quite hit the tone as well as it could have for example, but for the most part this is a fine example of Hollywood production standards being applied to a story with genuine weight.

“It’s a far, far better thing I do than I have ever done. It’s a far, far better rest I go to than I have ever known.”

29. Chimes at Midnight (Watched May 18th)


In the summer, TCM ran a monthly spotlight on the work of Orson Welles and I was able to catch on some of the man’s less famous directorial efforts. I saw some cool stuff, but Chimes at Midnight was far and away the best of all the films I saw. The film actually borrows from five different Shakespeare plays, but instead focuses on minor character John Falstaff. Welles himself stars as Falstaff, and he excels in the role of the overweight and crude knight. As a director, Welles really skillfully works around the budgetary limitations, creating a film which has a suitably epic scale, but also a very gritty feel. This is best emphasized in the film’s most famous scene; a large scale battle with effectively portrays brutal violence. It’s certainly a dramatic film, but it can also be highly comedic and is in fact the funniest Shakespeare film I’ve seen.

“Uneasy lies the head that wears a crown.”

28. All That Heaven Allows (Watched November 9th)


All That Heaven Allows would be a good film with just its surface details. It’s an engaging melodrama with some strong acting (particularly from Jane Wyman), beautiful music, and really vivid colour cinematography. But what propels the film to greatness is the subtext. The film is not just a doomed romance, but really about 50s suburbia and sexism. The conflicts which befall Jane Wyman’s character all tie into societal pressures and expectations, some explicitly said (i.e. a middle-aged widow shouldn’t marry a younger man), and some merely implied (i.e. a woman’s place is in the home). Douglas Sirk does an excellent job incorporating these elements into the film and it’s sad just how many of these pressures and sexist thoughts still prevail in modern society. I do think the film leans a bit close to Hollywood conventions in the third act and away from the thematic resonance, but the film remains an accomplishment.

“No, Cary, you’re the one who made it a question of choosing, and now you’ll have to choose.”

Apparently he had to lose weight for the role.

27. Umberto D. (Watched January 1st)


Umberto D. was one of the first films I watched in 2015 and it has stuck with me since. I think the secret to Vittorio De Sica’s success is his use of relatable micro stories to address macro problems and Umberto D. is a fine example of this. Through the film, De Sica tackles social and political strife in the Italy of the early 1950s through the experiences of a middle-aged man struggling in poverty. The film uses the same neo-realist visual aesthetic De Sica made famous with The Bicycle Thieves and it lends a lot to the setting and themes. The non-actor performances are naturalistic and effective, particularly the lead turn from Carlo Battisti in the titular role. Indeed, Umberto himself is really the highlight of the film and his struggle is palpable. The third act in particular is really powerful. The more I think about this film the more I wanna see it again.

“Everyone takes advantage of the ignorant.”

26. East of Eden (Watched December 27th)


This was actually the last non-theatrical film I saw in 2015 and the fact that it was able to lock a spot on this list so quickly is itself impressive. Based on the John Steinbeck novel, East of Eden looks at a dysfunctional family in the California of the early 20th century. The key to the drama is how well-drawn all of the characters are. Everyone has relatable motives and feelings, even when they’re on opposing sides. Elia Kazan draws great performances out of his cast and James Dean in particular gives one of his most amazing turns. The cinematography is also excellent. Like All That Heaven Allows, I do think the film leans into its melodrama a bit much in the end, but also like that Sirk film, this is one of the best examples of what 1950s Hollywood cinema could be with skill and ambition.

“I don’t want any kind of love anymore. It doesn’t pay off.”

25. The Hidden Fortress (Watched September 30th)


The Hidden Fortress was meant to be a more light hearted and fun film after Kurosawa had dealt with such heavy themes in previous films. The film is certainly lighter than something like Throne of Blood, but this isn’t empty escapism either. In fact the film is a prime example of Kurosawa’s ability to mix adventure stories with greater thematic resonance. The core story involves some peasants, a princess and her bodyguard, and an adventure as the four venture through enemy infested territory. It’s an engaging tale with an adventurous tone, some fun battles, and great cinematography. However the film also looks at class conflict, particularly the relationship of common people to royalty. It may not be quite as deep as some of Kurosawa’s top pictures, but there’s still thematic material to latch onto and the film on the whole is very entertaining.

“Hide a stone among stones, and a man among men.”

24. My Man Godfrey (Watched June 10th)


Though regarded as something of a classic, My Man Godfrey isn’t really placed in the pantheon of great slapstick comedies. It definitely should be though because this film is hilarious, very fun, and maybe my favourite of the genre. The story involves a hobo who is made the butler of a rich and dysfunctional family. The film has the great dialogue one expects from slapstick comedy and its brought to life by a hell of a cast. William Powell is one of the great comedic actors of the 1930s and he and Carole Lombard really are great together. I also love Eugene Pallette’s performance as the fed up patriarch of the family and he’s counter-acted greatly by Alice Brady’s turn as a ditsy mother. Gail Patrick also creates a surprisingly effective villain and the film as a whole moves with a tremendous energy. And again, I must restate that this is a very funny film.

“All you need to start an asylum is an empty room and the right kind of people.”

23. Peeping Tom (Watched April 2nd)


In 1960, two renowned British filmmakers each made a boundary pushing horror movie about a disturbed and violent murderer. One of these filmmakers was Alfred Hitchcock, whose Psycho became one of the most popular films of all-time and is probably the most iconic of the director’s career. The other filmmaker was Michael Powell, whose Peeping Tom all about destroyed the legendary auteur’s career. The film is an extremely effective work of horror filmmaking. An air of tension and dread pervades over the film and Powell, a known master of technicolour, uses colour in a very unsettling way here. They’re a lot darker than his films are known for. Beyond that though, its themes of voyeurism and sexual violence are well-explored and the film also works as a fascinating metaphor for the dark side of filmmaking. It may have halted the work of a great filmmaker, but at least critics and audiences have come to see the value in this horror gem.

“Whatever I photograph I always lose.”

22. Smiles of a Summer Night (Watched September 7th)


This is not one of Ingmar Bergman’s most talked about films. Perhaps it’s because it came a little to late in his filmography to be lumped into the “early” period, but also predates Bergman’s breakthrough in 1957 with The Seventh Seal and Wild Strawberries. The film is an examination of adultery, but rather than study these themes in a very somber and serious manner, Bergman takes a highly comedic approach. The dialogue is very witty and there are even some physical gags too. This approach proves effective as it underlines the absurdity of these people and their affairs. Also, the film is actually pretty funny too. The film is also really well-shot. The visuals may lack the same power that Bergman and cinematographer Gunnar Fischer would accomplish two years later with The Seventh Seal, but the signs of their brilliance can be found in Smiles of a Summer Night.

“I can tolerate my wife’s infidelity, but if anyone touches my mistress, I become a tiger.”

18. Short Cuts (Watched September 8th)


I’m a huge admirer of the film Magnolia and it was fascinating to finally see its main inspiration; Robert Altman’s Short Cuts. There are ensemble casts, and ensemble casts, and then there’s Short Cuts, which straight up as 20 main characters, many of which played by prominent actors and celebrities. In spite of the stacked cast, really everyone here is in top form and blends nicely. I can’t highlight everyone’s work, but I do wanna single out Tim Robbins, Andie McDowell, Julianne Moore, and Jack Lemmon. Outstanding stuff. The real miracle though is the way Altman is able to balance so many storylines into one cohesive whole. It’s a film that can be both very funny and very sad, as well as being one of Altman’s best pictures.

“I hate L.A. All they do is snort coke and talk.”

17. The Bad Sleep Well (Watched July 14th)


With a lot of really prolific directors, I often begin to worry that I’ve exhausted all of their great films and all I have left to see are efforts ranging from good, to average, to poor. I keep worrying I’ve hit that point with Akira Kurosawa, but every year I see new great works from the legendary Japanese filmmaker. Telling the story of Kōichi Nishi (Toshiro Mifune), a young man seeking vengeance on the corporation which led to his father’s death, the film is another fine example of Kurosawa’s ability to blend entertainment with socially conscious messages. Nishi’s process of vengeance is really well-written and visualized in really exciting ways by Kurosawa, but beneath that lies a pointed attack on corporate culture in Japan, particularly in a post-war society. The film also presents a unique viewpoint on revenge, has surprisingly deep relationships, and features another great turn from Toshiro Mifune.

“They starved you and my father with scraps from their table, killed you as scapegoats, and still you can’t hate them.”

16. Hard Boiled (Watched January 7th)


On a script level, Hard Boiled is really outclassed by the rest of the list. There isn’t much in the way of themes, deep characters, or an involved plot to be found in Hard Boiled, what matters here is the execution, and the action scenes in particular. It isn’t just that the action here is good, or even great, but is straight up some of the greatest action scenes ever filmed. These shootouts are straight up staggering, both in how exciting they are and how much work clearly went into them. The long take scenes in the Hospital during the third act are especially amazing. John Woo also shoots the film with a ton of style and the editing is sharp too.

“Give a guy a gun, he thinks he’s Superman. Give him two and he thinks he’s God.”

I was with you up until Boyz n' the Hood. Eazy E was right about that movie, it's a corny after school special. Menace II Society is the superior 90s "hood movie" by far.

12. Rififi (Watched April 13th)


I love me a good heist film, and Rififi is the one of the gold standards of the genre. The basic premise involves four cons who come together and meticulously plan a caper. This premise has been done many times after, and even before in John Huston’s The Asphalt Jungle (which almost made the list), but Rififi is elevated by the amazing execution. The heist itself is an amazing set-piece, a twenty minute long scene with no music or dialogue, merely the diegetic sound within the room. The scene is gripping throughout, in fact even the slightest sound effect is tense. The film’s third act is also fantastic, where we see everything collapse for this thieves. Jules Dassin was working with a lower budget, but he uses that limitation to give the sense a real sense of grit.

“For a job with you he’ll come. Cesar! There’s not a safe that can resist Cesar and not a woman that Cesar can resist.”

11. Bring Me the Head of Alfredo Garcia (Watched September 8th)


With The Wild Bunch, Sam Peckinpah explored the death of the Wild West. With Bring Me the Head of Alfredo Garcia, Peckinpah presents the possibility that the west never really went away. The land is still ruled by violence, intimidation, and corruption. Even the basic plot of the film, a criminal seeking the head of the titular character as proof of his death, sounds like it could be taken from a western. Instead, the film is set in the 1970s and follows Bennie (Warren Oates), a former soldier who attempts to find the head of Mr. Garcia for the cash promised. The film is as violent as one would expect from Peckinpah, with brutal shootouts often played out in slow motion to really emphasize the loss of life. The third act in particular is amazing, as Bennie undergoes a violent quest in a search for meaning in a meaningless world.

“There ain’t nothing sacred about a hole in the ground or the man that’s in it. Or you. Or me.”

10. Day of Wrath (Watched July 7th)


Day of Wrath was Carl Theodor Dreyer’s first film in eleven years, and yet is made with total mastery. The film’s cinematography is very rich, the music powerful, and the editing patient as the tension slowly builds. The story deals with the relationship dynamics of a family in Denmark during the 1600s, specifically involving a man, his stern mother, much younger wife, and son from a previous marriage. It’s a really gripping story with some fascinating characters and relationships, but the subtext is even greater. The film is set during the witch hunts of the time and the film builds of this to become an examination of hatred, ideology, and religious guilt. There are also a lot of parallels one can draw between the film and Nazi Germany, which is pretty bold given the film was made in 1943. Day of Wrath is a slow burn, but it is a very powerful and thoughtful film which resonates long after it’s over.

“There is nothing so quiet as a heart that has ceased to beat.”

I'd have both Boyz and M2S in the same tier. Classics.

Cooper is into the artsy fartsy porno.

6. The Man Who Shot Liberty Valance (Watched March 24th)


John Ford was one of the titans of classic Hollywood, but as the industry began to change in the 1960s, the man gradually faded away. He still put out some good stuff though, and The Man Who Shot Liberty Valance, though technically not his last film, it may well be his swan song. The film stars John Wayne and Jimmy Stewart as two men who represent different ideals. Wayne represents the old school law of the land types which dominate Western myth, while Stewart represents the civilization and law that would eventually prevail. It’s interesting to watch this tug of war between ideologies and it isn’t as simple as one might think. The film also works as a straight-forward Western which is well-shot, with a memorable villain and exciting action. It isn’t a perfect film mind you. The fact that Stewart is playing a young hot shot lawyer is a bit ridiculous, but the character and themes match Stewart’s on-screen persona perfectly, so I can’t complain too much.

“When the legend becomes fact, print the legend.”

5. Nosferatu: Phantom der Nacht (Watched October 20th)


Today, remakes are generally viewed with disdain by film buffs, and for good reason. However some filmmakers have used remakes as a means of further artistic expression. Werner Herzog’s Nosferatu is one of the best examples of this. Herzog is clearly drawing on the visual aesthetic of F.W. Murnau’s classic, but Herzog also brings his own visual sensibilities to the film. The cinematography is a mix of realism and stylization, and the film also features a haunting score. This approach is wholly appropriate as it legitimizes vampire lore while still maintaining an other worldliness. The visualization of Dracula in Murnau’s film is also perfect for Herzog’s interpretation of character, which sees the Prince of Darkness not as a sexy or mysterious villain, but as a wretched, creepy, and pathetic creature who wants to die. He’s still threatening and scary, but in a different way. Credit is also due to Klaus Kinski for his frightening and complex portrayal of Dracula, and to Isabelle Adjani and Bruno Ganz who also do strong work.

“Time is an abyss… profound as a thousand nights… Centuries come and go… To be unable to grow old is terrible… Death is not the worst… Can you imagine enduring centuries, experiencing each day the same futilities…”

4. Z (Watched April 30th)


Costa-Gavras’ Z comes barrelling at you like a stampede. The film has a tremendous energy, due in large part to the editing, which is very aggressive and intense. There are some really intense set-pieces here, particularly an assassination scene, but the film is much more than just a thriller. In fact, Gavras is just as interested in the investigation carried out by the magistrate as it is the assassination itself. Gavras does not spend too much time spelling out the conflict for the uninitiated, but enough is known to make this story gripping. In fact, the film’s power comes from how universal it is. Themes of political discontent, confusion, and bitterness can be seen in every country and as such this resonates quite strongly. The downbeat ending in particular is brilliantly executed and is exceptionally relevant in an area where so many powerful people seem to get away with their crimes. Even without its political content, Z still excels as a thriller and procedural made with considerable skill and confidence.

“Want to tell them the truth? They’ll live the truth later.”

So...thoughts.

A lot of good movies, I enjoyed reading it.  Not really in too much of a position to tell you that other movies you saw this year were better.