9 Spectacular Opening Scenes

Every once in a while, you sit down to watch a film and your jaw has already hit the floor by the time the opening credits roll. I wanted to make this phenomenon the center of my next blog post. While it doesn't always guarantee a film will stay high quality throughout its duration, a stellar opening scene can go a long way in reeling you into its atmosphere and story. I've highlighted nine films below that I think do this very well. 

One caveat - I define opening "scene" loosely here - some of my examples are opening credits, others are just a minute or two long, while a few are extended sequences. Basically, the scene had to come very close to the beginning of the movie with the obvious intention of establishing the tone of the film.

(SPOILERS - DUH. Also some NSFW content)

The Goonies (1985) - Car Chase

Watching Stranger Things last month got me thinking about The Goonies, and how it really has held up well over the years. The film features exciting action sequences, hilarious dialogue, and a stellar ensemble cast. All three are on display in the opening scene as the criminal Fratelli family races through small-town Oregon to escape the pursuing police. Along they way, the chase passes by most of the Goonies, who are out and about in town. This 4-minute sequence introduces us to nearly all the important characters in the film and tells us a lot about their personalities in just a few seconds of screen-time each. My favorite bit (aside from Chunk's classic milkshake spill) is Mother Fratelli nonchalantly snacking on a biscuit while driving a 4-wheel drive Jeep at high speeds, all while dodging bullets from the police. Cool as a cucumber, she's not one to be trifled with.

Dave Grusin's rousing score and Richard Donner's expert direction cement this scene one of my favorites in the movie.

Pulp Fiction (1994) - The Diner

Like 1992's Reservoir Dogs, Quentin Tarantino opens his seminal Pulp Fiction with a seemingly-innocuous scene in a diner, where characters talk about basically nothing of importance. Here, Tarantino's innovative use of non-linear storytelling starts right away. Those of you who've seen Pulp Fiction know this scene is ultimately critical to the plot of the climax of the film, but upon first viewing it appears totally out of context to the main story. 

All that aside, the dialogue itself it just hysterical, and acted to perfection by Tim Roth. The absolute over-the-top conclusion to this scene lets the audience know they're in for one heck of a cinematic ride!





Sunset Blvd (1950) - The Pool

Sunset Blvd is my favorite film of all time. For me, pretty much every single scene in the movie is perfect. The opening is no exception. Set to a menacing score by the famous Franz Waxman, Sunset Blvd opens to a mysterious narrator informing us about a grisly murder on Hollywood's famous Sunset Boulevard. A screenwriter has been found dead in the house pool of an aging silent film star. We quickly learn that the narrator is in fact the dead screenwriter, and spend the rest of the film learning how he ended up in that pool. The scene sets a creepy and melancholy mood that pervades the remainder of the film. 

Coincidentally, Sunset Blvd also features one of cinema's greatest endings, with the famous line "Alright Mr. DeMille, I'm ready for my close-up!" Directed by the great Billy Wilder, this incisive commentary on Hollywood is a must-see for any lover of cinema.

Zombieland (2009) - Opening Credits (warning - gore / nudity)

Zombieland is just pure fun from start to finish. It has all the hallmarks of a good zombie movie - thrills, scares, and buckets of blood - but also functions as an excellent comedy. The opening sequence lays out series of "rules" by which one must abide if they wish to survive in this post-apocalyptic zombieland. The consequences of breaking said rules are made apparent in a hilarious fashion. Immediately afterwards, the audience is treated to a hysterical slow motion montage of zombie mayhem accompanied by Metallica's epic track, "For Whom The Bell Tolls". 

Touch Of Evil (1957) - Tracking Shot

While I'm not the biggest fan of the film overall, Orson Welles' famous noir Touch Of Evil certainly has one of the greatest opening scenes in cinematic history. It's one of the longest and most intricate tracking shots of all time, beginning with a ticking bomb placed in the trunk of a car. The cars' occupants, unaware of their impending doom, drive slowly through the streets of a Mexican border town, crossing paths several times with the protagonist and his wife, who are out for an evening stroll. The tension climbs steadily throughout the scene as the audience doesn't know when the bomb will go off. The level of detail needed to pull off an uninterrupted shot like this is insane, especially with so many things going on in the background. The way the focus of the scene shifts from the car initially to the protagonist and then to both is just brilliant.

Definitely worth checking out.





The Dark Knight (2008) - Bank Robbery Scene

This scene needs no introduction, since all of you probably saw it in theaters. Needless to say, this thrilling bank robbery sequence, tautly directed by Christopher Nolan, serves as an eerie introduction to The Joker. More importantly, it sets the mood - that of a crime drama instead of a typical superhero movie. That dynamic certainly made The Dark Knight more memorable than it might have been otherwise.

When A Stranger Calls (1979) - "Have You Checked The Children?"

Sure, the rest of the film is rubbish, by my goodness, the first 20 minutes of When A Stranger Calls may constitute the most terrifying sequence in any horror film I've seen. Famously parodied by Wes Craven's Scream, in the scene a teenage babysitter receives a series of increasingly-menacing calls from a disturbed individual who keeps asking her to "check the children", who are supposedly asleep upstairs. After 15 minutes of suspenseful build-up, a now-famous reveal occurs when the police dial back and notify the babysitter that the calls have been coming from inside the house. 

The first time I watched this film, it was 1AM and I was alone in my pitch-black college dorm room. Needless to say, I had a difficult time falling asleep that night.





The Social Network (2010) - Opening Dialogue

Anyone who follows this blog probably knows I am a huge fan of The Social Network. The pairing of David Fincher's meticulous direction with Aaron Sorkin's superb dialogue is a match made in heaven. 

Though simple in setting, the opening scene of the film perfectly establishes Mark Zuckerburg's character and tells us pretty much everything we need to know about him in just a few minutes. Equal parts ingenious, ambitious, and totally callous, Jesse Eisenberg's Zuckerburg is captivating to watch, even though (as his girlfriend points out) he's a massive asshole.





Blade Runner (1982) - Los Angeles 2019

I consider Ridley Scott's Blade Runner one of the most visually-stunning films of all time. Hugely influential, this gritty adaptation of Philip K. Dick's famous novel, Do Androids Dream of Electric Sheep, paints a stunning vision of a dystopian Los Angeles. Considered by many to be one of the best examples of both the neo-noir and cyberpunk genres, it remains Scott's best film to date and a hallmark in American science fiction cinema.

The opening scene introduces the audience to the foreign entity that is 2019 Los Angeles, smothered in smog and covered in perpetual darkness. An ethereal score by Vangelis sets the mood as the camera slowly advances across an industrial landscape punctuated with bursts of flame and flying cars. Meanwhile, a very human-looking eye observes the landscape. 

Beauty in (apparent) simplicity - that's the name of the game here. The visual effects on display hold up astoundingly well. 




Hope you enjoyed these great opening scenes. Let me know what your favorites are!

-CC

West Texas is No Country for Old Men - HELL OR HIGH WATER

HELL OR HIGH WATER
2016 — 102 minutes — Crime/Drama
Director: David Mackenzie
Country: United States
IMDB: 8.3
Metacritic: 88
RT: 99%

EpicEnthusiast's Rating: A-

Watch this movie if you enjoy: 

• crime dramas

• cowboys/Texas rangers

• No Country for Old Men

• Jeff Bridges

Avoid this movie if you dislike:

• westerns/Southwest culture

• violence

(spoilers below)

Hell or High Water isn't revolutionary. It doesn't set new standards or beg any questions within the crime genre. It won't win four Oscars or go down in history. It's just a great film.

Chris Pine (Star Trek fame) and Ben Foster (previously a cowboy in 3:10 to Yuma) pair up as two vastly different west Texan brothers. While Foster's character Tanner was in prison for a gnarly crime, Pine's character Toby was taking care of their dying mother and dealing with a looming divorce. One is a dull, violent ticking time-bomb. The other is a reserved, caring father with a bit of a dark side. With their mother's ranch in danger of being seized by the bank, Toby goes to Tanner with a daring plan.

In an attempt to rid of what Toby calls the disease of being poor — one that's been running in his family for generations — he proposes that he and Tanner rob branches of Texas Midlands Bank, the very bank that would seize the ranch. As expressed in the film, there's nothing more Texan than robbing a bank and paying them back with their own money.

Surprisingly, the plan is just as detailed as it is desperate — after swapping the cash (loose bills only) out for poker chips and then a check at the casino, the funds are untraceable. But, like any great crime saga, law enforcement isn't far behind.

Chris Pine and Ben Foster in Hell or High Water

Jeff Bridges, who is also no stranger to the cowboy hat (see, True Grit), plays Marcus Hamilton, an old loner Texas Ranger on the brink of retirement. In a very similar role as Tommy Lee Jones in No Country for Old Men, Hamilton thinks he's seen it all until the Howard brothers come around. Ultimately, the bank-robbery spree takes a toll on him and puts a damper on his retirement.

From the very opening shot of Hell or High Water,  director David Mackenzie makes it clear that atmosphere is his priority. Filmed entirely near the Texas border in New Mexico, the landscape in the film is eerily authentic. Complete with cattle, concealed-carry gun permits, and Shiner Bock beer, it's a pitch-perfect setting for the gritty storyline. In fact, it's the only setting the story could take place.

The robberies are a far cry from other famous depictions in Heat or The Town. Toby and Tanner typically hit the branches first thing in the morning, and in rural Texas, that means no one's in the bank. The one's that are there, a snarky old teller or a curious old cowboy, are almost unfazed by guns. Everyone's walking around with a pistol and questions of why the brothers are robbing the bank are far more prominent than why a gun is being shoved in their face.

To dispose of a getaway car in Boston or Los Angeles, you might torch it or store it in a garage. To dispose of a getaway car in west Texas, you might take it back to the family ranch and bury in a pre-dug ditch. It's these nuances of the landscape that make Hell or High Water so engrossing. Yes, it's Jeff Bridges in his usual dominance and yes, it's beautiful cinematography, but it's that six pack of Lone Star siting on the worn-down plastic porch table that ties it all together.

Jeff Bridges as Marcus Hamilton

As a whole, the film takes on a sometimes stoic and steady tone, but thanks in part to the script by Taylor Sheridan (Sicario), it never drags. Bridges delivers balance with his quick wit and sarcastic quips about his half Native American, half Mexican partner, but it all meshes well with the otherwise tense storyline. When Toby and Tanner resort to hitting a larger branch in Post, things go sour and the bullets finally start flying — despite a couple questionable decisions from patrons attempting to push back, Mackenzie is up to the challenge. The gunfight sequences are taut and just as brutal as they should be.

In one standout scene, Tanner pulls out an assault rifle and starts spraying rounds at a group of trucks that followed him and Toby from the bank in Post. Their attempt to take justice into their own hands is quickly turned away, but the most notable aspect of the scene is Tanner actually reloading the rifle. We've grown accustomed to unlimited bullets and remarkable accuracy in shootouts on screen, and the fact that Tanner's clips were used quickly was oddly refreshing. Again, the authenticity in Hell or High Water taking over.

The same can be said about the writing and the dialect of the characters. Pine, born in Los Angeles, and Foster, born in Boston, pose quite convincing Texan accents that are really put to the test by Sheridan's work. Foster has proven to be a versatile actor over his career, but for Pine, making the drastic transformation from space to farm land, it was quite the breakthrough. 

Even more impressive than the acting from Pine and Foster, though, was the chemistry. In the moments it's needed most, both are thoroughly convincing as brothers. They were always meant to go down separate paths, but when those paths collide in a time of need, it's clearly meaningful to both of them. In one sequence, after finishing up a meal in a diner, Tanner eyes a different bank across the street and decides to go on a solo run while Toby finishes his steak. With his shirt stuffed with bills, Tanner runs out of the bank and yells at Toby to start the car. Overwhelmed by having to man the getaway, he eventually says "I must've been truly desperate to ask you for help." He was desperate, but he knew his brother and knew the plan wasn't possible without him. 

Filming location in Clovis, New Mexico

While it's hard to imagine the plot of Hell or High Water as a brotherly bonding experience, it truly feels that way by the end of the film. In one stunning shot of dusk on the ranch, Tanner and Toby shove each other around with beers in hand and the natural New Mexican light shining down on them. It brings a rare smile from Toby and it's here that the depth of the story is revealed. 

In one final questioning at the end of the film, in which Hamilton is digging for answers, he eventually has to put on a show for Toby's ex-wife that shows up and says "It's amazing what we do for our kids, isn't it?" That's what the plan was all about for Toby — his son, who he hadn't seen in person in over a year, would not be infected with the disease that broke his family. 

In some ways, Hell or High Water is a family film. You'd be hard-pressed to find a more American film, and in turn, you'd be hard-pressed to find a Hollywood film with the same impact. Deep in the Texan landscape is a subtle, yet heartfelt story of a father looking out for his kids. It turns violent because it has to, not because Mackenzie wants it to.

He reminds us that there's often real beauty in real crime.

-EE

As of August 29, 2016, Hell or High Water is in theaters everywhere. Here's the trailer:

The Best Netflix Original Yet - STRANGER THINGS

STRANGER THINGS

2016 - 8 episodes

Creator(s): The Duffer Brothers

Country: USA

IMDB: 9.1

RT: 95%

CinemaChagrin's Rating: A

Watch this show if you enjoy:

• 1980s pop culture
• Spectacular child actors
• Genre-bending / mixing
• Science-fiction / horror elements

Avoid this show if you dislike:

• 1980s pop culture
• Horror / supernatural elements
• "Soft R" levels of blood / violence

(spoiler-free review!)

Where in the world did this show come from? The latest Netflix original series exploded onto the TV scene earlier this summer and instantly generated feverish levels of hype. After a friend of mine recommended it, calling it an "homage to 80s pop culture / sci-fi", I knew I had to get around to watching it eventually. My only regret is it took me so long. Simply put, Stranger Things may be the most enjoyable and entertaining television production I've ever experienced. That's not to say it's the most well-executed show ever  - it's not perfect. But I haven't had so much darn fun watching TV in years!

Set in the fictional suburban town of Hawkins, Indiana in 1983, the plot of Stranger Things centers on the sudden disappearance of a local middle school boy. Over the course of eight episodes, several inhabitants of Hawkins attempt to unravel the mystery behind his disappearance and encounter various supernatural occurrences.

The gang is out to find their missing friend!

Stranger Things has been billed as an homage to 1980s pop culture, and the show does an excellent job at establishing an atmosphere uncannily reminiscent of a whole slew of films from that decade. It's got a crew of middle school boys who cruise the town on bikes straight out of Spielberg classics like E.T. or The Goonies, Lovecraftian monsters straight out of a Stephen King novel, and a moody synthesizer score that could have been plucked from any of the works of John Carpenter. Movie posters for The Evil Dead and The Thing line the walls of bedrooms, the protagonists play Dungeons & Dragons and use walkie-talkies to communicate, and the ongoing Cold War serves to justify the presence of a top-secret U.S. Government military installation that looms over the town.

All of these elements combine together to make the show one massive nostalgia trip. I was born in the early 1990s, but love all-things 80s. Anyone who was alive during the 80s or appreciates the decade will find a lot to love in this show, from the music (a big fat grin splayed across my face when Toto's "Africa" started playing) to the tech (tape cassettes are omnipresent). I mean, even the intro just oozes an 80s vibe - right down to the Stephen King-esque font!

Stranger Things certainly doesn't score high in the originality department, essentially functioning as a pastiche of 80s horror/coming-of-age tropes. Some have levied criticisms at the show, calling it a collection of ideas and themes ripped off from other movies. However, Stranger Things doesn't just rely on a barrage of allusions and references for cheap entertainment value. Its execution of nearly every cinematic element  - acting, writing, pacing, effects, music, cinematography, etc. - is nearly flawless.

On the acting front, child actors can oftentimes be a kiss of death for a film or television production. Relying so heavily on a cast of young and largely unknown children was a huge risk for the show creators, but it paid off in a big way. These kids are nothing short of spectacular - authentically argumentative and whiny yet compassionate and surprisingly emotional. Their performances are on the level of The Stand and The Goonies, but with an added layer of depth in some respects. 

A successful D&D campaign completed

Also of note are the show's two adult leads - Winona Ryder and David Harbour. Ryder delivers an Emmy-worthy performance as the anxious and determined mother of the missing boy, while Harbour's portrayal of a town sheriff haunted by a tragic past is equally convincing. 

Successful acting rarely exists in a vacuum without a solid script, and Stranger Things has outstanding (and frequently hysterical) dialogue in spades. The kids talk like kids, the teenagers talk like teenagers, and one character barely speaks at all (to great effect). The aforementioned atmospheric synth soundtrack matches the events unfolding on screen perfectly, and the special effects work is quite solid and suitably terrifying at times. Interestingly enough, the show is also a visual feast - something that many of the films it drew inspiration from are not. In particular, the use (and absence of) lighting is just superb and dials the tension up to 100 at key moments.

Winona Ryder's performance is award-worthy material

Finally, I want to highlight the most impressive aspect of the series - its pacing and structure. While the era of Netflix has popularized the concept of "binge-watching" TV shows, Stranger Things is perhaps the first production I've seen that actually feels like it should be consumed in a single sitting (alas, I had to settle for a 24-hour period). The show's structure feels less like that of a miniseries and more like that of a 7-hour movie - expertly paced, with zero filler. It knows when to pull back and when to speed up, and always keeps the viewer intimately connected with its characters and their struggles. 

Going into Stranger Things, I had high expectations from the widespread acclaim and personal recommendations I'd heard. However, I didn't fully expect to love it as much as I did. I was glued to the screen during its entire run-time. Not once did I become bored or disinterested, and I practically shook with excitement several times each episode. Are there a few plot holes here and there? Sure. Is it the most original storyline in the world? Heck no. Minor flaws aside (and I mean very minor), it's not too often I encounter a television production so visceral, exhilarating, and emotional. Netflix has created something really special here, and I can already tell this will be a show I come back to again and again.

-CC

Check out the trailer!

My Top Ten Animated Films

For the most part, I love watching movies of all eras, countries, and genres. From Buster Keaton's silent films in the 1920s, to the gritty film noir of the 40s and 50s, to the splatterfest action and horror flicks of the 80s, all the way to recent Best Picture winners (looking at you, Spotlight), I can typically enjoy any film that's well made.

However, there's something special about the animation medium that appeals to me in a way unlike any other style. Perhaps my upbringing explains this phenomenon. After all, like many a 90s kid, I grew up on Saturday morning cartoons - everything from the Hanna-Barbera classics like Scooby Doo to Nickelodeon's greats, like Spongebob Squarepants.

My exposures have definitely expanded since then, but whatever the reason, I almost always dig creative and well-crafted animation. The medium can facilitate storytelling in really unique and visually-stunning ways (oftentimes in a fashion impossible for live-action to reproduce). I think these characteristics contribute to why it remains such a popular form of media among all ages.

I'm done waxing nostalgic (for now). Anyway, here are my Top Ten Favorite Animated Films. (Not necessarily ranking quality here, just enjoyment.) Let me know if any of yours made my list!

10) End of Evangelion (1997)

Anyone who read my review of the 1995 anime series Neon Genesis Evangelion knows I'm a huge fan. End of Evangelion is the feature length film that caps off the show's storyline. Continuing down the path of its TV predecessor,  EoE  experiments with a variety of apocalyptic themes in a series of visually-stunning and psychedelic vignettes. At one point, near the end of the film, images of pre-screened audiences who watched it prior to the premiere are spliced into a montage of real-world images alternating with animated ones. The film also features a few glorious action sequences, as well as what might be cinema's most infamous masturbation scene. 

Arthouse through and through, EoE is a memorable cinematic experience unlike any other.

EVA 2 on a rampage 

9) Who Framed Roger Rabbit? (1988)

Not 100% animated, but 100% brilliant

Although I saw bits and pieces of Who Framed Roger Rabbit? as a child, I didn't actually watch the entire thing until just a few months ago. All I can say is that the film deserves all its awards and accolades and then some. The animation and special effects look astoundingly-good and have aged extremely well. The interaction between the animated characters and the real world is so well done and convincing I kept wondering how the heck they pulled several scenes off.

A witty and exciting script complements the visual effects, and the film is flush with all types of easter eggs. Director Robert Zemeckis (of Back To The Future fame) somehow managed to get both Warner Brothers and Disney to assent to having both of their trademark characters appear in cameos in the film. Because of this remarkable agreement, we get to see both Donald and Daffy Duck play dueling pianos, and Mickey Mouse and Bugs Bunny tease the protagonist (see below). This type of arrangement had never occurred before and hasn't happened since. 

Roger Rabbit is a classic for all of the above reasons, and a film any serious cinema lover should check out.

A truly one-of-a-kind scene

8) Spirited Away (2001)

Winner of both the Berlin Golden Bear Award and Oscar for Best Animated Feature, Spirited Away is rightfully considered a masterpiece of animation. Director Hayao Miyazaki's unbridled imagination and technical excellence are on full display here. Inhabited by spirits and creatures of all shapes and sizes, the enormous bathhouse in which the film takes place is filled with enough majesty and wonder to keep one returning again and again. Coupled with a contemplative score by longtime Studio Ghibli composer Joe Hisaishi, the wonderful storytelling of Spirited Away makes it an excellent film for all ages and generations.


7) Wall-E (2008)

Pixar's most endearing protagonist

I consider Wall-E Pixar's greatest achievement and an essentially perfect film. It's one of the greatest cinematic examples of the mantra "show - don't tell," crafting a simple yet superb tale equal parts touching and laugh-out-loud hilarious. The central story line features a satirical critique of modern consumerism, but doesn't clobber the audience over the head with its message. In many ways Wall-E is the simplest of all of Pixar's offerings (most of which are excellent), but also the most effective. Also, leave it to Pixar to create cinema's first sympathetic cockroach.

6) The Brave Little Toaster (1987)

The Brave Little Toaster is one of Disney's most unique and bizarre creations. I absolutely adored this movie as a child. However, it struck me after re-watching for the first time as an adult just how darn dark it is. While cute on the surface, filled with a swath of Disney-esque sing-along tunes, BLT is really a not-so-subtle commentary and exploration on mortality. Household appliances fill in for human beings, as our protagonists continually are reminded their glory days have come and gone, and that they stand on the doorstep of obsolescence. They've been left behind by their family and society, and are shunned by the younger generation (of appliances) in the big city.

Toaster and the rest of the gang are constantly imperiled, while the film stays consistently macabre throughout its running time (though it does feature a happy ending). A supporting character commits suicide on screen within the first 10 minutes of the movie, the appliances barely escape vivisection in a horror-filled thrift shop, and the climax of the film involves a disturbing musical number involving broken-down cars singing about their impending demise (before being crushed to death on screen). There's also a terrifying nightmare sequence with one of the creepiest clowns in cinematic history.

While kids movies oftentimes comment on mature subject matter, rarely does one come across a film so overtly dark and disturbing. BLT is extremely memorable in this regard, and remains one of my favorites.

One of the most horrific moments of my childhood

5) Fantastic Mr. Fox (2009)

Wes Anderson is a hit or miss director for me. I really like some of his recent works (Moonrise Kingdom, Grand Budapest Hotel), but have struggled getting into his older films like Darjeeling Limited and Rushmore. My favorite of the bunch, though, is his only animated film - Fantastic Mr. Fox.

Anderson's signature fairy-tale storytelling, pastel color palettes, and undying love for placing his characters in the center of the frame are all on display here. He also assembled an excellent voice cast which includes George Clooney, Meryl Streep, Willem Dafoe, Michael Gambon, as well as Anderson-regulars Bill Murray and Jason Schwartzman.

However, it's the visuals that really make the film. Created using gorgeous stop-motion animation, FMF is pure eye candy from start to finish. The characters are distinctive and detailed and the world convincing and creative. It evokes a Wallace and Gromit vibe, but one-hundred times more intricate.

Thankfully, the humor (much of which involves visual gags) fires on all cylinders too, which doesn't always happen with Anderson's offerings. Overall, a delightful film.

It's the little details (like the shadows here) that make this film spectacular

4) How To Train Your Dragon (2010)

Sometimes you just want to go to the movies to feel like a kid again. Granted, I wouldn't say that escapism is my primary motivator for consuming cinematic content; however, who doesn't enjoy plopping down on the couch from time to time and watching something that just makes you feel all warm and fuzzy inside?

How To Train Your Dragon fills that role perfectly. Comedic, heartwarming, and thrilling, I love this film so darn much because at its core it is one of the best feel-good movies I've ever seen. I in no way am demeaning or disparaging its artistic value by saying that either - HTTYD is superbly-crafted and filled with gorgeous visuals, standout voice work, and one of my favorite film scores of all time. Every time I watch it, I still get chills during Hiccup and Toothless' first flight, and invariably end up with a big goofy smile on my face by the end of the movie.


3) The Incredibles (2004)

Like Wall-E, The Incredibles is Pixar at its best. Equal parts superhero movie, family comedy, and James Bondian spy-flick, it's a thrill ride from start to finish. The retro visual style fits the tone of the film perfectly, and the story hums along at a brisk (but never hurried) pace.

The Incredibles may also be Pixar's funniest film to-date. Not only does it feature the studio's funniest character (Edna Mode), but Frozone's anguished search for his supersuit remains perhaps the funniest scene in any Pixar film. 

While there's not a whole lot going on beneath the surface, that doesn't stop it from being one of the most entertaining films of the 2000s. I'm never bored no matter how many times I see it. Plus, this was the movie that put Michael Giacchino on the Hollywood map. He's gone on to compose a number of standout original scores since then, including the next film on my list.

2) Zootopia (2016)

I must confess, when I first sat down to watch Zootopia earlier this summer, I wasn't expecting to love it as much as I did. Granted, it was well-received critically (though not universally), and I had heard some good things about it via word-of-mouth. Still, it's a Disney flick in an era where Disney continues to battle with a reputation that they produce animated films that don't reach the same levels of excellence as Pixar. I think Frozen is one of the most overrated movies of this century, and while other recent offerings such as Wreck It Ralph and Big Hero 6 are well-regarded, my perception is that neither are considered truly exceptional.

All of this contributes to why I walked away from my first viewing of Zootopia so surprised. It's just a flat-out like-able movie in every way possible. Sure, it may not be groundbreaking from an originality perspective or have the deepest story you've ever seen, but the execution really sells the film.

First off, the animation is so intricately detailed and impressive, it's hard to believe the first feature length computer-generated film (Toy Story) came out just a scant 21 years ago. Everything from water effects to facial expressions to a host of other tiny little details turn Zootopia into a feast for the eyes. 

What really makes the film for me is its top-notch writing and voice work. Michael Bluth, er, I mean Jason Bateman, just nails his role as a conniving con artist with a heart of gold, while Ginnifer Goodwin captures exuberant optimism better than any voice actor I've ever heard. The rest of the cast is just as good too - Idris Elba is perfectly cast as a gruff police chief, while J.K. Simmons continues his excellent streak of voice acting roles as the mayor of Zootopia.

The humor and references (Lemming Brothers Bank, hahahaha) are all good fun, and the film delivers its requisite dose of societal commentary with grace. Like How To Train Your Dragon, Zootopia makes me feel like a kid again when watching it. I think everyone needs that once in a while.

The iconic DMV scene

1) Princess Mononoke (1997)

While I haven't watched all of Hayao Miyazaki's works, Princess Mononoke is easily my favorite of those I have seen. A stunning allegory for mankind's dependence on and relationship with the natural world, Mononoke paints a potent picture of humanity building a new society on the edge of the wilderness, dealing with the inevitable consequences of environmental degradation. 

The world of Princess Mononoke is stunning to look at, with breathtaking vistas and grandiose battle sequences. The film doesn't stray away from violence (limbs and heads are severed left and right), but it never becomes gratuitous, and always serves to drive the plot forward and reinforce that violence is typically not the right solution.

Like most of Miyazaki's works, Mononoke doesn't take a black and white view of any of its characters or subject matter. All the characters  in the film, from the industrialists razing trees to the ground to the spirits and animals defending the forest, are multifaceted, with inherent values, flaws, and motivations that keep the audience from picking a single side. In many ways, Mononoke tells a similar story to that of Avatar, except in a much, much more nuanced manner. The film has an obvious environmental message, but proceeds with presenting it in a refined fashion. It's quite refreshing to encounter a film that treats its audience with maturity and doesn't resort to simplifying its message to get a point across. Princess Mononoke embodies this trait perfectly.

--------------

If you made it through this lengthy post, kudos to you! All of the above films appeal to me in different ways, but I feel they represent a fairly-diverse array of qualities that the animation medium has to offer to audiences. 

-CC

THE NEWSROOM

THE NEWSROOM
2012-2014 - 25 episodes 
Creator:  Aaron Sorkin
Country: United States
IMDB: 8.6

Epic Enthusiast's Rating: A-

(some spoilers)

Greetings, readers. It's been some time since I've posted, but I'm now a full-time sports reporter, so I'm writing just about every day away from the blog. In my first post of 2016, I'll be ranting about Aaron Sorkin's electric HBO drama, The Newsroom.

Having previously seen its famous opening scene in the pilot episode, and because of my journalistic ties, I decided to continue my TV-series trend and give The Newsroom a try. I'm glad I did. I'll skip the positive/negative bullet points for this one and keep it simple — watch The Newsroom.

It's been almost two weeks since I've finished the show (and now another couple weeks since I started writing this review), and I begin with a dream I had last night. Bear with me here.

I knew from the get-go the dream was a bizarre one — I somehow ended up employed by the FBI in some luxurious high-rise somewhere. I don't know what my role was, but I remember telling a friend in the dream that I was "now carrying a gun for the FBI," and was working alongside none other than The Newsroom's lead man, Jeff Daniels. 

In some sort of training exercise, I launched out of Jeff and I's office with a silenced shotgun and accidentally shot another agent in the thigh. I don't remember any blood, so maybe I was using rubber bullets. Then, in front of the high-rise outside, I was attempting to figure out why I had misfired upstairs and put the shotgun on what I thought was safety mode. Unfortunately for me, the safety was not on and when I fired another 50-caliber-esque test round (yeah, it was far too large for the gun) into the street, it ricocheted into another expensive-looking building across the way and left a huge crack in the wall.

Why are you guys in my dream?

I didn't necessarily anticipate the massive construction crew repairing the building that I later saw upstairs, but I did anticipate an earful from the big boss man, who happened to be another The Newsroom star, Chris Messina. There was some other dialogue with Daniels and another random friend that I don't recall, but the atmosphere seemed to mimic that of the show's.

So, what does all this mean? Hell if I know — I've never even fired a gun before. 

What I do know, is that I've never had a dream with a television show character in it, let alone two television shows characters in it. While it was easily one of the weirdest dreams I've ever had, I can't help but give credit to Sorkin for creating such memorable, dream-penetrating characters in The Newsroom. I think, among other irrelevant things, that my dream says a lot about how I feel about the show and its quality. 

Ok, now we can start.

Daniels, in his first and only television lead role, plays Will McAvoy, the primetime news anchor and face of Sorkin's fictional news network, Atlantic Cable News. McAvoy is a very blunt, hot-headed talking head that you'd expect to find at a massive network like ACN — think CNN, MSNBC, etc. — and not surprisingly, it gets him into some trouble. 

Sometimes, a lot of it.

The pilot begins with an infamous rant from McAvoy about why America actually isn't the greatest country in the world and takes off running from there. Being an uber famous news broadcaster certainly contributed to the hefty backlash he received for said rant, and it also didn't help that it was directed at a sorority girl at Northwestern. It was a great way to begin a prevalent "Did Will actually just say that on television?" type theme on the show. We soon find out that McAvoy very rarely gives a shit about what he says, which makes for some great television as we watch him spark a fire on television through a television.

By the time season two rolls around — nine episodes  focused on the leaking of a massive war crime story that turned out to be false but reported anyway — McAvoy and the other newsroom members are well-developed, and Sorkin dives into more serious journalism. We don't often think of news anchors as journalists, but The Newsroom makes clear that they absolutely are.

The role of McAvoy is a truly demanding one for Daniels, who shows tons of acting flexibility throughout the series. One minute he's on the news desk telling the nation about landmark events like the Boston Marathon bombings or Bin Laden being killed, and the next he's in a rundown meeting bantering with reporters and slinging one-liners. 

McAvoy is a very complex character that Sorkin takes his time developing in full, but by the end of the show (where McAvoy quits smoking and essentially turns his life around because of some unexpected news), I felt quite attached to him and his background. 

Jeff Daniels as Will McAvoy in The Newsroom

It's sort of like The Sopranos — why does everyone favor a ruthless, cheating murderer in Tony Soprano? Why was everyone outraged by the show's ending and almost rooting for him to be alive? Good character development. 

Why did I feel somewhat attached to the narcissistic asshole that is Will McAvoy? Good character development.

I'm not sure if Sorkin sought out Daniels for the role or if he just nailed the audition or what, but he fits the role pretty snuggly. "News Night with Will McAvoy" is the name of the depicted primetime telecast on the show and in a lot of ways, it's "The Newsroom with Jeff Daniels" — he totally dominates the screen at both all the right and all the wrong times.

Given his mostly comedic background (I haven't even seen Dumb and Dumber), I didn't expect him to excel in such a hard-hitting, visceral role, but he certainly does. Though, his comedic tendencies certainly do come into play on The Newsroom, mostly because of the writing from Sorkin and others.

As I've said on the blog before, good writing makes for good content — you can't have a great film or TV show without great writing (rare exceptions). And, when pointing to the strengths of The Newsroom, the writing is right up there with stellar performances from Daniels and the rest of the cast.

Sorkin and company manage to intertwine sober, taut dialogue with playful (occasionally drunk) musings pretty seamlessly. It's one thing to develop strong dialogue within a certain work environment, but it's another to pull those characters out and throw them in a completely new atmosphere while keeping things consistent. I never had to stop and say "ok that line was off" or anything like that, which points to a solid script.

However, if I have a major qualm with The Newsroom it's that the dialogue is almost too perfect sometimes. What I mean is, some scenes in the show were so well put together and so flawless that it took away from its natural and realistic feel sometimes.

Throughout, I was sometimes wondering "do people actually talk like this? Even at an upscale Manhattan skyscraper like ACN?"

The short answer is no. No, they don't. Even the most intelligent and well-spoken people stumble or come up speechless sometimes, and while there were moments like that in The Newsroom they almost felt placed or purposeful. Yes, the character development was excellent and Sorkin gives us plenty of human-like moments, but the dialogue remains almost flawless and borderline pretentious throughout.

With some characters, like Sloane Sabbith played by Olivia Munn, the writers get away with it. Sabbith is a near-genius economics expert that plays the stock market and predicts drastic financial trends. She's also incredibly snarky and witty and despite the "a genius is an excuse to write anything" notion, all her dialogue felt appropriate. The other characters, though, not so much, and it took a bit away from an otherwise tremendous show.

The low-key very talented Olvia Munn as Sloane Sabbith

A good example came later in the show, when a minor character said something along the lines of "How long do you people hold a grudge in New York?" MacKenzie McHale, the executive producer of News Night played by British actress Emily Mortimer, responds with "Just ask A-Rod."

Now, for those of you that follow sports, you'll know that that's hilarious. It's a great line that was sort of ruined by who said it. It wasn't that McHale wasn't well-developed or that Mortimer's acting wasn't good enough — it was just that the line felt like something the character would never say. Not only was it delivered nonchalantly, but earlier in the show, she's depicted as not being into sports. So, the line almost felt like something Sorkin and the writers slipped in there for the sole purpose of being funny.

It was funny and it would have worked if placed better.

That being said, my thinking is that if there was a place where people talked as perfectly as they do in The Newsroom, it would probably be a place like ACN. And, at the end of the day, the show is supremely entertaining, so I let it slide overall. Ultimately, we watch TV shows to be entertained, and The Newsroom does that and then some. There's even a black guy named Gary Cooper. Really.

For me, again mostly because of my journalistic background, the coolest part about the show is that almost all of the stories depicted actually happened. Not only is it cool to revisit major national events like the 2012 presidential campaign and the Casey Anthony trial, but it really put things into perspective.

I certainly remember the BP oil spill and how big of a story it was, but as a younger kid, I didn't really come to terms with just how big of a story it actually was. Especially as a reporter, The Newsroom is often gripping and totally fascinating. It's crazy to think that as these massive stories break (very recently the shooting in Orlando) there are hundreds of newsrooms around the country scrambling to find information and relay it the public. Whether it be newspapers, TV stations or websites, The Newsroom gave me a much better look at what it actually means to "do the news" — a phrase often used on the show.

But, whether you're into journalism or not, I really recommend The Newsroom. On par with the stories they cover on the show, the internal stories are great ones. The acting is stellar, particularly Daniels, Mortimer, Thomas Sadoski and Sam Waterston, and it's often emotionally engaging.

So much so, that I had a major case of "post-TV show depression" after finishing it. I've had mild cases after completing shows like Sherlock and The Sopranos, but not quite like this. It's been almost a month since I completed The Newsroom, and I'm really just now feeling like I can move on to another show. Like my above "I'm sorry, what?" dream, I think it's telling of, along with me being peculiar, the show's quality.

The Newsroom cast

Lastly, The Newsroom is also a very relevant take on media culture and where it's progressing. In the third season, Sorkin veers off the road a bit and starts delving into the quickly-changing news industry. McAvoy and the staffers have to deal with new ownership in the company and fairly drastic ideas for change. 

Scrolling Twitter feeds on the screen and start-to-finish coverage of a polarized criminal trial to boost ratings are only a couple of the real-life deviations that a TV newsroom may have already adjusted to in the past few years. It can be quite alarming to look into just how rapidly the news industry is changing (not just for the journalists involved) and along with wrapping up a great TV show, I think Sorkin begs a lot of questions in the final season. 

Some critics have claimed that The Newsroom took a quality dive in the third season, but for me, it wasn't more than a little bit noticeable. And, since it's only a couple years old, it was even more current.

To end where I began — watch The Newsroom.

— EE

As of June 26, 2016, The Newsroom is available on Amazon Instant Video with a Prime Membership. Here's the famous opening scene of the pilot that's bound to get you hooked: