30 Days – Day #2: My Favourite Film

Well, this one is a little awkward, but only from the point of view of anyone who is reading back through the archives of my blog, because I talked about this film only two posts ago.

It’s Pixar’s Up. I loved it. Simple, plain, uncynical, sense-of-wonder stuff that made me laugh and cry. Beautiful animation, excellent writing, and a marvellous cast. Proof, if proof were needed, that you don’t need explosions, tits, or anything remotely dark and gritty to make a truly superb piece of cinema.

That’s quite a short post, for something that’s meant to be an exercise in encouraging me to write regularly and write more. But I’m loathe to talk about the details of the film, because there might be people reading this who haven’t seen it yet, and they really need to see it, unspoiled, at the first opportunity. Plus, as I say, I’ve already written about why I love Up before, and don’t really want to repeat myself.

So here, in no particular order are some other films I love, and a few reasons why. I’m not sure that these are my favourite films, they’re just films it occured to me to mention when dwelling on the subject.

The Matrix – just the first one, you understand. Pop-gnosticism is something I love, and The Matrix is a particularly shiny, impressive and exciting varation of the species.

Sunshine – I know a lot of people don’t like it, but it’s an extended meditation on heroism and glory using one of the most effective metaphors I’ve seen, and seen in that light, it has a very tight script, even including the slasher-SF monster figure.

10 Things I Hate About You – Equal parts Shakespeare and teen romcom, with a remarkably good cast. It’s just daft fun. Plus, it has Alison Janney, and I’ll watch anything she’s in.

The Ninth Gate – Barely connected to the book, I am a sucker for a well done occult conspiracy thriller. This is exactly that. It works according to a logic all it’s own, and the is-it-real-or-not nature of the movie probably puts a lot of people off, but I really enjoyed it.

Adaptation – Simultaneously a refutation of, and a strict adherence to all the rules that Robert McKee lays out in his book “Story”, simultaneously an deconstruction of the art of writing for film, and an emotionally gripping story, this is the sort of film that I imagine other screenwriters watch and cry into their beer, because they’ll never be as good as Charlie Kaufamn.