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Underneath the cultural kitsch of everything — the screaming teenage fans, the “king from the world” egomania, the instantly universal language of “I want you to attract me like one of your French girls” — “Titanic” is as personal and cohesive as any film a fraction of its size. That intimacy starts with Cameron’s have obsession with the Ship of Dreams (which he naturally cast to play itself in the movie that ebbs between fiction and reality with the same bittersweet confidence that it flows between past and present), and continues with every facet of the script that revitalizes its basic story of star-crossed lovers into something iconic.
Some are inspiring and thought-provoking, others are romantic, funny and just basic fun. But they all have one particular thing in frequent: You shouldn’t miss them.
“The top of Evangelion” was ultimately not the end of “Evangelion” (not even close), but that’s only because it allowed the collection and its writer to zoom out and out and out until they could each see themselves starting over. —DE
The climactic hovercraft chase is up there with the ’90s best action setpieces, and the top credits gag reel (which mines “Jackass”-level laughs from the stunt where Chan demolished his right leg) is still a jaw-dropping example of what Chan put himself through for our amusement. He wanted to entertain the entire planet, and after “Rumble from the Bronx” there was no turning back. —DE
The result is our humble attempt at curating the best of a decade that was bursting with new ideas, fresh Power, and much too many damn fine films than any prime one hundred list could hope to consist of.
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Davis renders interval piece scenes like a Oscar Micheaux-encouraged black-and-white silent film replete with inclusive intertitles and archival photographs. A single particularly heart-warming scene finds Arthur and Malindy seeking refuge by watching a movie inside of a theater. It’s short, but exudes Black Pleasure by granting a rare historical nod recognizing how Black people of the past experienced more than crushing hardships.
A dizzying epic of reinvention, Paul Thomas sexcom Anderson’s seedy and sensational second film found the 28-year-previous directing with the swagger of a young porn star in possession of a massive
Most American audiences experienced never seen anything quite like the Wachowski siblings’ signature cinematic experience when “The Matrix” arrived in theaters in the spring of 1999. A glorious mash-up with the pair’s long-time obsessions — everything from cyberpunk parables to kung fu action, brain-bending philosophy to the instantly inconic outcome known as “bullet time” — couple of aueturs have ever delivered such a vivid vision (times two!
Where does one even start? No film on this list — as much as and including the similarly conceived “Twin Peaks: Fire Walk with Me” — comes with a higher barrier of entry than “The top of Evangelion,” just as no film on this list is as quick to antagonize its target viewers. Essentially a mulligan over the last romance sex video two episodes of Hideaki Anno’s totemic anime collection “Neon Genesis Evangelion” (and also a reverse shot of sorts for what happens in them), this biblical psychological breakdown about porntube giant mechas and the rebirth of life in the world would be absolute gibberish for anyone who didn’t know their NERVs from their SEELEs, or assumed the Human Instrumentality Project, was just some warm first time anal new yoga craze.
Making the most of his background as a documentary filmmaker, Hirokazu Kore-eda distills the endless possibilities of this premise into a number of polite interrogations, his camera watching observantly as more than a half-dozen characters try and distill themselves into a person perfect moment. The episodes they ultimately choose are wistful and wise, each moving in its own way.
Past that, this buried gem will always shine because of the simple wisdom it unearths from the story of two people who come to understand the good fortune of finding each other. “There’s no wrong road,” Gabor concludes, “only undesirable company.” —DE
When Satoshi Kon died from pancreatic cancer in 2010 on the tragically premature age of 46, not only did the film world drop certainly one of its greatest storytellers, it also lost amongst its most gifted seers. Not a soul had a more accurate grasp on how the electronic age would see fiction and reality bleed into each other on the most private levels of human perception, and all four in the wildly different features that he made in his brief career (along with his masterful Television set show, “Paranoia Agent”) are bound together by a shared preoccupation with the fragility in the self during the shadow of mass media.