In spring of 1999, while the masses were jacking into The Matrix, braver souls were leaping into the alternate gaming universe of David Cronenberg’s eXistenZ. Ostensibly, über game designer Allegra Geller (Jennifer Jason Leigh) is on a promotional tour with her newest game and game pod, which is an electrical organism that creates its virtual reality by plugging directly into the gamer’s nervous system via spinal cord bioport. She and her marketing man, Ted Pikul (Jude Law), come under attack and flee from realists who object to extreme gaming’s impact on humanity and its reliance on endangered mutant amphibians for gaming pods (!).
Master director Steven Spielberg has made enduring classics in horror, sci-fi, adventure, and historical drama. 2002’s Catch Me if You Can is just his second screwball comedy (the first being the box-office disaster and cult classic 1941), and even if it’s not a classic, it’s his hippest and most outrageously fun film to date. Strap yourself in for the unbelievable true story of one Frank Abagnale Jr. (Leonardo DiCaprio).
Threatened with eviction from his lifelong home, Carl Fredrickson cuts loose in an unexpected way and sets off on a journey to the South American wilderness he and his late wife had long yearned to visit. Along the way, he picks up a few unwelcome (at first) fellow travelers: Russell, an 8-year-old Wilderness Explorer; Kevin, a rare bird and a key plot McGuffin; and Dug, a talking dog. Carl also runs into his boyhood idol, explorer Charles Muntz, who turns out to be less of a hero than he had long imagined.
Released before home video could be counted on to save a studio’s bottom line on just about any flop, 1980’s Heaven’s Gate is one of the all-time box-office bombs. Back then, disasters like this took down careers, and few falls were faster or farther than director Michael Cimino’s, who made this notoriously expensive Western as his follow-up to the Oscar-winning juggernaut The Deer Hunter. His career never recovered, and Heaven’s Gate almost single-handedly ended the reign of the director within the Hollywood studio system that produced so many great auteur films in the 1970s.
Making a living during the Great Depression carried with it certain necessities. For three orphaned brothers living in the backwoods of rural Virginia in the early 1930s, making moonshine and selling it to the locals was a very profitable but dangerous business. The fundamental rule of mob warfare applied there, too: If you want to live to enjoy the spoils, you have to have the balls and the will to do what the other guy won’t.
The antebellum South returned to modern screens by way of ’60s/’70s-style Blaxploitation in Quentin Tarantino’s electric Django Unchained. A surprisingly good-hearted, forward-thinking bounty hunter (Christoph Waltz, Oscar'd again here) purchases and frees the slave of the title (Jamie Foxx) in exchange for his help in tracking down three big-ticket wanted men.
Little Nemo and his dad, Marlin, are the only survivors of a barracuda attack that took his mom and not-yet-hatched siblings. On Nemo’s first day of school (fish in a school—who knew?), he swims out beyond safety and is scooped up by a scuba diver. The distraught Marlin sets out on a journey to find him. In his quest, he meets up with a memory-challenged fish, Dory; a trio of sharks in a fish-anonymous rehab group; a convoy of surfer-dude turtles; a great blue whale; and more.
The seven Harry Potter novels have sold more than 450 million copies and are the best-selling book series in history. With such a rabid and loyal fan base, it was a foregone conclusion that Hollywood would come knocking on author J.K. Rowling’s door. In 1998, Warner Bros. purchased the rights to the first two novels for more than $1 million, and director Chris Columbus had the pleasure— and challenge—of casting all the various characters who would entertain audiences for the next 10 years.
The three main characters, Harry Potter, Ron Weasley, and Hermione Granger, were perfectly cast with Daniel Radcliffe, Rupert Grint, and Emma Watson, respectively. Audiences got to see these three kids grow up as people and actors over the years, and Warner Bros. executives were able to keep them and the rest of the all-star cast together until the final film in 2011.
Eight years have passed since the complicated events of The Dark Knight. The Batman (Christian Bale) has taken the blame for the death of district attorney Harvey Dent in an attempt to inspire the people of Gotham City to stand strong against crime. With the subsequent passage of the Dent Act, Gotham is tougher on criminals than ever, even while The Bat has disappeared, his alter ego Bruce Wayne living in self-imposed exile.
With each passing year, we seem to be witnessing the further shrinkage of the gender gap, and so movies like A League of Their Own are ever-more fascinating. It shares with modern movie audiences the little-known true tale of the All-American Girls Professional Baseball League, created to help keep the national pastime alive while the menfolk were off fighting World War II. The idea was met with much resistance at the time, and so the girls face challenges off the field as well as on.
One magical night, a lonely young boy named John makes a special wish that his teddy bear will come to life and be his best friend. And on that special night, the fates decide to grant him his wish. The next morning, John introduces Teddy to his absolutely freaked-out parents. Flash-forward 25 years, and John has grown up into a strapping young man who looks astonishingly like Mark Wahlberg. Best friend, Teddy, now just called plain Ted, has grown up, too, but only in maturity…or lack thereof. John and Ted now spend their afternoons getting high in front of the tube and talking trash about women.
If it weren’t for the 2012 presidential election and the recent public shaming of Anthony Weiner and David Petraeus, we might have a difficult time finding any credibility in the outrageous humor of The Campaign. Scandals, corruption, lies, and character assassination: It isn’t just for breakfast anymore. It’s become part of our daily diet. Just watch CNN, for Pete’s sake.
When an older and quite esteemed film expert asked me not long ago what my favorite genre was, I was honestly flummoxed. Pixar isn’t a genre, and I’ve just seen too many lame science-fiction flicks. Looking back over a life of film fandom and the past decade in particular, I finally came up with an eyebrow-raising response: comic book movies.
Moonrise Kingdom is another witty charmer from writer/director Wes Anderson, this time with a bittersweet tinge of youth’s passing in 1965 New England. The protagonists are two troubled 12-year-olds who run away to marry in the wilderness of insular New Penzance Island. Suzy’s parents are miserable, insufferable lawyers (Frances McDormand and Bill Murray). Suzy sees a lot (often through binoculars) and has discovered her mother is having an affair with the island policeman, Captain Sharp (Bruce Willis). Sam is an orphan with outstanding wilderness skills, who resigns from his Khaki Scout troop (in writing!) and is not invited back to his foster family if found. His only family is the troop of Khaki Scouts led by the well-meaning but overmatched Scout Master Ward (Edward Norton).
One of silent film’s biggest stars, Norma Desmond (Gloria Swanson), enlists the talents of a down-on-his-luck Hollywood screenwriter Joe Gillis (William Holden) to help edit a screenplay she wrote in hopes of launching her big comeback. Little does Gillis know, the poor lady is off her rocker. But when you’re broke, you have to take work when you can get it. The pair watch her old movies with her trusty butler—who hides his own dirty secret—at the helm of the camera, but the more time Gillis spends with the ex-starlet, the more he becomes accustomed to the lavish lifestyle she provides him.