Clueless

See, this is how I like my Jane Austen: looking nothing like Jane Austen. There is an argument to be made that this film represents the pinnacle, the zenith, the high water mark of American culture. The amazing script by writer and director Amy Heckerling, with its gentle, loving skewering of California Culture (and by extension the greater American milieu that took its cues from the Golden State), simply bursts with clever lines and visual jokes that mock yet also admire the relative innocence of the country circa 1995, back before everything here began to turn to madness. The translation of that script into greatness is powered mostly by an astonishing, one of a kind performance by Alicia Silverstone as Cher; she is the perfect embodiment of everything that was shallow yet wholesome about the country back in those long gone days. Cast mates Paul Rudd, Stacey Dash, the dearly-missed Brittany Murphy, Breckin Meyer, Donald Faison, Dan Hedaya, and more provide note perfect accompaniment to Silverstone's tour de force. And a terrific soundtrack of perfectly chosen songs sets the mood all the way through this journey of laughs and delights. Without a doubt, this is a Best of All work, and is only not included in the Top 10 of all time simply because there are just too many great movies to fit within that numerical framing, but this flick stands behind few other works of cinema, especially as regards comedies. Is it even possible to call oneself a movie fan if you’ve never seen this masterpiece? As if!

When Harry Met Sally...

Quintessential. That is the only term that truly captures the full depth of this film. It is the quintessential romantic comedy. It is, among a host of contenders, perhaps the quintessential New York movie, so much so that it can even make a dedicated urbanophobe see the appeal of living in Manhattan. It is quintessentially of its time—it was released in 1989, that enormously portentous year—and yet it transcends that moment and feels timeless. (A soundtrack that bursts with all-time great music helps in a big way to convey that sense of a work for the ages.) The entire presentation is flawless. Also, this is a very generous movie, with a script that shares the glory—and greatest lines—among the players, including a legendary line delivered by the director’s mother, of all people. Some of the concepts about romance that are established pieces of the lore today first came to our attention in this film: low/high maintenance girlfriends, transitional relationships, and can they/can’t they dynamics. It’s all a spectacular, rewarding viewing experience. Best of All hardly covers it, but there is no higher complement from the Bad Cat. Watch it again, watch it regularly, and just fall in love with it.

Amélie

I re-watched this classic—no. 3 on my personal list—for the first time in a long time with what I hoped would be a critical eye. I wanted to find the flaws, to discover real reasons to do something other than gush about how great this film is. ... And I failed, because there are no flaws here. This truly is one of the greatest movies ever made: clever, fun, artsy, quirky, wise and foolish, compassionate, loving, and joyful. Audrey Tautou is a vision of loveliness throughout, so much so that you wonder how a girl that beautiful could also be that weird and insecure, yet never for a moment does the viewer doubt the sincerity of Mme. Poulain's painful relationship with the rest of the world. Her pas de deux with Mathieu Kassovitz’s Nico is utterly charming, even when it edges towards being exasperating over the characters’ inability to seal the deal. Finally, the very French-ness of everything gives the proceedings just the right touch of being far away, in some ways like a fairy tale, while still maintaining a universality that can touch deep inside every viewer. Perhaps this movie’s greatest trait is its compassion and understanding for those for whom life just isn't easy (as we see with both Amélie herself and the regulars at the Cafe Deux Moulins—a collection of funny, strange, and most human people.) At such a great remove of time, it’s difficult to remember what a supernova this film was when it was first released; regular re-viewing is imperative to appreciate this one in all its glory. Best of All, now and forever. Vive Amélie!

Hamlet (1996)

A re-viewing of the longtime Best of All inductee. A second look, from a greater temporal distance, reveals more of the flaws in Kenneth Branagh’s wildly ambitious, comprehensive retelling of Shakespeare’s most iconic work. Many of the performances are overwrought; Kate Winslet’s Ophelia in particular is prone to hysterics (while she lasts). Other roles are simply miscast, more for the sake of including “names” than for harmonizing actor with character. And, let’s be blunt: it’s really, really long—almost to the point of being impossible to watch in one sitting. So must this film be jettisoned from the ranks of the great works? Hardly. Its ambition is its brilliance. Few could take on the challenge of presenting the full text of the play and make so much of it entertaining and relevant. The movie start to finish is a visual feast, both in its rich setting and the visual flair demonstrated by its composition, mise-en-scene, and attention to exquisite detail. And the highlights—and there are many—are as memorable as any I have seen in all my life of viewing cinema. It is worth accepting the challenge to view this work and absorb its ecumenical vision of personal and political tragedy. This above all things: to great cinema be true—even unto accepting it in its fullness.

Heathers

This, the wickedest satire of high school from the eighties--or, indeed, any time--holds up amazingly well, even for those of us who were there. The cruel and cliquish teenagers, the clueless and cynical adults, the grotesque and ghoulish media and society at large--it’s all here. And the laughs remain fresh and hearty, even if the language in which they are delivered has grown somewhat stale. (Of course, the visual language of this film has also aged, but that’s part of the appeal, too--getting a laugh out of what once was fashionable and normal.) In many ways, this is the perfect eighties movie, the perfect teen movie, and the quintessential combination of those two conceptual archetypes. It’s clearly the zenith of Christian Slater’s career (and maybe even the top of Winona Ryder’s arc, too). On top of all that, this flick became a cult classic, and eventually spawned a successful and wildly entertaining musical show that in certain ways exceeded the original. (The film’s script is so well written that many of the musical's song lyrics come directly and intact from the source's dialogue.) No wonder this work has long had standing in the Best of All ranks--it earns some of the loudest PURRs in this whole collection.

Raiders of the Lost Ark

You know what this movie gets wrong? The opening credits. They’re sometimes difficult to read, and not particularly a good fit for the rest of the movie, stylistically or creatively. That’s it. The rest is perfect, a masterpiece of the cinematic art of action and adventure. Beyond that, there is little more to say; the thing speaks for itself. No wonder this is a Best of All inductee and ranks No. 2 on this author's all-time Top Ten list. If you are one of the few people on earth who has not yet seen this flick, then set aside a couple of hours and watch one of the finest works in all of filmdom.

Casablanca

A re-viewing review of the greatest movie ever made. Why does this film deserve such lofty acclaim? How can it not? Look at the cast. Humphrey Bogart at his greatest--a definitive role that solidified his place among the silver screen's most powerful immortals. Ingrid Bergman, absolutely luminous as the quintessential love interest. Paul Henreid is asked to act next to Bogart, and pulls off the miracle of holding his own. Support comes from major stars like Claude Rains--who steals scene after scene--and Peter Lorre in a brief but legendary performance. And that doesn’t even count all the brilliant supporting character actors who fill out every scene. Not enough for you yet? Look then at the set design: gorgeous in every detail, particularly the interiors of Rick’s. The costume design? Even a slob like me can see the clothing is first rate; everyone looks like a million bucks. On top of all that, add in a story that, on the personal level of the characters, is compelling in its own right...even if you don’t recognize that the tale itself is a genius metaphor for the contemporary geopolitical situation. Added together, it all merges to make the best movie ever, the essential Best of All classic and No 1 on the Top 10 list. Here’s looking at this one, again and again and again, as long as movies are a part of our culture.

Aladdin

A re-viewing review of the longtime Best of All favorite. After having had my view of the Disney universe hierarchy severely challenged by watching this film's predecessor (Beauty and the Beast), I narrowly maintain that this work still represents the zenith of the canon. Like BATB, this classic features amazing animation, terrific songs, a great story with strong emotional underpinnings—both films have it all. So what nudges Aladdin ever so slightly into the lead? On top of everything else, it’s fun and funny, which is ground upon which Belle and company mostly don’t tread. That is largely the product of Robin Williams’ insanely great performance as the Genie—and the animators’ ability to play off his antics with memorable and equally zany visuals. Also worth noting is that the stakes are so high in this tale; unlike other Disney villains, whose schemes are mostly evil on an interpersonal level, Jafar is actually out to rule the world, not to make a fur coat. He is the most truly dangerous character in all the canon, and is so expertly portrayed in voice by Jonathan Freeman that his presence elevates the proceedings onto a higher plane. Even after all these years, Aladdin remains a great movie to watch, one of the top films of all time—I have it at No. 6 on my personal Top 10 list—and it stands up not just to the ravages of time and the faultiness of memory, but also to any potential challenges from other films, no matter how great they are. Truly, this movie created a whole new world of cinematic enjoyment, and its treasure remains shiny and bright to this day.

Beauty and the Beast

Extraordinary. It is not overselling anything to call this movie the apotheosis, the true ultimate expression of what the Disney studio was moving towards over all those years, from the earliest shorts through Snow White and Fantasia to The Little Mermaid. The latter is often cited as the beginning of the studio’s revival, and it certainly played its part, but this work represents a quantum leap up from everything that came before it. Yes, you can find a few minor quibbles in the production—a few characters are a bit grating—but those concerns hardly rise to a level that dims the praise. The main characterizations are spot on, the songs are terrific, and the animation is a wonder to behold from start to finish. We’re I not such a fan of Aladdin (the next film in the sequence, and the one which I have long considered the zenith of the Disney canon), I would have to bow to this piece as the pinnacle of the series. As it is, I will satisfy myself with giving this one Best of All status, the loudest PURR possible, and the highest of recommendations. An astounding achievement.

The Princess Bride

This may be the most superfluous review on this site. This film has long been a Best of All inductee; I simply wanted to add a review upon re-watching this classic. And in re-watching it, I approached it with as critical an eye as I could, looking to find the flaws instead of just rubber-stamping this flick's reputation. And guess what--there aren't any. This is as close to perfection as it's possible to get. Maybe one could quibble about the parts of the book that did not make it into the movie--but Goldman wrote both the novel and the screenplay, so those are his edits to his own work. Can't really complain about that. (And film is a different medium from books; some changes are absolutely necessary.) The re-watching was, all in all, an amazingly affirming experience: this movie is exactly as good, not just as you remember it, but as you dream it is. A monumental achievement, one of the best movies ever made, and worthy of its legendary status.

25th Hour

Probably the best movie Spike Lee has ever made, and that's saying a mouthful. Not one of the movie's characters--particularly Edward Norton's busted drug dealer--would normally generate much sympathy, yet the presentation of the story is so effective that the viewer can't help but go through the emotional wringer with them. Add to the effective story and wonderful performances a brilliant, haunting score, as well as the raw-nerve backdrop of immediate post-9/11 New York City, and the sum yields a magnificent piece of cinema. A "Best Of All" inductee.

Bowling For Columbine

Michael Moore takes on the U.S.A.'s love affair with guns, and shows how it is definitely an abusive relationship. It's less strident than his earlier works, but no less clear in its presentation of the argument or effective in making its point. Moore presents the issue in his inimitable style and lets the reality make its own case--and the case is a devastating indictment of our society. Objective? Not really. Political? Certainly. Brilliant? Without question. Every citizen of this country should watch this movie, then try to justify the hatefulness that lies in our society's core. A "Best Of All" inductee.

Ghost World

Hits the nail on the head more often than a town full of Amish people building a barn. An awesomely true story with clever writing and a dead-on recognition of what's what in this world. The only possible quibble: in real life, girls that cute don't get that surly. Otherwise, it's perfect. A "Best of All" inductee.

The Princess Diaries

Well-worn plot, but wonderful execution. The acting's great, the writing's expert and sensitive--none of the characters ever strays into cliche territory--and the story and performers exude absolute charm. A "Best of All" inductee.

Fight Club

It's tough to trust this movie at first, but it sure does reel you in by the time the fists start flying. Excellent story (with a twist), excellent performances, and a great ending. A "Best Of All" inductee.