The PG Cooper List Thread: Gamer Days

I love The Road Warrior.

12. Princess Mononoke (1997) – Watched April 24th


I don’t worship at the altar of Miyazaki the way many do, but when the man is on, he is a force to be reckoned with. Princess Mononoke is one of the man’s most revered films and it is deserving of that status. This is a grand, epic film of creativity, beauty, and inspiration. The story is cool with many sides working toward different ends and I like how the characters are archetypical while still feeling unique, but the real star here is the visuals. Not only is the animation used to bring this world to life technically brilliant and impressive, but the designs are just beautiful. This is a very unique and unforgettable world and indeed half the fun of the film is just exploring what Miyazaki has created. The film also boasts one of my favourite scores of all-time. It’s heroic, epic, and beautiful, just like the film. This film transcends being just an adventure story, but is also a rumination on nature and I think it expresses Miyazaki’s own vision quite well, not unlike something I’d expect from Akira Kurosawa or Terrence Malick. I do think this movie has some holes mind you, the final scene seems a bit too happy go-lucky for my tastes for example. However the sheer enormity and power of what this movie does well more or less destroys any objections I have.

“You cannot change fate. However, you can rise to meet it, if you so choose.”

11. Hustle and Flow (2005) – Watched May 3rd


I think one of the biggest cinematic surprises I had in 2014 is when a song called “It’s Hard Out Here for a Pimp” moved me to tears, but such was the case with Hustle and Flow. This is an excellent and underrated film about the power of music that anyone, regardless of musical preference, should connect with on some level. On an immediate level, this is the story of DJay (Terrence Howard), a pimp in Memphis with ambitions of being a successful rapper. This isn’t just a rags to riches story though, but the story of a man who finds greater purpose through his art, which could improve not only his own life, but the people around him as well. Indeed, a major theme of the film is the way that music unites a seemingly disparate group of people and it’s honestly beautiful to see. Additionally, I really like all these characters. They’re all flawed to some degree or another, but they also seem like good people deep down and I really rooted for them. All of the actors give strong performances, but this is Terrence Howard’s movie and it’s honestly a shame he hasn’t really come close to work this good since. This is one of the most inspiring movies I’ve seen in some time.

“I’m here trying to squeeze a dollar out of a dime, and I ain’t even got a cent man.”

10. Make Way for Tomorrow (1937) – Watched December 21st


Leo McCarey is mostly known for directing light comedies and romances, but is greatest and most enduring work is almost certainly Make Way for Tomorrow, which is certainly not light. The film is set during The Great Depression and follows an elderly couple who lose their homes with each going to live with a different one of their adult children. However their presence is quite the burden on their young children and the two find themselves longing for each other’s company. The film is a subtle tragedy about ageing and gradually being left behind by the world. What makes this content so sad is that the film does not treat this in a melodramatic or overdone fashion, but rather an inevitable thing that just happens. Eventually you get old, you become irrelevant, and a burden. It’s a depressing thought, but the depiction feels honest and real. The central performances from Beulah Bondi and Victor Moore are great. They’re sympathetic, but they’re also flawed themselves and there are times where you sympathize with the children and their frustration. The last third of the film is a bit unrealistic as the two eventually have one great afternoon, but it’s so emotionally moving that it really works. The scene makes one feel good, but there is an underlying sadness that runs through the moment. Make Way for Tomorrow is a film of subtle tragedy and the fact that this came from a major Hollywood studio in the 1930s is shocking to me.

“When you’re seventeen and the world’s beautiful, facing facts is just as slick fun as dancing or going to parties, but when you’re seventy… well, you don’t care about dancing, you don’t think about parties anymore, and about the only fun you have left is pretending that there ain’t any facts to face, so would you mind if I just went on pretending?”

9. Kramer vs. Kramer (1979) – Watched April 30th


This seems one of the least celebrated Best Picture winners and the only reason I can think of is because it beat Apocalypse Now. It’s a shame because Kramer vs. Kramer is a truly great film. The story is focused on a family of three that is split apart when Joanna (Meryl Streep) finds herself unhappy and leaves, leading to Ted (Dustin Hoffman) having to improve himself as a father for young son Billy (Justin Henry). Kramer vs. Kramer is a domestic drama which finds its success in honesty. Writer/director Robert Benton never turns either parent into a villain. This is not a movie about taking sides, but about sitting back and observing the human drama unfold. Both parents are equally flawed in their own ways and both also strive to be better people. The performances are excellent, with both Dustin Hoffman and Meryl Streep giving tremendous turns as the two ordinary people they play, and the young Justin Henry is also quite good. The film is full of really well-executed scenes some of which are very dramatic and emotional, but also scenes of simple pleasures and fun which worked very well. This is also a film which really got to me on an emotional level and I imagine most can relate to this one some level or another.

“You put that ice cream in your mouth and you are in very, very, VERY big trouble.”

8. A Separation (2011) – Watched March 22nd


A Separation was a critical darling when it was released in 2011 and I, unfortunately, was never able to get to it. However I finally rectified that in 2014 and the film definitely lived up to the massive praise. At the start, the film focuses on an Iranian couple on the verge of divorce. Simin (Leila Hatami) wishes to leave the country in the hopes of finding better opportunities for their daughter, while Nader (Peyman Mooadi) wants to stay and tend to his elderly father. Though this is the initial set-up for the film, things quickly take a dark turn that I dare not spoil. Suffice it to say said turn totally changes the dynamics of the film while simultaneously heightening the tensions between the film’s central couple. After this, the film begins to ask some really tough and engaging questions as more and more turns enhance the complexity of the situation. It’s riveting and intense to see unfold and the film also says a lot about relationships and class divisions. Asghar Faradi shoots the film with minimal tech, but it’s clear the man has a strong grasp on what he’s doing, the writing is top-notch, and every actor plays their part quite well. This isn’t a movie which overwhelms with its brilliance, but upon analysis it’s clear this is a complete work.

“What is wrong is wrong, no matter who said it or where it’s written.”

7. Sunshine (2007) – Watched January 7th


Danny Boyle is a great and important modern filmmaker, and Sunshine might just be his best film. In the future, the sun is slowly dying, thus a group of astronauts are sent with a bomb to reignite the sun and save humanity. This is the kind of epic, big idea science-fiction that I can’t help but love. Visually, the film is a marvel of excellent special effects and I also love the visual design of the ships. Concepts like the Oxygen Garden are just awesome and logical. On a visceral level, the film works quite well thanks to awesome set-pieces like an early ship repair, airlock jumping, and the final chase. Boyle’s kinetic style is used here, but is also more reigned in to match the more restrained tone. Additionally, I really like the characters and watching them interact. This is essentially a bottle film, with this large group of people being trapped together in one ship. The tensions and dynamics that emerge between each character is excellent and probably the secret reason the movie is so good. Chris Evans is especially great as the logical and driven Mace, who just wants to see the mission complete. Sunshine is also a film about spirituality, God, and the unknown. Oh and that score? Beautiful.

“So if you wake up one morning and it’s a particularly beautiful day, you’ll know we made it.”

If you don't mind my asking, what's your beef with him?

I don't have a beef with him.
I didn't think he was good for the part.
I liked him in Jack Reacher, War of the Worlds, Minority Report, Jerry MaGuire, And I really liked Collateral. (just to name a few)

But I think he wasn't right for Legend, this one, The Last Samurai, or Valkyrie.

I meant in Born on the Fourth of July in particular. I didn't think you had a grudge against Tom, haha.

It's been a long time - I just remember thinking "that's Tom Cruise"  - you know how some actors meld into the part and you kind of forget it's them? That's the sign of a really good match from actor to character - this wasn't for me

Spike Lee once said he's not upset Do the Right Thing wasn't nominated for Best Picture, he's just upset Driving Miss Daisy won.

Tom Cruise should have been nominated, and probably won, for Rain Man. Dustin Hoffman is the supporting player in that movie, not Cruise. That's another annoying that about the Academy Awards. They don't classify things properly.

I think an argument could be made that they were co-leads, but Cruise definitely wasn't supporting. That kind of thing happens a lot actually.