Top 20 American Films

 Last week my friend Cody Lang and I sat discussing films. As usual we agree, and disagree, and took glee in expounding on our brilliant film tastes while bashing the others. The question looms though - are our film taste’s brilliant or fool hearted? Needing an audience to address that you be the judge. We decided to create our own top twenty of our “favourite” – not what others would consider the “best” – American films. 

    Some words on my list. I’ve always been pretty high on the thinking man’s film. I watch films to learn more about reality rather than escape it. So with that said there are a lot of films on my lists that have to do with society, time travel, identity, and a dystopian future. A couple luminaries come up a few times too, I definitely love David Lynch, Stanley Kubrik, and the Coen Brothers. Well enough of my chatter. Here is my list, please enjoy, and hopefully comment whether in agreement or disagreement. I’d love to hear what you have to say. My list is in no specific order and I made some effort to grab a title from most genres as to give the list some breadth.

My American Film Top 20 in no specific order:

Pulp Fictionn (1994) : Still my favourite ever theatre experience. Everyone laughed at all the dark comedic moments and I was in stitches both from the dialogue as well as Tarantino’s penchant for the absurd... think the whole Zed story and Vinny Vega accidently blowing a guy’s head off while waving his gun around.  

The Tree of Life (2011) : Not as much a film as a treatise on the essence of existence on a grand cosmological level. Terrence Mallick, coming towards the end of his life, puts this forward as his Opus and has shown us that despite the staggering importance we put on ourselves as individuals that we are so small in the grand scheme of things. A masterpiece!

The Sting (1973) : A close call between this and “Butch Cassidy and the Sundance Kid”, but I felt this Robert Redford/ Paul Newman pairing was just a little more fun. Great comedy mixed in with gangsters, prohibition bootlegging and pulling off the ULTIMATE con.

Aliens (1986) : The sequel to Alien moves the franchise away from space horror into science fiction. The film is big in every scale as you’d expect from James Cameron and creates a mind blowing future that includes a kick ass future army core and aliens that are not to be trifled with. As with Blade Runner I never really get sick of watching this film, it's action with a scientific bent that is worthy of any number of viewings.

China Town (1974) : Grimy film noir that mixes water rationing with the taboos of incest - a bold combination. Jack Nicholson spends half the film with a massive bandage on his nose as he navigates the toughs and delinquents of a James Elroy style underbelly of Los Angeles.

Slacker (1991): Richard Linklater has long been one of my favourites and this homage of everyday life in Austin, Texas  - as much as “Dazed and Confused” – has made me want to visit there. The film follows an eclectic collection of artists, drunks, and miscreants each holding the camera’s attention for five minutes before it follows another person. Experimental film making that is edgy and relevant.

Miller’s Crossing (1990) : The ultimate in film noir dialogue with Gabriel Byrne holding court as a brilliant mafia bootlegger that plays both sides of the fence between rival gangs. The Coen brother’s production as always brings dark comedy and hilariously contrived characters that while slightly over the top do not throw the authenticity of the era being highlighted into question.

Blade Runner (1982) : Rooted with deep existentialist underpinnings this futuristic noir looks at the essence of identity in an era where humanity and machine are getting more and more blurred. As with any great piece of Science Fiction this film is possibly more relevant today than when it originally came out 30 years back. An amazing, brooding looking film that still stands the test of time for the future it presents.  

Pi (1998) : Darren Aronfsky’s first film, made for less than $50,000 dollars, stands above all of his others in terms of the complexity of characterisation. The film looks at the nature of genius and its correlates to madness as a mathematician comes painfully close to an algorithm that could decode not only the stock market, but reality and nature itself. A MUST see...

No Country for Old Men (2007) : Like other Coen Brother’s films this one is existentialist in character looking at the seeming absurdity of life where good and evil do not align with consequence. Great acting -especially from Javier Bardem who plays a psychopath with his own brand of idealism.

Raiders of the Lost Arc (1981) : Fantastic, epic adventure spanning continents as Dr Indiana Jones squares off against the Nazi’s to locate the Arc of the Covenant. By far the best of the series encapsulating both adventure and fun in globe stomping style.

Memento (2000 ): A brain twisting film shot in reverse as an allegory for the lead characters anterograde amnesia. (not being able to encode new memories in short term memory.) A man, played by Guy Pierce, looks to get closure on his final encoded memory: seeing someone murder his wife. An intriguing narrative comes together as well as a philosophical reflection on reality, memory, and the construction and the reconstruction of identity.

Silence of the Lambs (1991) : A seminal thriller and the best of the “serial” killer films, in a close call with Seven, which pits a novice FBI agent Clarise Starling against the brilliant psychopath Dr Hannibal Lector. Though the pursuit of another serial killer is the films chief narrative the dialogue scenes between Lector and Starling are the most memorable and present a tangible, be it creepy, chemistry between the leads.

Mulholland Drive (2001) : A masterpiece from David Lynch as he delves into the question of identity, reality, and agency by looking at a girl’s experience in Hollywood through a long, twisting, lucid dream.  A movie that begs reflection and my all time favourite film.

2001: A Space Odyssey (1968) : A genuine space opera as man’s first forays into space are motivated by an alien intelligence. Shot in the early 60’s the look of this film is amazing, the score amazing, and the depth of philosophical insight without peer. Viewers are challenged to consider the possibilities of technology reaching too far and other worldly consciousnesses beyond anything conceivable by human experience. Comparable in scope to Mallik’s: “The Tree of Life.”

Dazed and Confused (1993) : Within a list of more or less “heavy” films "Dazed and Confused" lightens things up a bit. An ensemble cast, each representing different personalities around an Austin Texas High School in 1976, enjoy the last day of school by partying and musing about their city and their futures. I’ve always wished I could have hung out with some of these people. Not to mention a load of future stars got their beginnings in this film.

LA Confidential (1997): Brash, brooding noir that high lights Hollywood in an era when film stars, mobsters, and police were interchangeable and there was a real seedy side behind all the Hollywood glitz. Fabulous performances, including a star making performance by Russell Crowe, make this a delightfully entertaining cops and robbers yarn where no one is as they seem.

Dr Strangelove (1964) : Hilarious satire as Stanley Kubrik depicts the possible end of the world with a cast of characters worthy of Joseph Heller’s Catch 22. Constantly laugh out loud funny in particular each time Peter Seller’s graces the screen.

Twelve Monkeys (1995) : A time travel film that intelligently begs the question: if there is one stream of time (which of course is debateable) won’t attempts to change the past using time travel have to lead to a future that has already taken into account that attempt and because of that be unchangeable? That is a Catch 22 ad-infitum... all this with Brad Pitt playing a memorable crazy eyed, seeming psychotic.

Barton Fink (1991) : This Faustian tale looks at a hell in of itself through an unfulfilled writer who will never get to write what he wants and who will forever be under the thumb of Hollywood studio heads who have him writing pictures about professional wrestlers. John Goodman’s role as the devil, and ring master of this Sisyphean world, is brilliant. A film that milks the absurdity of art and it’s seemingly permanent disfunctional marriage with business.