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The Best 25 Movies of the Last 25 Years Part 2

Link to Part One

17. The Social Network (2010)

The finely tuned tandem of director David Fincher and writer Aaron Sorkin create a fascinating examination of the dawn of social media with “The Social Network.” Swirling testosterone mixed with betrayal and the potential of billions of dollars combines to alter the lives of Mark Zuckerberg (Jesse Eisenberg), Eduardo Saverin (Andrew Garfield) and Sean Parker (Justin Timberlake) in ways none of them can imagine as their project, Facebook, shoots off to become a phenomenon the world has never seen before.

16. No Country for Old Men (2007)

A masterpiece of cinematic craft, the Coen brothers create a folk tale from Cormac McCarthy’s source novel. When Llewellyn Moss (Josh Brolin) discovers a bag full of money after a drug deal goes wrong, he runs off, initating a cat and mouse chase that features one of the greatest villains of the modern era in Anton Chigurh (Javier Bardem). Tommy Lee Jones plays the cop chasing the whole situation and who realizes the depths of carnage in the world around him. It is a brilliant examination of violence and the harm it does not just to the perpetrators and victims, but the soul of every man in the community.

15. 12 Years a Slave (2013)

Hollywood had never really made an honest look into the slave trade until Steve McQueen’s immersive “12 Years a Slave”, a film that brought home the horrors of slavery and the crushing weight of its history. Solomon Northrup (Chiwetel Ejiofor) is a free man kidnapped by a couple of journeymen and sold into Southern slavery. His journey takes him across two plantations, one run by a semi-decent man (Benedict Cumberbatch) and one by a sadist (Michael Fassbender). A reminder of the pain and disgrace of slavery in United States history, the film examines how the act of slavery is not just a restriction of freedom, but a perversion of basic human decency.

14. Toy Story 2 (1999)

Perhaps no company has defined the past 25 years more than Pixar. Using ground-breaking CGI technology, the original “Toy Story” changed not only animation, but all filmmaking. The fact that it is a great film is an added bonus. But it is with “Toy Story 2” that Pixar officially became a cinematic powerhouse, with a film that added to the first film’s heart, humor and durability. When toy Woody (Tom Hanks) is stolen by a toy store owner who will sell him to a foreign collector, the rest of the gang (Buzz (Tim Allen), Mr. Potato Head (Don Rickles), Rex (Wallace Shawn) and Slinky Dog (Jim Varney)) will team together and venture out to save him. It is the story of Jessie (Joan Cusack) however that steals the heart of the viewer, a cowgirl toy abandoned by her owner and unsure if she can ever love again. A story about friendship and youth, all the “Toy Story” films are remembered by the child in each of us.

13. Groundhog Day (1993)

A modern day Frank Capra film, “Groundhog Day” takes a comedy premise (What if you lived the same day over and over again?) and imbues it with a deeper quest about life’s purpose and the value of love and community. Phil Connors (Bill Murray) is a grumpy weatherman sent to Punxatawney to cover the annual Groundhog Day ceremony. Phil can’t leave however because he keeps living that same day over and over again. As he falls in love with his producer, Rita (Andie MacDowell), Phil must cope with his seemingly hopeless situation as it drives him to near-insanity. Perhaps Bill Murray’s finest performance, he and director/writer Harold Ramis craft a film that simultaneously makes the viewer laugh, think and love all at the same time.

12. A Separation (2011)

Asghar Farhadi’s “A Separation” is a brilliant interpersonal drama about gender, marriage, responsibility and truth. Nader (Peyman Moaadi) and his wife, Simin (Leila Hatami) are trying to secure a divorce because he doesn’t want to leave the country due to his ailing father while she does. He hires a housekeeper,┬áRazieh (Sareh Bayat), but when Nader’s father nearly dies when he is out, he blames her for negligence and attacks her. As events spiral out of control, the viewer can’t help but think of the state of the globe and the changing dynamics of old world versus new world in it.

11. Spirited Away (2001)

Hayao Miyazaki has been at the forefront of Japanese animation for the past quarter century and perhaps no film of his Studio Ghibli has been more admired than “Spirited Away.” Chihiro (Rumi Hiiragi) and her parents are moving to their new home when her father takes a wrong turn while driving, and they enter a magical world. When her parents are turned into pigs, it’s up to Chihiro to navigate the mystical land and find the help she needs to save her family and return to the normal world. The film is among the most creatively inspired movies ever made with breathtaking images and a moving story seemingly taken out of mythology.

10. The Lord of the Rings Trilogy (2001-2003)

Perhaps the greatest trilogy ever made, Peter Jackson’s “The Lord of the Rings” is a composition of everything we love about cinema: big, adventurous, thrilling and heartfelt. In the land of Middle-Earth, young hobbit Frodo (Elijah Wood) is given the ring of power. He must destroy the ring before it falls into the hands of its master, Sauron, who will use it to enslave the world. With a fellowship to guide him, his journey takes him across the world as war breaks out among the kingdoms of the land. The trilogy brought writing, acting and special effects together in a way that may be unequaled, and it has become a beloved piece of cinema history.

9. The Dark Knight (2008)

Boldly asserting a new type of superhero film, Christopher Nolan’s “The Dark Knight” incorporated many of the lingering feelings of the post-9/11 world into its narrative. Batman (Christian Bale) joins forces with Lt. Gordon (Gary Oldman) and new D.A. Harvey Dent (Aaron Eckhart) to bring down the mob plaguing Gotham city, but the Joker (Health Ledger) emerges from the darkness, threatening their hopes and pushing each of them to their limit. Heath Ledger’s defining performance as the Joker gives the film edginess and charisma, and the encompassing idea of heroism and what that means makes “The Dark Knight” the greatest superhero film ever made.

Part 3

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‘Sully’ a traditional, solid movie

“Sully” tells the story of the “Miracle on the Hudson,” where a commercial airliner, under the navigation of Chesley Sullenberger, performs an emergency landing on the Hudson River in New York City after it loses its engines in a bird strike.

Directed by Clint Eastwood, the film is a sturdy crowdpleaser, building up subtle moments to Sully’s vindication that he did indeed do the right thing. Tom Hanks is great in the central role, showing his unease about being called a hero and the exploration into that label from the world.

It is not especially showy, but that may be to the film’s betterment. Too often directors go for the big moments, showing off rather than letting the story speak for itself, but Eastwood has always gone with a very workmanlike approach, carefully constructing each moment to last as long as it needs to. The execution of the landing is wonderfully realized, using all of Eastwood’s cinematic technique.

If there is a detriment however, it is that there is not a lot of story to actually hold the film together. The crash landing occurs, there’s an investigation, the results of that investigation, and the end. It goes by rather breezily and barely clocks in at 90 minutes.

At its core, the film is about ordinary people doing extraordinary things, not necessarily as individual heroes, but collectively. It is a film worth remembering for substance rather than flash.

‘Bridge of Spies’ heartfelt if less than great

Bridge of Spies is Steven Spielberg and Tom Hank’s fourth film together. Saving Private Ryan (1998) is a modern classic (despite its flaws). Catch Me If You Can (2002) is a fun ride. The Terminal (2004) is admirable if largely forgettable. As the two have gotten older, their choices of projects have changed, but they both still seem to be intrigued by history and reflecting the past onto our present. Bridge of Spies feels like a story told by two friends who see a world bent on blood for blood, who see reason and negotiation falling by the wayside, replaced by pride and force. It is told by older and wiser men, the style and acting very subtle, building up simple moments of suspense, such as waiting for a telephone call. The result is a solid, if unspectacular film.

James Donovan (Tom Hanks) is an insurance salesman (formerly part of the prosecution at Nuremberg) who is tasked with defending a known Communist spy. Hated by most Americans for standing with such a man, Donovan simply states that all men, whatever their crime, should be met with dignity and justice as ordained in the Constitution. When a U2 spy plane pilot is shot down and captured over the Soviet Union, Donovan is presented with a unique opportunity; he is recruited by the CIA to negotiate a trade of his Communist spy for their American pilot.

Spielberg is in no rush with his storytelling. He glides smoothly from introducing the spy, Rudolf Abel (Mark Rylance), to his trial to introducing the U2 pilot to the negotiations between nations. It is both refreshing and a bit maddening at times. A good half hour could have been cut out of the film (especially during the first act), but the deliberate pace really lets you examine the political atmosphere and think about the ideas in the film: Do foreign agents deserve the same rights as legalized Americans? What is the value of a single, innocent person in comparison to the pride of nations? Is standing for your beliefs no matter the cost worth it if you put your life and the lives of your family at risk?

Spielberg and writers Joel and Ethan Coen and Matt Charman answer these questions with solutions of heartfelt understanding and respect for all people. Whether or not one’s personal view is similar is besides the point; they are presenting a vision of cultural respect and rule of law that they believe in. As the world still deals with suicide bombers, illegal immigrants, enhanced interrogation techniques and opposition to nuclear deals, the film is very timely and worth examining. Some may resent the ego of Hollywood idealism attempting to impose its views on a complex world, but few will find fault with its sentiments.

Hanks carries the film in an everyman kind of way that is easy for the viewer to relate to. Given free range to really define his character as he travels from Washington to East and West Berlin and back, his good nature and simple belief in everyone deserving a fair shake is distinctly American in the Jimmy Stewart, Mr. Smith Goes to Washington-sense. Indeed, the film feels like an homage to the simple morality films of the 1950s and 1960s; fair is fair, right is right.

What could have really helped however is some form of ticking clock. There is tension throughout the narrative, but a deadline of some sort that drives Donovan would keep us on the edge of our seats. In addition, we are barely given a glimpse into the true horrors of the world Donovan is entering into. There are some moments with East German gangs and prisoners attempting to escape past the Berlin Wall, but a storyline involving prisoner Frederic Pryor (Will Rogers) could have been fleshed out more to show individuals in the crosshairs of a world out of control. The result feels like a dampening down of the truth.

And then there’s the Spielberg schmaltz. It was mostly kept in check during Lincoln (2012), but it returns at times in Bridge of Spies with a vengeance. Why Spielberg can not just let the story tell itself is baffling. He must for some reason have multiple endings that overdramatize his narrative past the breaking point.

But all in all, the story is interesting and solid, its heart is in the right place, and it proves that Spielberg and Hanks still know how to churn out a good film. And that’s what Bridge of Spies is; good, not great. Not among the year’s best, but certainly something worth remembering.