There are years when I
struggle to see enough great movies to compile a Best Of list, and there are
years when the list seems to write itself. The former is more common than the
latter. This year was one of the latter. I can’t remember a year when the best
movies seemed as readily available as they did this year. I can’t remember a
year when the quality of the movies that have made up my list have been so high
and so similarly well matched. Of any year there was that I shouldn’t succumb
to ordering the list into numerical values from best to worst, this was that
year. All twelve of these movies are the best movie of the year in my eyes.
Even some of the films that didn’t make that list could be the best on any
given day.
Zero Dark Thirty. Kathryn Bigelow’s cold and precise consideration of the ten year hunt
for Al Qaeda terrorist leader Osama bin Laden is like no other war film made
before for a war that is nothing like what we’ve come to know as war. This
procedural takes us through torture and detective work, a presidential
administration change and the precision of the special ops mission that
resulted in OBL’s elimination as one of this country’s most wanted
international criminals after his involvement in the slaughter of some 3000
American civilians on September 11, 2001.
Mark Boal’s expert
screenplay is devoid of the typical emotions and character development found in
the average Hollywood screenplay. He sacrifices these basic rules to exemplify
the nature with which the CIA agents involved in such a hunt must work in order
to obtain their goals. The results are much more intriguing than they might
sound. Instead we witness the step-by-step process by which these agents work,
never losing their need to complete their missions even when tasked with
finding one of the most well protected individuals on the planet.
Jessica Chastain’s
performance as the agent who drives the investigation into OBL’s whereabouts is
as brave as the screenplay in its lack of dependence on traditional forms of
characterization. She wholly accepts her job as it is. She doesn’t impose
judgment on her character, just as the screenplay reserves judgment about the
practices used to obtain vital information in the hunt. This movie lacks all
dramatic pretenses, presenting only the necessity of the mission and the
necessities of completing it. It is a stark and powerful film.
Moonrise Kingdom. This film is the most accomplished work of Wes Anderson, one of the most
original artists working in film for the past 15 years. His work is easily
recognizable as a Wes Anderson film, perhaps more so than any other director.
People who’ve disliked his films probably won’t find anything to change their
minds here. Their loss.
“Moonrise Kingdom” tells one
of the most innocent tales of Anderson’s filmography. It follows the budding
relationship of two children, one the daughter of an eccentric family living in
a lighthouse on a remote New England island, the other an orphan boy spending
the summer on the island with his scouting Troup. The young lovers elope with a
plan they devised while writing each other over the course of a year. Their
disappearance sends the adult lives of the small island community into
upheaval.
As is usual with Anderson’s
movies, the plot isn’t nearly as interesting as the characters he creates for
them. Their eccentricities fuel the developments of the plot and inform them
with unlikely revelations about the connections that never die between childhood
and adulthood. None of his films capture this notion better then this one. The
children’s intentions are pure while the adults have to navigate the walls
they’ve built up to connect with the elements of happiness they’ve lost sight
of through the years. The cast, which includes such Hollywood icons as Bruce
Willis, Edward Norton, Frances McDormand, Bill Murray, and Harvey Keitel, is
wonderful and find comedic notes never expected from them. This film is a joy.
Beasts of the Southern Wild. Another joy of the year is the whimsical allegory
“Beasts of the Southern Wild”. It examines the heart of the class
discrimination discovered in the aftermath of Hurricane Katrina through the
fantastical mind of a six-year-old girl named Hushpuppy. Told exclusively from
the child’s point of view, we are introduced to a community known as The
Bathtub located near a large city separated by a levy. When the levy is
destroyed, the community is thrown into upheaval and the people from the city
come to remove them from the place they are proud to call home.
That is the broad story, but
the film focuses on the more intimate story of Hushpuppy herself, who tries to
understand this world of grown ups in her own way. Her father disappears for
periods of time and her mother has left them. Hushpuppy survives on her own
with a fierceness that is never to be confused with anger or unhappiness. She
is all child and she lives life to the fullest despite her circumstances. She
defines hope and the strength of the human spirit. She is as admirable a movie
heroine as I’ve seen.
There’s this
misunderstanding between the classes. Those who are better off financially
assume that those who aren’t are unhappy because of it. This movie depicts a
financially depressed community that thrives off of its own spirit and enjoys
life in a way the rest of us should envy. If their lives are more dangerous or
unstable because of their socio-economic standing, they fill their societal
inequalities with a love of community and an ability to embrace every gift in
life with the joy that it deserves. To call this film “magical” is an
understatement.
Argo. Ben
Affleck’s incredibly accomplished film “Argo” tells of another real life CIA
mission in a very different, but no less effective way than Kathryn Bigelow’s
“Zero Dark Thirty”. There are
times when “Argo” plays almost like a comedy. At other times it is a taught
thriller despite the public knowledge of how the events turned out in the end.
At all times it is virtuoso filmmaking; depicting a once classified mission conceived
from the mind of a real hero.
During the Iran Hostage
crisis in 1980, six Americans escaped the U.S. Embassy that was seized by
Iranian revolutionaries and sought refuge in the Canadian Ambassador’s
residence in Tehran. They would be killed if they were discovered. Affleck
himself plays Tony Mendez, the CIA agent who devised and executed an unlikely
plan to extract the Americans from the troubled country under the cover of a
Canadian film crew scouting locations for a fake Hollywood science fiction
film. As one of the CIA administrators puts it when they try to get the go
ahead for the mission, “It’s the best bad idea we have.”
Affleck’s artful direction
is executed like the best political cinema produced in the ‘70s—Hollywood’s
second Golden Age. He drenches his production design and script in pop culture
references from the time to create an impenetrable illusion that the events are
depicted as they actually happened. He employs the subtle comedic talents of
actors Alan Arkin and John Goodman as the Hollywood producer and special
effects man respectively who lent their names to the fake movie production to
sell its legitimacy. He plays Mendez with the same subtle energy he imbues to
the suspense of the film, building with his direction to a thrilling climax.
Life of Pi.
Like “Beasts of the Southern Wild”, Ang Lee’s adaptation of the popular, and
some said unfilmable novel, “Life of Pi” goes beyond the term magical and
enters the territory of transcendent cinema. Telling the story of an Indian boy
who is stranded in a life boat with a Bengal tiger named Richard Parker, the
film is a visual feat that embraces the new wave of 3D cinema in an artistic
and rapturous way. From sequence to stunning special effects sequence, “Life of
Pi” is the most beautiful movie to be made in years.
The movie wisely resists the
typical storytelling urges to humanize the tiger and make him a sympathetic
character. The tiger is one of the many obstacles the boy must face in his
struggle to survive. The tiger’s very existence drives the boy to find the
means of survival and so becomes of value to the boy. However, the tiger
remains always a dangerous animal and just an animal.
An interesting twist in
perception turns the story toward allegory in its final passages
and incorporates the effectiveness of faith in a higher meaning as human
necessity. This adds to the already enlightening outlook of spirituality the
film and its main character take on religion. Never has a discussion of God
made more sense to me than it does in this film’s narrative. The visual wonder
provided by Lee’s camera only enforces the film’s spiritual leanings.
End of Watch. David Ayer’s “End of Watch” takes the ages old police procedural and
spins freshness into it with a dramatic and terse look at the daily lives of a
couple of L.A. beat cops assigned to one of the most violent neighborhoods in
the country. Unlike many L.A. based cop stories, “End of Watch” isn’t about
police corruption. It’s about the true heroism behind some of the bravest men
in the country, who might bend a rule or two, but are driven by the pure ideals
to serve and protect.
Jake Gyllenhaal and Michael
Peña play the heroes who record their exploits through a video camera for a
film class. The method of capturing the story isn’t as important as the story
itself, which doesn’t follow a typical plot driven arc. It takes slices of life
from different aspects of their daily lives, from precinct briefings to
relationships, from mundane and routine calls to exposing a drug cartel that
takes out a bounty on their heads. The resolution of the bounty situation forms
the film’s climactic sequences, but there is never a sense that the story is
being driven in any particular direction.
Ayer’s previous work on
films like “Training Day” and “Harsh Times” suggested his passion for this
material, but neither of those films are as accomplished as this one, which
avoids the expected to present a more honest portrayal of the daily lives lead
by these heroes of the police force. I can imagine many police officers from
other areas of the country don’t see half of the horrors witnessed by the
officers in this film, but anyone can appreciate that what these men sacrifice
to bring some semblance of security to the public streets is something to be
honored by a film as fine as this.
Flight. Robert
Zemeckis’s “Flight” takes another popular cinematic subject—substance abuse—and
reinvents it from a small intimate portrait to a large-scale public spectacle
involving the most intense airplane crash ever to land on the silver screen.
The crash launches the story, but Zemeckis never lets off the throttle as the
hero’s demons threaten to destroy everything he has built and take down anyone
within his radius at the same time.
Denzel Washington gives a
career performance in a career of career performances as Whip Whitaker, a
commercial airline pilot who pulls off the impossible with his harrowing
emergency landing. Just as harrowing is the way Whip lives his life on the edge
of one bender saved only by his next. He’s already sacrificed his family in the
wake of destruction his substance abuse leaves in his life and into his vortex
swims another abuser who somehow navigates a recovery for herself. Can Whip do
the same?
While substance abuse has
been the subject of many great films, often with a great performance at their
center, “Flight” occurs on a scale greater than any other. The public nature of
Whip’s heroic actions places him in the public eye on a national level. This
raises the stakes and the pressure on Whip, making his risk and fall that much
greater. Washington and Zemeckis handle all this on a giant canvas with grand
gestures and a powerful portrait of the excesses of an abuser. It makes for a
dramatic portrait.
Lincoln. Steven
Spielberg’s “Lincoln” doesn’t so much paint a portrait of the man as it
presents a portrait of the ideals behind the 13th Amendment and of
the tactics and measures the 16th POTUS needed to use to get his
greatest accomplishment passed. It is as intense a look at American politics as
has been put forth on the screen. It shows above all that the history books
don’t hint that business as usual in Washington is now as it was even for those
we see historically as political heroes.
The film centers on the
remarkable performance of Daniel Day Lewis as Abraham Lincoln, a man not
without his flaws. There is so much resistance on all sides to his proposed amendment
that it’s easy to think today’s politicians would lack the backbone to stand
their ground. Perhaps they would. What resembles today’s politics are the
backroom deals, information manipulation, and down right deception necessary
for the president to get things to go his way.
While the film concentrates
on one small period in the esteemed president’s tenure, it doesn’t leave itself
devoid of personal melodrama and conflict. Sally Field is a surprisingly good
choice as Mary Todd Lincoln, the first lady who may have had more issues with
her stature than those history books suggest. We also get a glimpse into the
conflict between Lincoln and his son Robert, which may have been based on the
loss of his sons Edward and Willie.
The political process is
what this movie is really about, however, which was something that Lincoln was
an expert at manipulating. The film displays his great understanding of it and
his passion for using it for what he saw as the good of the country. He wielded
it better than others who had more reason to want the end of slavery than him.
This movie is not only excellent filmmaking; it’s an important document of how
democracy works.
Prometheus. No
movie this year asked better or more profound questions than Ridley Scott’s
“Prometheus”. It seems no other major release was more divisive in its critical
reception. Perhaps that’s because it didn’t bother to answer most of the
questions it raised. That doesn’t bother me. Few films bring so many elements
together to ask the unanswerable. Where do we really come from? What is our
purpose? Are we really made in the image of our creator? What does that mean about
us? Or possibly more important, what does that say about our creator?
This film is asking a lot of
an audience who might just be interested because this is a somewhat prequel to
“Alien”, although in many ways it is nothing like that science fiction classic.
It pays homage to the film that put Scott on the map, but the director has
grown up and is concerned with things beyond whether anyone can hear you scream
in space anymore. The films do share many features, a strong heroine, an
android with creator issues and his own little God complex, and a strong mother
theme. But the biggest issue Scott brings over from the “Alien” film is the
question, why would such a killing machine even exist? It’s one of the few
answers he provides. Yet it still plays with his ideas about the relationship
between creator and creation.
Scott has also rendered a
remarkably beautiful film. Expanding on the original Alien designs created by
H.R. Giger, he opens his alien world into one that may have inspired much of the
beauty of our own world. The cinematography by Dariusz Wolski captures the cold
nature of the questions asked by the scientists in this film, yet suggests the
vast expanse of the natural world, which plays no small part in any discussion about creation. The
screenplay by Jon Spaihts and “Lost” alumnus Damon Lindelhof is intentionally
vague in many of its details, suggesting the nature of religion and the
interpretations of man.
In the end, everything is
left wide open. This doesn’t only serve the purpose of opening the story up to
a sequel, although I’m sure no one involved is opposed to such an idea, it also
leaves much of the interpretation up to the viewer. Just like any good
scripture.
The Hobbit: An Unexpected Journey. Speaking of "scripture," some people had a problem
with Peter Jackson’s restructuring of the Middle-earth "word" in his film
adaptation of J.R.R. Tolkien’s “The Hobbit”. Expanding the master’s original
journey in his fantasy land creation by using material from much later
tomes caused many fans to balk that instead of the film deleting too much of
the book, this one added too much. I expected to have the same reaction, but
instead I felt everything Jackson had done to expand the first portion of the
book’s story only enhanced the story and added to what he had already created
of Middle-earth cinematically in the “Lord of the Rings” trilogy.
In fact, I’m amazed by the
apathetic reception that “The Hobbit: An Unexpected Journey” received from fans
of the LOTR films. In this film, Jackson has not only begun another adventure
for this mythical land of elves and halflings and dwarves, but he’s taken more
care in terms of pacing and clarity, and alleviated the atmospheric doom and
gloom of the previous tale. “The Hobbit” is one of the most exciting and
fanciful movies of the year.
Jackson has proven his
destiny as the cinematic chronicler of Tolkien with this film by creating a
fully functional Middle-earth that isn’t all about the One Ring, although it
makes its appearance and plays its role here. The different races of hobbits
and dwarves and elves aren’t just fantasy races, but separate cultures that
each see their world in their own unique perspectives. The dwarves sing slow
and heart felt songs, and it feels right to see them do so. A hobbit does not go
on adventures, but Bilbo does. He’s different than other hobbits and any other
character created by Tolkien. Golbin’s are a rowdy bunch I’d never want to
cross paths with in a mountain pass. And Gollum’s game of riddles is playful
and menacing at once, just as it was in the book. This is the finest of the
Tolkien film adaptations so far.
Django Unchained. “Django Unchained” is the most straightforward film by writer/director
Quentin Tarantino. Like his last film “Inglourious Basterds”, it takes its name
from an Italian cult film to which it otherwise has no connection. Tarantino’s
tale follows a slave who is given his freedom by a bounty hunter who needs his
help with a bounty. In exchange, the bounty hunter agrees to help him buy back
his wife from a vile southern slave plantation owner. It is another revenge
picture, yes; but it takes Tarantino into yet another film genre. He has his
usual fun with it.
The film sprawls across the
western genre, from which Tarantino pulled much of his inspiration for his
previous films. It strays from the genre only in its Southern setting, and in a
few of its musical selections. It pays homage to 70’s exploitation on top of
being a western, taking key plot points from the 1975 film “Mandingo”. Its
musical montage set to Jim Croce’s “I’ve Got a Name” is a clear parallel to the
inclusion of B.J. Thomas’ “Raindrops Keep Falling on My Head” in “Butch Cassidy
and the Sundance Kid”. It’s finale tops even Tarantino’s own bloodiest outings.
Its exaggerated depiction of
slavery, or maybe not so exaggerated, has come under fire from some critics;
but its message is clear. Slavery is a blight on America’s history. Evil men
who thought nothing of equating human life with livestock and property
perpetuated it. Like his retrospective message to the Nazis in “Basterds”,
Tarantino’s message to these men is clear. You should die badly. There’s
nothing quite like the stylized fantasy world of a Tarantino film—shockingly
brutal, sublimely eloquent, and darned entertaining.
Arbitrage. As
far as evil, vile men go, Richard Gere has the market cornered in this year’s
classic thriller “Arbitrage”. Nicholas Jarecki’s film, which landed in theaters
for about a week last fall with an almost instant on demand availability, is
like a blast from the 80s with its financial themes and likeable bad man for
its hero. Of course, the past decade was no stranger to shady financial
dealings either.
Richard Gere’s hero is the
CEO of a company that has been using its stockholders’ money to cover up the
company’s losses after an unwise investment. The company is being sold, and he
plans to cover the losses with the sale. He’s hidden all this from his
daughter, who is the CFO of the company. He’s having an extramarital affair
with an artist, and then an accident happens that brings him under the scrutiny
of a homicide detective. Any hint of wrongdoing will upset the sale of the
company.
That is the stage set for
this fascinating thriller that gets its audience rooting for a guy we wouldn’t
want handling our own finances. Gere always plays a man hiding the truth well,
and here he gives one of his best performances. Jarecki’s script is ingenious
in the way it keeps backing the character farther and farther into the corner
with diminishing options for escape. It’s all plot mechanics manipulated for
maximum effect. This movie would fit right in with similarly themed 80s
thrillers, but also works as an indictment of how we currently protect some of
the worst financial criminals today.
Special Jury Prize.
Every year I give out a Special
Jury Prize to a film that would fit right in with my best films list in quality
but is distinguished in some other way that separates it from that group of
movies. This year I didn’t watch many documentaries, but there was one that
struck me in a way no other film did this year.
Bones Brigade: An Autobiography. Tells the story of six skateboarders who changed the
course of sports in this country by bring popularity to what was once a novelty
sport. Their contributions to the sport of skateboarding gave rise to the
popularity of alternative sports and eventually lead to the creation of such
sporting events as the X Games. What makes this sports documentary different
than most is the personal level on which director Stacy Peralta approaches his
subjects. It helps that he was the man who brought them together in the first
place.
Honestly, I really couldn’t
say whether compared to other sports documentaries if this is truly a great
documentary or not, because it spoke to me on such a personal level. I was
there when the Bones Brigade were making their mark. It was to me that they
spoke with their non-conformist profession and attitude toward it. I was a
skateboarder, and this film brought those days flooding back in all their teen
angst importance to my friends and me.
I can say that thirty years
down the line, these six men still make up a fascinating group of individuals.
Their lives, even after their years as a skating team, were not ruled by the
pitfalls of so many others. These people learned to define themselves when they
were at an age that most of us were completely unaware of our individuality.
Even as adults they continued to define themselves and not let their sport, or
their choices, or what anyone else wanted or expected from them define them.
Peralta understands this as he has done the same in his own career and was
probably instrumental in instilling these qualities in these unique men.
Best in Animation.
2011 was a fairly
unremarkable year in animation. This year continued much along the same trend,
but saw the release of an extraordinary number of animated films. The sheer
volume of animation this year ensured that some remarkable filmmaking would be
witnessed in the medium. Here are my five favorite animated movies of the year.
Chico & Rita. “Chico & Rita” is one of the impressive foreign made animations that
was nominated for an Academy Award for Feature Animation last year. It tells
the story of a romance that was destined, but took decades to be fully
realized. It all takes place around the Cuban jazz scene and incorporates
wonderful music to go along with its imaginative visuals. Chico is a piano
player who falls for Rita the moment he hears her at a local market. Their
story together and apart will spend decades and follow them to separate successes
in the United States. Theirs is a love supreme.
Frankenweenie. “Frankenweenie” was the title of director Tim Burton’s first live
action film, a short about a boy whose dog is hit by a car. The boy decides to
resurrect his dog in the same fashion that Frankenstein made his monster. Even
though Sparky comes back from the dead with better results than Frankenstein’s
monster, misunderstanding by the small town’s population leads to an
unfortunate climax. Now, he’s remade that film as a feature in stop motion
animation, Burton’s original calling.
The expanded story plays as
homage to everything classic horror and sci-fi. Filmed in beautiful black and
white photography, Burton’s original vision is realized with humor and genuine
scares, all family safe.
Wreck-It Ralph. Disney’s “Wreck-It Ralph” is a nostalgia trip down video game memory
lane for those who grew up in the eighties and still remember the days of
arcades. It’s also a sweet tale about learning to be yourself and to appreciate
who you are. It tells the tale of a video game villain who is sick of being the
bad guy. He escapes his game and tries a couple of others out for size. Along
the way he meets a quirky little girl who has more spunk than anyone he’s ever
known. She teaches him to realize his potential on his own terms.
A Cat in Paris. The second of the two foreign made animations; “A Cat in Paris” was also
nominated by the Academy last year. It’s a tale about a cat that lives two
lives, one with a lonely little girl during the days, the other at night as an
assistant to a thief. The hand drawn animation is highly stylized. The
filmmakers use the harsh angles and snake like squiggles of their lines to
define the actions of the characters as well as their personalities. It isn’t
anything like the safe, mostly realistic visual style of American cartoons. It
shows how animation can be a more impressionistic way to express a story.
ParaNorman. “ParaNorman”
is another horror themed stop motion animation. It’s story about a boy who can
see dead people is the weakest of this collection of films, but the beautiful
production design makes this one worth seeing. It captures the beautiful fall
colors that fill our world at that time of year that we like to think about
scary things. Like “A Cat in Paris” it embraces a more severe design style to
its character and environments to make their definition and actions more
concrete. The use of CGI to enhance some of the supernatural sequences blends
well with the detailed design approach and make for some of the most impressive
animation sequences of the year.
The Rest of the Best.
As usual, I can never
mention all the movies I want to in the limited confines of a list of ten to
fifteen films. I suppose I’ve already gone beyond that amount this year, but as
I said before, this year contained a great deal of worthwhile cinematic
ventures. Here are some of the others that didn’t make the cut, but deserve
mention.
The Avengers
proves that cinema has all the elements necessary to handle the foundation of
teams in the superhero universe, as long as they are handled with the proper
understanding and passion for the material.
Bernie finds
Jack Black’s calling in this black comedy filled with real life small town
elements about a man nobody in that town thought capable of murder.
Beyond the Black Rainbow is an acid trip back to early 80s style science
fiction future visions topped with a dose of abstract horror.
The Cabin in the Woods reinvents the dead teenager flick by taking all the
clichés of every horror subgenre and turning them in on themselves, making for
the most original horror movie since Alfred Hitchcock’s “Psycho”.
Cloud Atlas gives
us a bold science fiction epic that explores the primary flaws of man and our
attempts to overcome them over the course of six stories taking place in
different periods of history and the future with characters reliving lives and
influencing other souls on the same recurring journey.
The Grey is
an intense story of human survival against the harsh elements of winter and the
dominant forces of nature as embodied by a fierce pack of wolves.
Les Misérables finally brings the musical phenomenon to the screen in a vision that
blends the grittiness of Victor Hugo’s novel of French struggle with the
pageantry of the musical experience.
Looper boldly
explores the implications of time travel in a world ruled by crime with a
selfish hero who makes the ultimate selfless sacrifice for the good of
humanity.
Safety Not Guaranteed takes another completely different look at time
travel in this quirky independent feature about a man who places an ad in the
classifieds looking for a partner with which to travel back in time.
Skyfall gives
us the deepest James Bond picture to date with the first fully realized Bond
villain in a story about roots and the mother figure that M has become since
the role was taken over by Dame Judy Dench.
Sleepwalk With Me teaches us that while stand up comedy may have its heart in the
hardships endured by the comedians who live them, relationships are challenged
to endure them and the sleeping disorders that afflict them.
Ted envisions a boy’s dream of having a stuffed animal come to life and then exposes the
possible outcome of such a wish with a teddy bear that embraces all the vices
of man and gets away with it because… well, he’s a teddy bear.
Your Sister’s Sister provides a new definition to the phrase “bizarre love
triangle” when a man mourning his brother’s death sleeps with his best (girl)friend’s
lesbian sister before he realizes that she has a crush on him.
Worst movies of the year.
Even in the best of years
there are going to be some lemons. As taking risks is a requirement of making
great art, some of those lemons come from grand attempts, while other just
don’t care.
Tim and Eric’s Billion Dollar Movie is unquestionably the worst movie of the year for me.
Having not ever seen “Tim and Eric’s Awesome Show, Great Job!”, I didn’t
really know what to expect from this duo’s brand of comedy. I hope for their
sakes this movie is a poor indication of it with its beyond moronic plot, and
its humorless and often tasteless jokes. I wouldn’t spend a dollar on this
movie, let alone a billion. Don’t worry, they didn’t either.
These movies also sucked
eggs.
Ghost Rider: Spirit of Vengeance is the best example of a sequel that was demanded by
no one other than the voices in Nic Cage’s head.
Lockout proves
that even B-level actors are willing to sell their souls for a paycheck.
Piranha DD shows
us that you can only push a bad idea so far before it becomes a wretched idea.
Premium Rush makes Kevin Bacon’s 1986 film “Quicksilver” look like the “Citizen Kane”
of bike currier movies.
The Raid: Redemption raises the preposterousness level of martial arts
action movies so high that it smothers its own face in its limitless ridiculousness.
Red Tails has
spectacular dogfights that are shot down by a story that relies on its social
issues to make up for its lack of a functional screenplay.
That’s My Boy proves that the characters in Adam Sandler movies and the people that
watch them should never procreate.
The Three Stooges argues the case of the studio head who said that the Three Stooges can’t
sustain a feature length film.
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