7 Temmuz 2012 Cumartesi

The Definitive Animated Films: 10-1

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Scene from "An American Tail"
courtesy of rottentomatoes.com
Well, here we are. We've reached the end of the road. If you had to see ten animated movies, these are it. These are the ten that revolutionized animation in film. These are the ten that will be looked at in 50 more years as classics in the genre. These are the ten that, if you were teaching a master class of animated films, would make up the majority of the curriculum. Here they are - numbers 10 through the much lauded number 1.


#10. South Park: Bigger, Longer, and Uncut (1999)

It was the show that saved a dying cable network and beat down the walls of what is allowed on television. In 1999, Matt Stone and Trey Parker took South Park to the big screen with the story of Stan, Kyle, Kenny, and Cartman seeing the R-rated "Terrance & Phillip" movie and their parents' insistence that the film is reason enough to pressure the United States into attacking Canada. Just like the show, it's crude, hilarious, satirical, and delightfully clever (and uncut, so the profanity flies). Featuring some celebrity voices playing other celebrities (Brent Spiner as Conan O'Brien, Minnie Driver as Brooke Shields, Dave Foley as the Baldwin brothers), the film also grabbed an Oscar nomination for Best Original Song with "Blame Canada." Want to know how to transition a popular TV show into a great movie and only add to the original? This is it. 

#9. Fantasia (1940)

What was one of Disney's biggest financial failures (hence the quick release of Dumbo to recoup the damages), Fantasia is essentially a plot-less rumination on classical music. Featuring animated interpretations of great orchestral music from the Western world, the film featured some of the most memorable segments in animated history, from "The Sorcerer's Apprentice" to "The Rite of Spring." With music played by the Philadelphia Orchestra, this collection of eight sequences is a tough, sometimes boring watch for many children, but the innovative approaches to animation and the surrealist ways the music is painted on screen through the cartoon artists is magical.

#8. Yellow Submarine (1968)

So, in the mid 20th century, there was this band of young guys from England that made some music that you may have heard. Animation producer George Dunning directed Yellow Submarine, a psychedelic musical set to the tunes of The Beatles (they only actually participate in the end of the film). Pepperland exists below the sea, protected by Sgt. Pepper's Lonely Harts Club Band. When the land is attacked by the Blue Meanies, Old Fred takes the submarine to find Ringo , who helps by gathering his "mates" and returning to Pepperland to save them through the power of music. Yes, I cheated - the very end of the film is technically a live action segment as The Beatles return home with stories of their adventure. But the true impact of this film as an expression of art would be copied as the years went on, from The Wall to Purple Rain. And now, with the advent of musicals set entirely to one artist's catalogue, Yellow Submarine seems even more ahead of its time (and better than most of those films).


#7. The Bugs Bunny/Road Runner Movie (1979)

In what was basically a collection of short stories starring the classic Warner Brothers cartoon characters, this 1979 classic is intercut between those segments as Bugs Bunny reminisces about his past exploits. Including some of the most memorable cartoons from the Chuck Jones/Phil Monroe production company, the approach of piecing together skits to make one 98 minute movie has been popularized greatly, but may never have been done as well as it has here. Most importantly, this film was the first appearance of "What's Opera Doc?" - the Elmer Fudd/Bugs Bunny melodrama - and "Duck Amuck" - the brilliant Daffy Duck cartoon where he breaks the fourth wall by speaking directly to the animator. To be honest, you can catch all these smaller cartoons on their own and don't need the Bugs Bunny narration segments, but the collection of them together here makes for an entertaining romp through some of the most influential animated moments of all time.

#6. My Neighbor Totoro (1988)

Another entry from Hayao Miyazaki and Studio Ghibli, the beloved story of two young daughters and their interactions with spirits in postwar rural Japan is magic encapsulated. After their family moves into an old house to be closer to the hospital where their mother is recovering from an unnamed illness, Satsuki and Mei begin to discover creatures all over the place - tiny black "soot spirits," rabbit-like creatures - the largest of which they call "Totoro" (from a mispronunciation of the word "troll") - and a giant bus-shaped cat. When their mother has a setback, a family fight results in the disappearance of Mei, and the creatures wish to help. The story is whimsical and never takes itself too seriously, but proves that, even with what seems like a low-stakes plot, a movie can capture your imagination and, most importantly, introduce you to a catbus.

#5. Beauty and the Beast (1991)

The first animated film to grab a Best Picture nomination, Beauty and the Beast was the second film of Disney late 80's/early 90's comeback in the animation genre, a beautiful adaptation of Jeanne-Marie Le Prince de Beaumont's classic story. When Belle's father is captured by a beast who lives in an old castle, she offers herself as a replacement prisoner. The staff - who have been transformed into household items like a clock, a candlestick, and a teapot from the same curse that affect the Beast - hopes that Belle is the woman who can break the spell and change them all back. Nominated for six Oscars and winning two (Best Original Score and Best Original Song), Beauty and the Beast featured the voice work of Robby Benson, Jerry Orbach, and Angela Lansbury, among others. Also inspiring a Broadway musical, this film still proves to have one of the biggest influences on the Disney empire.

#4. Spirited Away (2001)

The final Hayao Miyazaki film on our list, Spirited Away is both his best film and his most imaginative. Ten-year-old Chihiro Ogino is upset when moving into a new neighborhood, then finds herself trapped in an alternate reality where her parents are transformed into pigs. To find her parents and return to her own world, Chihiro must work in an evil witch's bathhouse and give up her name (going forward, she is called "Sen"). She and her guide Haku cross paths with everything from magic dumplings to a monster named No-Face to a ridiculously oversized baby as they try to find a way for Sen to escape this world. Curiously colorful and masterfully surrealist, Spirited Away received the most votes in the British Film Institute's poll of the 50 films you should see before the age of 14. Forget 14 - everyone of any age should see this masterpiece.

#3. Snow White and the Seven Dwarfs (1937)

Producer Walt Disney and a team of six directors managed to bring the world the first full length cel-animated film in 1937, an adaptation of the German fairy tale from the Brothers Grimm. Snow White was the first and, though many feel the most important, was, at the very least, the stepping stone to better production, better scripts, and better films overall. Original drafts of the film by staff writer Richard Creedon told a much more comical story, painting the Prince as more of a clown and included overly hilarious descriptions of the Witch's appearance. Since the original Grimm story did not give the dwarfs names, Disney narrowed down their names from about fifty potential ones, including Deafy, Wheezy, and Tubby. Eventually, the film was given a much more realistic tone - albeit a whimsical one - after producers questioned the characters' believability. In the end, what Disney did in 1937 created a new genre, a new style, and a brand new medium to deliver full length films.

#2. Toy Story (1995)

Snow White started it all. But in 1995, the game completely changed when a smaller entity of Disney called Pixar released the first full length film ever made completely with CGI. Toy Story was Pixar's first feature film (they had created a number of short films up to that point), directed by John Lasseter, with a screenplay by Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolow and story by Lasseter, Stanton, Peter Docter, and Joe Ranft. Starring the voices of Tom Hanks and Tim Allen (among others), the film focused on the story of a toy named Woody (Hanks) who feels slighted by the appearance of a new toy, Buzz Lightyear (Allen), and their owner Andy's perceived change of preference. The appearance of plenty of brand name classic toys (all given a personality) and music by Randy Newman gave this film tons of heart and wit, as well as a bevy of characters that could translate into other stories. Made for about $30 million, the film had a domestic box office gross of over $360 million, giving birth to two sequels (Toy Story 3 was nominated for Best Picture) and an upcoming fourth entry into the series. Since then, CGI has become common practice, almost replacing major studio traditional animation forever.

#1. Pinocchio (1940)

While Snow White and Toy Story were pioneers, Beauty and the Beast and Up received the highest award recognition, and Miyazaki films expanded the animation horizons overseas, there is still one early Disney offering that stands up as the most important and influential animated film of all time. The second animated film from Disney was adapted from Carlo Collodi's story The Adventures of Pinocchio, Pinocchio is the tale of a puppet who will be brought to life if proves that he is "brave, truthful, and unselfish." The film starts with the most important song in the history of Disney animation ("When You Wish Upon a Star") and is told in flashback by Jiminy Cricket, detailing Geppetto's creation of Pinocchio, his journey as a living, walking puppet, his naivety in the face of con artists, and his eventual trip to Pleasure Island and dealings with shady characters. Disney's lack of politically correctness was on display, as Pinocchio gets drunk, smokes, gambles, etc., while eventually coming back to his father and the things he cares about most. It's a hero's trial, for sure, but it's one that helped influence various other offerings on our list. Pinocchio didn't create the genre. It didn't perfect the art. It took a simple story that kids could enjoy, added deeper storylines to appeal to parents, and featured a beautiful score and wonderful songs. In other words, animation - and film, in general - wouldn't be the same without Pinocchio.


Comments? Have at it...

Five Best Plus: Successful Book Adaptations the Authors Hated

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Tom Hanks in "Forrest Gump" courtesy
of jonathanrosenbaum.com
Everybody has that pretentious friend that, every time you rave about a motion picture, says (in pure Jim Gaffigan style) "the book was MUCH better than the movie." Well, speaking as a person who has really only read two novels before seeing the films (and I didn't care much for either film), I usually prefer the movies rather than sitting down and reading. Regardless how I feel (or anybody for that matter), there are some authors, regardless of how successful the films are, that don't think their work should exist in any form but their own (though they gave the "OK" to do it). Below are the five best films for which their source's authors hold nothing but disdain. This isn't to say any of these films are better than their respective books, but the writers who put pen to paper certainly won't ever think so.


courtesy of andsoitbegins.com

Willy Wonka and the Chocolate Factory (1971)

Author: Roald Dahl

Unless you saw the Johnny Depp/Tim Burton version first or are clinically insane, you probably prefer the original Gene Wilder-starring vehicle that added a sense of visual magic to Dahl's beloved novel. Unfortunately, Dahl had the opposite point of view (essentially why we never saw an adaptation of Charlie and Glass Elevator). Dahl felt Wilder's portrayal of the candy genius was "pretentious" and "bouncy." He also felt the film was terribly directed by oft-documentarian Mel Stuart. While Dahl's criticisms may be well-founded (especially if you adopt the point of view that it's surprisingly dark for a family film), the original adaptation stands up as one of the most beloved films of all time by children and parents alike. Dahl passed away in 1990, long before Burton's version, which took a few other liberties with the story. Who knows if he would have preferred it or not.

courtesy of hyperquake.com

A Clockwork Orange (1971)

Author: Anthony Burgess

Not only did Burgess hate Stanley Kubrick's adaptation of his novel, he eventually regretted ever writing it at all. Burgess said the film "made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me till I die. I should not have written the book because of this danger of misinterpretation." Now, not writing a seminal piece of fiction just because people might take it differently than you want is ridiculous, but A Clockwork Orange is easily his most widely respected work. But, Kubrick is known for taking a much more visual and stylistic approach to his adaptations (more to come), and Burgess felt the film did nothing but glorify the sex and violence that really only filled in the edges of his classic novel. I tried to read the book once - it's written from Alex's point of view using his insane slang, so it gets monotonous.

courtesy of ew.com

One Flew Over the Cuckoo's Nest (1975)

Author: Ken Kesey

Rumors circulated that Kesey actually never even watched this Oscar winner before he died (his wife later said he did and was happy the film was made). But, for a long time, Kesey was outspoken about the decisions made by director Milos Forman and screenwriters Lawrence Nauben and Bo Goldman. Kesey was originally slated to help with the production, but left two weeks in. Kesey's novel is actually written from the point of view of Chief Bromden, an aspect Kesey felt was imperative to tell the story. The film refocused it and made Randall McMurphy the protagonist and cast Jack Nicholson in the Oscar-winning role. Kesey never really came around on this brilliant film, but at least his animosity eventually faded a little.

courtesy of coolhd.org

The Shining (1980)

Author: Stephen King

In what may be the most famous case of this topics, Stanley Kubrick's adaptation of Stephen King's novel not only was met with anger and hatred, but eventually was re-adapted by the author himself in a three-part rebuttal version of the book. While the book plays out more like a family drama before the Overlook Hotel comes into play (Jack is a recovering alcoholic who's battle with internal demons helps drive the story), Kubrick abandons a lot of the emotion behind the story in favor of groundbreaking visual design and set work. King's novel focuses on how internal strife can manifest itself, while Kubrick's looks much harder at how isolation can destroy an already unstable mind. King felt Nicholson was miscast, as he already personified "crazy" too much, instead of a gradual descent into madness. That may be true, but King's 1997 attempt to rectify problems with Steven Weber as the lead is an arduous mess.

courtesy of slowcoustic.com

American Psycho (2000)

Author: Bret Easton Ellis

Bret Easton Ellis doesn't really like any of the films adapted from his work (i.e. Less Than Zero, Rules of Attraction to a point), but this one is the best of the group. Ellis believes the story is meant as a novel because it can maintain ambiguity. Patrick Bateman was defined as an unreliable narrator in the novel and, though the movie achieves this up to a point, Ellis still says that "the film demands answers." While he has a very valid point, the aggressively violent and stylish adaptation with Christian Bale in the lead is infectious and stimulating all the same. It's certainly a story that needs to be either seen or read, but probably not both.


Any other cases of this that I forgot? Let me know and I'll store them in my brain's trivia database.

On the Horizon: Beasts of the Southern Wild

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Here's the trailer for the upcoming film Beasts of the Southern Wild:


Good Decisions

Well, it was the hit (and Grand Jury Prize winner) at Sundance, so it obviously made a lot of good decisions. This trailer is great at blurring what the film could be. Is it a family drama? Is it a fantasy? Is it some weird mixture of the two? Plus, it's been years since Katrina, but the United States still feels the catastrophic results of that time - New Orleans will be a good setting for any film for years to come.

Bad Decisions

I'm not sure - it's very independent, so its reach won't be too wide. It's the early (VERY early) frontrunner for Best Picture, but, though it took over Sundance, it still was released really early and now premieres wider during the time of the summer blockbusters.

Jury Still Out

It's pretty much a completely new everything here - cast, director, writer. Quvenzhané Wallis looks like a great young actress, but a 91 minute film is tough for an 8-year-old to carry. Director Banh Zeitlin's first feature film has already made an impact in the independent community. Let's see if it can expand its effect.

Release Date: July 27, 2012 (limited)

Excitement Level

 (3.5 out of 5)

The Movies That Defined the 1980's: 50-41

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David Bowie in "Labyrinth" courtesy
of thevine.com.au
Ugh...here he goes again with these stupid "definitive" lists. Well, I do them for a few reasons.

1. When you have two children under the age of two, a full time job, and more than a few part time jobs (not to mention this blog to keep current), you don't get time to see films as regularly, so, what would normally be filled with reviews/synopses, I fill with these features to keep my site from being stagnant.

2. I like lists. I like ranking things. And I like arguing/debating about lists with other people. So, bring it on. 

Anyway, this time we'll look at the 50 definitive films from the decade of excess, the 1980's. Easily the most nostalgic of my definitive series so far (probably because I was born in 1983), this was easily the most difficult to separate from my own tastes. But, I did my best. One more reminder that this is a definitive list, not the "best of." Good films are interspersed with bad ones on this list. Enjoy numbers 50 through 41.

#50. Full Metal Jacket (1987)

Seven years after giving the gift of The Shining to the world and twelve years before confusing the same world with the baffling (though underrated) Eyes Wide Shut, iconic director Stanley Kubrick delivered one of the most manic and brutal looks at war with Full Metal Jacket. Memorable for the "colorful" quotes and a young Vincent D'Onofrio's incredible physical transformation in the film, Kubrick's vision grabbed him and co-writers Michael Herr and Gustav Hasford an Oscar nomination for Best Adapted Screenplay. Eventually, the film slid into cult status, but it still stands as a Kubrick classic and introduced us to the man who would embody "drill sergeant" in the decades to follow, R. Lee Emery.

#49. Tootsie (1982) 

Dustin Hoffman will go down in history as one of the most gifted actors our country has ever produced. Though his resume includes Midnight Cowboy, Kramer vs. Kramer, and All the President's Men, it may be Tootsie that showed us the kind of range he was truly capable of. The story of an actor who, when he can't find work, decides to audition in drag is a callback to the gender-bending success of films like Some Like It Hot. A film that says - though rather obviously - a lot about feminism and the machismo that still ran the media industry, Tootsie picked up ten Oscar nominations - its only victory came in Supporting Actress for Jessica Lange. But, in the end, Dustin Hoffman in a dress may be better than 99% of any other actor in anything.

#48. The Abyss (1989)

Long before James Cameron created the world of Pandora or even sailed on the ship Titanic, he mixed the two with a tale of civilian divers who encounter an aquatic alien species while searching for a nuclear submarine at the bottom of the ocean. Cameron had written and directed films before (you'll see later), but this was the first he wrote completely on his own with a studio giving him a substantial budget. Nominated for four Oscars and winning for Best Visual Effects, The Abyss was the first look at what this director could do if you throw money at him, give him free reign, and let him tell an actual story, as opposed to covering all the film's shortcomings with pretty blue people.

#47. Raising Arizona (1987)

In 1984, a team of brothers broke out with a Sundance hit call Blood Simple. But, three years later, the Coen Brothers made their first major mark on the industry with one of the decade's best comedies, Raising Arizona. It's an insane premise - a lifetime criminal falls in love with a local police officer. They can't have children and see a wealthy local couple are having quintuplets. In a decision that makes total sense, the husband H.I. McDonough (Nicholas Cage) decides to kidnap one of the children to keep for themselves. Also starring Holly Hunter, John Goodman, and Randall 'Tex' Cobb, Raising Arizona still stands as one of the Coen Brothers' funniest films and proved these brothers could do just about any type of film they wanted.

#46. Cinema Paradiso (1988)

Directed by Giuseppe Tornatore, the 1988 won the Oscar for Best Foreign Film and developed a bit of a cult following ever since. Martin Scorcese's Hugo may not have borrowed techniques or even told the same story, but it certainly owes a little bit to Cinema Paradiso in its overall message. The film revolves around a filmmaker and his recollection of a childhood spent at his village theater, forming a deep bond with the projectionist. Upon his return there, he reconnects with a lost love. For fear of using the phrase a little too often, it's truly a "love letter to the movies." When we have a strong connection to something - whether it's an activity, a person, or a place - returning to that love brings it all back. Cinema Pardiso showed that not only can movies evoke emotion, but can drive otherwise silent men to bask in a love that knows no bounds.

#45. This is Spinal Tap (1984)

Christopher Guest may now be the undisputed champion of the mockumentary, but his first foray into the genre came in 1984 as a writer and star of Rob Reiner's This is Spinal Tap, a hilarious send up of hair metal bands and the pressures of touring for the "loudest band in the world." Reiner plays documentarian Marty DeBergi has he follows Spinal Tap on an American comeback tour filled with a bevy of issues. The band - comprised of Michael McKean, Guest, Harry Shearer, and a rotating door of drummers who keep dying for various ridiculous reasons - are legendary, thanks to "insightful" lyrics and what can only be classified as a "thirst" for stardom, paired with artistic integrity. All of Guest's comedic successes of the 90's and since owe quite a bit to this genius piece of comedic filmmaking, and he would be the first to say so. 

#44. Say Anything... (1989)

Cameron Crowe had major success as a writer early in the 1980's (you'll see later on the list), but his first turn behind the camera, filming a script he wrote, would add up to one of the strongest, most honest looks at young love in the last 30 years. Say Anything starred John Cusack as Lloyd Dobler, a teenager adrift in indecision and kick-boxing and his new found love for popular girl Diane Court (Ione Skye), who, as his exact opposite, still seems to be the perfect match for him, especially when he stands by her when no one else will. A beautifully simple story played to perfection by Cusack, the film put Crowe on the map, leading to plenty of other "coming of age" stories from the man who used to write articles for "Rolling Stone" at age 15.

#43. Flashdance (1983)

Sometimes, all you want to do is dance. In the first "cheesy" entry on our list, Jennifer Beals stars in Flashdance, the story of a Pittsburgh area welder and exotic dancer who works to get into ballet school. Now, despite the overdone story, sub-par acting, and ridiculous premise, Flashdance found its audience, standing still as one of the nostalgic favorites, thanks to a memorable soundtrack and a collection of extremely noteworthy moments, despite the fact that Beals had a male body double for some dance scenes. Nominated for four Oscars and winning Best Original Song ("Flashdance...What a Feeling"), this karaoke-style pseudo-musical was directed by the same man who gave us Jacob's Ladder, Fatal Attraction, and Unfaithful, so I can't bury it too much.

#42. Less Than Zero (1987)

Long before the age of Facebook and the Internet, the only way we could keep in touch with our old friends was with phone calls and visits home for the holidays. Marek Kanievska's adaptation of Bret Easton Ellis' first novel (written at age 21 when still at Bennington College) is a stylish tale of a college freshman who comes home to Los Angeles only to find his former best friend is a train wreck of a drug addict. Starring Andrew McCarthy, James Spader, and Jami Gertz, what Less Than Zero did more than anything was introduce us to "full-on" Robert Downey, Jr., coincidentally in the drug-addled fashion that would dominate his life for years. Ellis hates the film and, while it suffers from a number of issues with plotting and melodrama, the film still stands as one of the few offerings involving the "brat pack" that isn't overly saccharine. 

#41. The Lost Boys (1987)

Other than the brat pack, the 1980's were dominated by a number of other actors from the "other side of the tracks," specifically Corey Haim, Corey Feldman, and Kiefer Sutherland. Director Joel Schumacher followed up 1985's St. Elmo's Fire with The Lost Boys, a story of two brothers convinced their new home is infested with vampires. Featuring Jason Patric, Dianne Wiest, and the three actors listed above, the film caught a visceral angle of teenage angst and the frustration of starting over in a new place. It's a little campy (as Schumacher usually is) and a little scary, but it's a solid showcase for all the actors in the cast and an important step in the careers of all involved. Plus, it's just a pretty cool movie.

Onward and upward...40 through 31 coming up next.

The Movies That Defined the 1980's: 40-31

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Robert DeNiro in "Raging Bull"
courtesy of listal.com
In this section of the list, we see a few classic comedies, a couple science-fiction films, some horror, and two Best Picture winners. It's a nice motley crew of films, all from different genres and stars. If anything, it paints a picture of how much variety came out the 80's, whether we remember it or not. As I go through, I realize how many really good films won't be on the list. But, that's the way it goes when your list isn't actually "best of." So, here's #40 through #31.



#40. Evil Dead (1981)

Long before Sam Raimi made a couple good Spiderman movies and began production of the Wizard of Oz prequel, he made a name for himself with a horror-comedy hybrid called Evil Dead, an insane independent film starring the ever-campy Bruce Campbell. When five friends find a book called the Necronomicon, they release evil at a cabin in the woods and Ash (Campbell) has to fight to survive the night.  This film is bloody, hilarious, and ridiculous, but it's worth it. Followed by two sequels (Evil Dead 2 and Army of Darkness), Evil Dead kick-started a talented director's career and helped define a weird sort of horror that doesn't take itself too seriously. Plus, it's the only film I've seen with a scene that paints trees as rapists...so far...


#39. Beetlejuice (1988)

Tim Burton's 1988 Oscar winner for Best Makeup (seriously) was his second feature film effort after Pee-Wee's Big Adventure and showed the type of director he would be for years after. As strange as Pee-Wee was, it didn't slide into the darker, morbid humor Burton would eventually display with Beetlejuice and subsequent projects. Starring Michael Keaton as the title ghoul, the film tells the story of a young couple (Alec Baldwin and Geena Davis) who die and are stuck haunting the house they so lovingly built. When a new family moves in, they are connected with the daughter Lydia (Winona Ryder) and work to rid the family by whatever means necessary, even if it means summoning the evil (but rambunctious) title "bio-exorcist." It's a fun, Burton-esque look at the afterlife and gave Keaton a platform to camp it up to the nines.


#38. Aliens (1986)

Ridley Scott's 1979 blockbuster Alien still stands as one of the best horror films of all time, adding a sci-fi flare to the genre. In 1986, director James Cameron was tapped to direct a sequel and gave the world arguably a better movie, amped up with more action and suspense. Aliens took the heroine from the first film Ripley (Sigourney Weaver) and made her a full on action star, fighting the same aliens who have since colonized. Nominated for seven Oscars (including Best Actress) and winning two (Best Visual Effects and Sound Editing), Aliens is a rare gem that, while many argue is not as good as the first, is still a worthy sequel to a fantastic original. And, in an editor's note, Prometheus is still a disappointment.

#37. Caddyshack (1980)

Writer/director Harold Ramis jumped into feature films with this comedic gem, a near plot-less story of a country club caddie, his attempts to win a college scholarship, and the crazy characters that inhabit the course. Caddyshack served mostly as a platform for some wonderfully gifted comedic actors to eat up screen time, including Chevy Chase, Ted Knight, Rodney Dangerfield and Bill Murray. Jam-packed with memorable quotes, hysterical situations, and some of the funniest people you'll ever see on screen, Caddyshack remains one of the funniest films ever and certainly ranks high on the all-time best sports films. It was a Cinderella story...coming out of nowhere.

#36. The Thing (1982)

Long before it had a sub-par prequel by the same name, director John Carpenter's The Thing stood out as one of the scariest, most suspenseful films of the decade (and of all time). When a group of scientists go to Antarctica, they are confronted by a shape-shifting alien that takes on the appearance of its victims. The claustrophobia that Carpenter uses to jack up the suspense and terror is unimaginable. Yes, the visual effects when we see the alien are pretty graphic, but it's the waiting and worrying that really baits the audience in. It's been parodied and, like I said, re-imagined as a prequel, but 1982's The Thing is still the gold standard for 80's intelligent horror.

#35. Batman (1989)

Comic books were never really taken seriously as source material (well, they were, but in a cheesy sense) until Tim Burton got the rights to the DC Comics behemoth "Batman." Burton directed the first of a string of Batman films that slowly got worse and worse, but the first one out of the gate was a nice template for 90's comic book films; whether they followed it or not was pretty hit and miss. Starring Michael Keaton as the caped crusader and Jack Nicholson as the Joker, Batman was what you'd expect from a Tim Burton comic book film, with an underlying theme of the macabre. For years, Nicholson's performance as the titular villain stood up as the greatest comic book movie "baddie," until the late Heath Ledger sunk his teeth into the same role, re-imagined by Christopher Nolan. But, this Oscar winning (for Art Direction) film still stands as one of the earliest examples of how to adapt comic books correctly.


#34. Stand By Me (1986)

Two years after director Rob Reiner unleashed Spinal Tap, he pulled back into a short story by Stephen King about a group of kids looking for a dead boy near their town. Starring River Phoenix, Corey Feldman, Will Wheaton, and Jerry O'Connell, Stand By Me is a beautiful picture of childhood bonding in terrible circumstances and how retreating to those memories can bring both happiness and pain. Nominated for Best Adapted Screenplay, Stand By Me had everything that various other "coming of age" stories couldn't accomplish: it had talented child actors, a competent director, an intelligent script, and a believable villain, played by Kiefer Sutherland. It's still one of the best films about growing up you'll ever see and will be for a long time.

#33. Amadeus (1984)

Director Milos Forman has plenty of brilliant films under his belt and this one may very well be the best. Peter Shaffer adapted his own stage play for the screen, winning the Oscar and helping the film win seven other Oscars, including Best Picture, Director, and Actor. The story of Wolfgang Amadeus Mozart, the young, uncultured genius and his rival Antonio Salieri is a brilliant look at jealousy, hatred, and how someone else's success overshadowing you can not only make you question yourself, but question God and life itself. Beautifully designed, directed, and acted, Amadeus is one of the best films to come out of a decade where science-fiction, romantic comedy, and action seemed to rule. Editor's note: Tom Hulce deserved the Oscar for Lead Actor over F. Murray Abraham. I'm just saying.

#32. Rain Man (1988)

This beloved Best Picture winner was directed by Barry Levinson, his follow-up to 1987's Good Morning Vietnam. Tom Cruise plays as a selfish man who finds out his father left a fortune to his brother Raymond, played by Dustin Hoffman, whom he had never even known existed. The catch: Raymond is an autistic savant and needs constant care. In an effort to get the money, Charlie (Cruise) kidnaps Raymond and takes him on a road trip. When he learns about Raymond's gift with  numbers, their trip detours to Las Vegas. While many identify the story as a heartwarming one where two brothers come together, the edge that Charlie is really just a horrible person still exists. What's more, while Hoffman won the Oscar for his work, Cruise proved he could be more than a one-dimension sex-symbol actor with a nice, layered performance that really anchors Rain Man.

#31. Revenge of the Nerds (1984)

Who doesn't love an underdog story? Well, director Jeff Kanew delivered one of the best with 1984's Revenge of the Nerds, an homage to all those kids that were bullied with a picture of what could happen if they fought back. Starring Anthony Edwards and Robert Carradine as Gilbert and Lewis, incoming freshmen at the fictional Adams College, they face plenty of tortures at the hands of the jock-filled Alpha Beta fraternity. Eventually, they realize the only way to get revenge is to form their own fraternity, affectionately called Lambda Lambda Lambda (Tri-Lams). It's the fairy tale of brains besting brawn (though brawn is nearly illiterate here), but it's done in hilarious fashion. It may be another sex-fueled teenage comedy, but it has plenty of redeeming qualities to make it worth your while.


Well, next up is the halfway point. See your favorite yet?

4 Temmuz 2012 Çarşamba

KATE MOSS AND CAROLINA HERRERA A LIVING 'AWARDS NIGHT' IN BARCELONA

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(Hola.com) Yesterday, Venezuelan designer received an awardin recognition of his career during the delivery of the 'Mango Fashion Awards'2012, in which the jury was the British model. It is the international fashionaward more prize money in the world, 'Mango Fashion Award. Award from yesterdayin its 4th edition, and has an owner, Wisharawish Akarasantisook (January 5,1982, Thailand). Moved, the young artist collected his prize, whose sum amountsto 300,000 euros. And he did from the president of Mango and jury, Isak Andic,and the designer Carolina Herrera, who also was in luck, because, during thisevent held at the Palau Nacional de Montjuic, received an award in recognitionof his entire career. Three players undoubted night that joined the supermodelKate Moss, current signature image. She also was on the jury, a privilegedposition that filled him with pride, as well as the fact of seeing promisingyoung fashion can have their chance. "I am honored to be part of the jury.This is a great opportunity for young designers. It's amazing what Mango isdoing for them because they support and allows them to design for largeenterprises, "said the 'top' British. But for her, what qualities musthave a designer to succeed? "Obviously, you must have passion, imaginationand determination. This is a tough business and we must always believe inyourself. Also important is the originality. You have to catch the imaginationof people and their capture in a show every day with items that are going totake, "he said during the gala dinner which provided a framework fordelivery of these awards. It was an evening filled with familiar faces, inwhich Kate Moss took the opportunity to do a little analysis of its influencein the fashion world and their experiences. This did not hesitate to talk aboutwhat designer would highlight in his long career, "would highlight theGalliano shows because they are always magical. They are a show, like theater." Just do not feel entirely confessed a 'fashion icon': "Do not thinkabout it when I seen that morning. I just dress the way I feel I want to dress."The birth of a starNatural Thailand, but has lived four years in Paris,Wisharawish Akarasantisook becomes a new figure in the world of design to befollowed closely. For now, winning this award is a triumph of true luxury, whoarrived by different accidents. "It's a great chance to collaborate withMango. I saw on the news the third edition and, therefore, decided to introducemyself, "he said. And he did, ran and won with a collection full of verypersonal feelings: "Following the death of my father returned to Thailand,so I am inspired by Buddhist temples, analyzing the relationship between lifeand death to nature. A collection in great detail and handmade pieces. "

BOBBY BROWN, WHITNEY HOUSTON'S EX-HUSBAND, REMARRIES

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(Globovision.com) Bobby Brown, Whitney Houston's ex-husband,married his fiancee Alicia Etheridge on Monday in Honolulu (Hawaii), reportedthe online edition of People magazine. The R & B star was joined on thelink for his family and friends, including her older children (Landon, 23;La'Princia, 22, and Bobby Jr., 29) and Cassius, three years, the only it has incommon with Etheridge. The wedding took place just a day after Brown concertwith his band New Edition. The couple had committed in 2010, when Brown askedhim to marry during a mass concert Etheridge New Edition in Jacksonville (Florida).Brown has always grateful Etheridge publicly support and found new life withher after their divorce in 2007 from Houston, who died in February. "Ifound again the passion for music and love myself through it," he saidlast year the musician to the publication of respect for Etheridge, who servesas manager of Brown. Bobbi Kristina Brown, the only daughter of Brown andHouston, was not present on the link. According to the magazine, therelationship between father and daughter through their best moment. Houstonmarried Brown in 1992. Bobbi Kristina had a year later and after a tumultuousrelationship, which included a complaint of domestic violence singer andseveral attempts to combat Houston addiction to drugs and alcohol, the coupledivorced in 2007.