#83: Titanic (1997)

Oscar Winner:

Best Picture, Best Director, Best Cinematography, Best Film Editing, Best Art Direction, Best Costume Design, Best Sound Effects, Best Visual Effects, Best Music (Original Dramatic Score), Best Music (Original Song), Best Sound

One of the great things about seeing films multiple times is that it can evoke an entirely different sentiment the second time around. People will always have films that they will revisit time after time, but I'm talking about a response that is the complete opposite of what you originally felt. How many times have you revisited a film from your youth and it wasn't quite as good as you remember? I had the exact opposite reaction to Titanic on second viewing. Like everybody else in 1997, I saw Titanic, but as a teenager, the romantic air of the film made me want to gag. Although I thought it was a good film, I didn't quite understand why it broke so many Oscar records. I wasn't necessarily looking forward to seeing it again, but much to my surprise, I couldn't believe how much I was swept into…. yes, I'm going to say it… a movie masterpiece.

Yes, even a young child probably knows that the Titanic was the ship that was said to be unsinkable, but the director James Cameron uses a forbidden romance between two social classes to guide us through the disaster. Torn between being her own person and high expectations of a fortune-bound marriage, spoiled Rose (Kate Winslet) reluctantly comes across an artsy, yet poor star-crossed lover in Jack (Leonardo DiCaprio). Jack slowly, but surely, starts to crumble the walls of society that Rose is so bound in, but just as the two decide to take the giant leap into forbidden devotion, an iceberg comes along and ruins their party.

Even though every movie pretty much has a three-act structure, people don't mind dividing this movie into two-halves; the romantic story and the disaster story. Although I think that the sinking of the ship is a far better part and as close to perfect filmmaking that there is, I was surprised by how much I got caught up in Jack and Rose's story. This film had to have a strong foundation for you to invest in a journey where you already know the outcome. Cameron does a brilliant job of flipping the tables and makes the unknown into what happens to this young couple. Although this romance can't help but reek of cheesiness (and is the reason for not quite making it a five-star movie), I emotionally bought into these characters as my teenager soul mocked me in the back of my mind. I'm sure Winslet and DiCaprio have to shudder a bit when they watch this film because their performances aren't necessarily the best ever, but you can for sure see the talent budding that has now made them the top tier of the acting world.

Now that I got that sappy stuff out of the way, I have to expound on how gripping the visuals of the Titanic going down were. Cameron uses special effects mixed with live action to perfection. You can definitely see the budget of this film on screen, but I was shocked at how well everything holds up here. It's been a long time since my eyes were literally glued to the screen and I was totally swept up by the impact of the impending doom. The editing of the disaster scenes are near perfect and I think what really draws you in is the secondary characters that bring a realness to the screen that is very much needed.

Titanic is a film that contains humor, romance, action, big-screen effects, drama, sadness, and most importantly, entertainment. I'm not quite sure why all those elements weren't so clear to me when I was sixteen, but thank goodness for this list to help me see the way.

I give Titanic, 4.5 out of 5 scandalous portraits.

#86: Platoon (1986)

Oscar Winner:

Best Picture, Best Director, Best Film Editing, Best Sound

As long as there have been movies, the war genre has existed. Many of the early ones, especially the ones that were focused on WWII, were very much American propaganda. As the 70's came along, so did a new whole style of filmmaking. It was never more apparent than the approach to the Vietnam war in the films Apocalypse Now and The Deer Hunter. Several years after those revolutionary films, Platoon came about with what I believe as a more inviting style, yet still maintaing its artistic integrity.

Based on Oliver Stone's actual experience as a volunteer (yep, a volunteer!) in Vietnam, Charlie Sheen plays Chris, a naive college student who quickly learns what a war experience actually is. As the atrocities and violence of the war wage on, Chris begins to discover himself. A battle of good and evil in the form of Sgt. Elias (Willem Dafoe) and Sgt. Barnes (Tom Berenger) force the men within Chris' platoon to choose sides. A war within a war emerges as Stone explores the animalistic nature that comes both from physical and internal battles within man.

If a modern war film can be described as approachable, I think this is it. There are still some very violent and hard-to-watch scenes, but it's the strength of its characters that I believe made it win Best Picture. Especially with Dafoe and Berenger's characters. Dafoe is so hippie-like in his loving spirit and Berenger's is so menacing with his scarred grin, that I was totally shocked not to see them on AFI's list of Heroes and Villains. Their rivalry matches that of Ali and Frazier, and although the material is very dramatic, it's a lot of fun to watch. It's also really entertaining to see all the now famous actors that got their start in this film. There's the great character actor Keith David, Forest Whitaker, Kevin Dillon (Entourage), John C. McGinley (Scrubs), Johnny Depp and many more.

The downfall of Platoon is the use of voiceover. Too many times Stone uses Chris to literally tell us what he is feeling instead of showing us. It's a very gripping film that holds your attention the whole time, but it's not one for me that draws me to come back. That said, I think it's a must see, especially if you like the war genre at all. It's a little bit easier to swallow than other war films and definitely holds up today.

I give Platoon 4 out of 5 night watches.

#93: The French Connection (1971)

Oscar Winner: Best Picture, Best Director (William Friedkin), Best Actor (Gene Hackman), Best Editing, Best Adapted Screenplay

The best way to describe The French Connection is a cat and mouse chase. Except for a few of the character-building scenes, it’s as if somebody is after another in some form or fashion. This characteristic provides for a movie that overall I wasn’t blown away by, but one that is heavily entertaining throughout. It’s a cop movie that has elements that are all too familiar, but I had to remind myself that it’s from 1971, so in reality it is the source of all the copycats we see today.

The French Connection perfectly embodies the launching ground of the anti-hero movement in 70’s film. The main character, Popeye Doyle (Gene Hackman) is a cop who is overtly racist and fights crime for the thrill of fighting, not for justice. With his partner Buddy Russo (the always good Roy Scheider) in toe, he comes across a heroin smuggling ring that may be his ticket out of sniffing petty drugs out of local bars every day. What follows are French crooks and mafia men who push Popeye’s temper and patience to a point where he tries everything to solve the case just because he can’t stand not solving a case.

Unlike most cop films, you find yourself not rooting for either side because you don’t want the chase to ever end. Friedkin’s direction is very spot-on and calculated, providing for shot compositions and transitions that are unforgettable. This movie is most known for its subway/car chase scene that still holds up today. It remains so raw and computer effects free, that you feel every crash, screech and near miss. Even more so, I think I enjoyed a foot chase between Popeye and the main villain, because it’s more mental in its suspense than physical.

It was hard to keep in mind that this film was revolutionary for the cop drama because there have been so many incarnations of Popeye Doyle since then (a more carefree Sgt. Riggs comes to mind). As a pure enjoyable ride, it hits all the marks, but it forgets about its themes too often until the last shot. The ending is about as bleak and surprising as one you’ll find, but I wished that was strung throughout the film more. It just comes off more as a blockbuster to me than an Oscar winner.

Still, I feel like The French Connection is one of the more accessible films on this list. I give it 3.75 out of 5 subway chases.

#94: Pulp Fiction (1994)

Oscar Winner: Best Original Screenplay (Also nominated for 6 other categories)

A Royale with cheese… the big brains on Brad… Honey Bunny… the twist contest… the soundtrack… Ezekiel 25:7… The best way to describe Pulp Fiction is by one word… Cool. Even if the language, violence and drugs that appear repulse you, one has to admit that Quentin Tarantino’s film oozes with Cool.

This is one of the films on the list that I had seen many times, mainly from my time in college, and it still holds up today. It’s now historically known as the movie that brought independent film to the forefront. There are so many memorable scenes and quotes that it’s almost overwhelming. For better or for worse, there are images and moments from this movie that will stick with you for a long time, and to me that is one of the elements that makes a great film.

Pulp Fiction is an ode to the inexpensive fiction magazines that were widely published from the 1920s through 1950s. It tells four original tales that involve gangsters, a boxer, and rather chatty robbers that all connect in someway. The viewer is never quite sure what to expect because everything is intertwined in a non-linear fashion, which was very new and original at the time. The stories almost abandon any sense of theme or purpose, but dive headfirst into a world that you know exists, but one that you don’t want to admit does. You just have to accept that this world that Tarantino has created is pure entertainment and as uncomfortable as it is, you have to sit back and enjoy.

What particularly stands out is the performances and the dialogue. The movie practically made Samuel L. Jackson and Uma Thurman a household name and John Travolta should still be paying Tarantino some compensation for revitalizing his career. Also, the verbiage used between the characters is so unique and clever, but at the same time captures how two people talk to each other. You feel as if you are spying on somebody’s conversation versus hearing a movie script. By blending this innovative, yet real-life conversation with dynamic chemistry between the actors, Tarantino created a world that filmmakers have been trying to recreate since.

The only downfall of this film is the middle story, following Butch (Bruce Willis). Besides for its very funny opening with Christopher Walken and its fury of an ending, it’s boring and way too long with a pace that is not like the others. Still, that segment wasn’t enough to keep it from being nominated for Best Picture in 1994 with an amazing class; Four Weddings and a Funeral, Quiz Show, The Shawshank Redemption, and Forrest Gump (which won).

There was a huge outcry when it didn’t win, especially because it won the prestigious Golden Palm award at the Cannes film festival. I think people must move past that because Pulp Fiction made a huge impact on pop-culture and changed the way the studio system looked at independent films. Which to me is a bigger legacy than receiving the coveted recognition.

I give Pulp Fiction 4.5 out of 5 briefcases.