American History X

American History X

1998

Director: Tony Kaye

Writer: David McKenna

119 Minutes

The curb scene. The scrapping of teeth on cement. A kick to the back of the head. The wide-eyed reveal of a character so hateful and unremorseful to his actions.

This is the scene most people remember from American History X. It’s a story of racism, white supremacy, and regret.

It’s a story of change.

Told in a stylistic manner, a balance between past and present, Derek (Edward Norton) reunites with his family after a short stint in prison to find his brother, Danny (Edward Furlong), following his path of foolishness.

Danny’s homework assignment is to write a paper about his Derek's release from prison for his new class American History X. In the paper, he comes to the conclusion that it wasn’t his father’s death that sparked hatred in his brother, but his father himself.

But change occurs for both bothers.

In the scene above, Derek told his story to Danny – a story of prison, hypocrisy, rape, and friendship – and Danny finally gets it. Derek showers off the night. When Derek exits and looks in the mirror, he stares at the swastika on his chest. He stares at his past. He stares at his mistakes.

In a moment, he covers it up with his hand. He regrets ever believing in such nonsense. He regrets the choices he made. He regrets a kick to the back of the head.

The opening and closing images of the ocean – one black & white and one color – says it all. The ocean has no memory (Shawshank Redemption).

In the end, this film is as controversial as they come. It’s theme is something no one cares to talk about at parties, but is on the forefront of many ideals people continue to believe.

Racism and regret.

On March 4th, 1961 Abraham Lincoln said this in his first inaugural address, which happens to be the closing voice-over to this fantastic film:

“We are not enemies, but friends. We must not be enemies. Though passion may have strained, it must not break our bonds of affection. The mystic chords of memory will swell when again touched, as surely they will be, by the better angels of our nature.”

And as of yet, not much as changed since then in the face of racism and regret.

Not much at all.

Best in Show

Best in Show

2000

Director: Christopher Guest

Writer: Christopher Guest and Eugene Levy

90 Minutes

Everyone loves dogs. There are apart of the American culture like apple pie, baseball games, and political corruption.

Years before Best in Show was made, writer/director Christopher Guest wrote down “catalog people” on a piece of paper. This eventually became the inspiration for the characters Meg Swan (Parker Posey) and Hamilton Swan (Michael Hitchcock) who are featured above.

Meg and Hamilton are dog owners who enjoy Starbucks, J Crew, and the Busy Bee. There are yuppies. They are lawyers. They have it all figured out, except for one thing: their dog has issues.

It once saw them having sex and was never the same.

They have tried therapy. They have tried love. They have tired toys. Nothing worked. When their dog enters the Mayflower Kennel Club Dog Show, they are disqualified when their dog jumps at one of the judges.

Embarrassment cannot express their feelings, but this act made them realize their dog was the problem. Not them. Their dog was the cause of all their issues. Their dog negatively affected their lives. And their dog had to go.

In the scene above, the Swan’s are back in therapy, except with a new dog. A dog that likes them having sex. A dog that doesn’t have issues. And a dog that loves it’s mommy and daddy.

This is why people love this film: it shows how unbelievable ridiculous people can be about their dogs. It mirrors the majority of dog owners in American and throws humor at people’s obsession over their pets.

Everyone can relate, even if you've never owned a dog.

Christopher Guest has a genius way of making films. It lets the camera roll, gives small details towards the story, and lets improv magic run. He has made films about dogs, the film business, folk singers, and the greatest band in history: Spinal Tap. He is an accomplished actor, writer, director, producer, and musician.

But at the heart of his films, he realizes people can relate and laugh at themselves through characters like, “catalog people.” We all know them, shared holidays with them, and leave parties going, “are they a little crazy over their dog or is it me?”

I think we’ve all said that at one time or another and this film helps us laugh about it.

Twleve Angry Men

12 Angry Men

1957

Director: Sidney Lumet

Writer: Reginald Rose

96 Minutes

What is justice? What is reasonable doubt? What if a young man’s life hung on your decision of guilty or not guilty?

Shot in one room for twenty days for 350,000 dollars to get a film that is apart of every top 100 best film list and regarded by law and business schools as a model for conflict resolution.

But why is this film one of the greats? Why does audiences love this film?

Because the main character, Juror#8 (Henry Fonda), has honor. Because when faced against the odds and the majority of angry men, he raises his hand and said, “I don’t know.”

Because he was a hero.

His heroics were not on the battlefield or in an operating room. He stood in a room with eleven other men and dissected an open-and-shut case to prove doubt. It’s not that he thought the accused wasn’t guilty. It’s not that he had a point.

He just didn’t know.

In the scene above, Juror#8 and Juror#9 meet outside on the courthouse steps. The verdict has been returned. Case is over. And these two can leave with a clear conscious knowing they were the first two to stand up and say, “not guilty.”

But before going their separate ways, Juror#9 asks for Juror#8’s name.

“Davis”
“McCardle”

That sign of respect is the entire film.

Davis led these angry men to a not guilty verdict and saved a young man’s life. He was innocent until proved guilty, yet without Davis leading the charge, no one would have questioned it. All the evidence was against him. All the remaining jurors were ready to convict.

But it took a hero to rise up and say, “I don’t know.”

In the end, it’s that type of honor that makes this film enjoyable. It’s that type of honor that explains what is right and what is wrong, not only in the courtroom, but in life. And it’s that type of honor that can only be exchanged with a handshake and a first name.

Davis.

Annie Hall

Annie Hall

1977

Director: Woody Allen

Writer: Woody Allen and Marshall Brickman

93 Minutes

Originally, this film was called Anhedonia. It means the inability to feel pleasure, a philosophy Woody Allen related to most of his life.

Annie Hall is about relationships. It’s about love and loss and moving on.

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.”

It’s one of Woody Allen’s best included into a writer/director resume with such films as Match Point, Manhattan, and the recent Midnight in Paris.

In the scene above, Alvy (Woody Allen) talks with Annie (Diane Keaton) about photography. Much like a first date/encounter conversation, these two are talking about one subject, but thinking about another.

It’s all subtext, which Allen does brilliantly with subtitles.

When Annie says, “Aesthetic criteria? You mean whether is a good photo or not?” But, what she’s thinking is: I’m not smart enough for him. Hang in here.

Alvy replies, “The medium enters in as a condition of the art form itself. “ But he’s thinking is: I wonder what she looks like naked.

What we say and what we think are often two different ideas when talking with the opposite sex. We want to appear interesting. We want to appear desirable, yet we are often neither. And when conversation is pouring out of us, we often wonder what the other person is thinking, how the other person feels, or what that person looks like naked.

And Allen’s stroke of genius placing subtitles in the form of thoughts is why we love this scene.

We all have been there. And we can all relate. And no one does it better than Woody Allen.

This film, its theme, and its message cannot be explained by one scene. It’s a collection of instances and stories and ideas and feelings that make this a great film. It’s heartbreaking and cute and fun and true.

And that's why it won four Academy Awards.

But in the end, Allen leaves with you a quote about relationships that rings true for everyone who has ever loved and lost and moved on:

“After that it got pretty late, and we both had to go, but it was great seeing Annie again. I... I realized what a terrific person she was, and... and how much fun it was just knowing her; and I... I, I thought of that old joke, y'know, the, this... this guy goes to a psychiatrist and says, "Doc, uh, my brother's crazy; he thinks he's a chicken." And, uh, the doctor says, "Well, why don't you turn him in?" The guy says, "I would, but I need the eggs." Well, I guess that's pretty much now how I feel about relationships; y'know, they're totally irrational, and crazy, and absurd, and... but, uh, I guess we keep goin' through it because, uh, most of us... need the eggs.”

Anhedonia means the inability to feel pleasure. But, Mr. Allen has pleased hundreds of millions of people with his films.

And he continues today.

Conversations with Other Women

Conversations with Other Women

Director: Hans Canosa

Writer: Gabirelle Zevin

84 Minutes

Two lovers who can’t be together.

We have seen this a hundred times before in every romantic film from Casablanca to Brokeback Mountain. When you have loved and lost and reunited with love, it always makes for an interesting story.

In Conversations with Other Women, they do it a little differently. They use a split screen between the two characters, interweaving dialog with past memories, and different actions each character could take.

In the end, there is love. But it’s lost love, love that cannot be had, and love that will never see the light of day.

They have one night in a hotel room.

In the scene above, Man (Aaron Eckhart) listens in on Woman’s (Helena Bonham Carter) phone conversation to her husband. Man also has a girlfriend, but she doesn’t seem much concern. Man listens in, trying to find moments of love in the conversation, but secretly searching for why their relationship failed.

He loves her. He admits it. He wants to make it work. He loved her in the past. He loves her today. He sees their future together, though it will never happen.

Her love has gone away. It’s the past. And though they have one night of romance, discussing where their lives had gone, and reliving memories of love, reality catches up and she knows their lives go in separate directions.

It’s a real movie, which could explain why so many of us haven’t seen it. The film’s theme discusses the fundamental truth of loving and losing and reuniting and ending.

This is the ending.

It could have been a second chance, but life has pasted them by. Perhaps both man and woman’s past relationship would have ended up in the same place their current relationships lye. Perhaps it would have worked out better. Perhaps worse.

But we’ll never know. These two have one night to let it out, explain their truths, and leave it on the table.

He loves her. She doesn’t love him. Or if she does love him, she settles for life without him.

When the morning comes, all they have is an empty seat in the back of a taxi and a plane to catch.

But there is a moment:

Man: Why did you come, really?
Woman: Do you want me to say I was hoping I'd see you?
Man: Yes and I want you to mean it.
Woman: You're so romantic...
Man: By romantic, you mean old fashioned?
Woman: No, by romantic, I mean romantic.

Like I said, two lovers who can’t be together. We’ve seen it a hundred times before, yet it's always going to make for an interesting story.

SKS

The Replacements

The Replacements

2000

Director: Howard Deutch

Writer: Vince McKewin

118 Minutes

In 1987, the National Football League used replacement players for weeks four, five, and six of the regular season. In week seven, veteran players crossed the line and the replacement players were let go once again. But for one night, they were heroes.

Shane Falco is a hero.

In the film The Replacements, Jimmy McGinty (Gene Hackman) is the coach of the Washington Sentinels. When his veteran players strike, McGinty hires replacement players lead by former Ohio State Quarterback Shane Falco (Keanu Reeves).

Simple. High concept. Fun.

But, there was heart to this film. There was meaning. It was a film for everyone that ever played sports and longed for their one-time shot to play again. It was a film for sports fans that wish their favorite players would play with heart instead of playing for their wallets. And it was a film for anyone who’s been apart of a great team that came to an end.

The film stars Reeves, Hackman, Orlando Jones, Jon Favreau, Rhys Lfans, and John Madden.

In the scene above, the replacement players are told the veteran players have crossed and tonight is their last night playing in the NFL. The team is down 14 to 17, with the ball, late in the forth quarter. And they have Shane Falco, who dressed during half time when their starting quarterback didn’t have enough heart.

Shane huddles the team up and says, “I know you’re tired. I know you’re hurting. I wish I could say something that was classy and inspirational, but that just wouldn’t be our style.”

He follows with this, “…Pain heals. Chicks dig scars. Glory lasts forever.”

When you know it’s over, that’s all you need to hear. It means whatever you have left should be left on the field. There is no tomorrow. There is only tonight. And tonight, we can be heroes.

This is why we love films like The Replacement and Varsity Blues. These are films of heroics. They aren't advancing on a beachhead or flying in an A-10 warthog, but they are heroes because they stand up for what they believe in and leave it all on the field.

And when given a second chance, none of them wasted it.

In the time of salary caps, lockouts, and bonuses, we need films like these to remind us how great sports can be and how at the heart of each game, there are heroes. It's not about the money. It's not about cars, houses, and girls. It's about football. And Shane Falco let them know that.

Like I said, he is a hero.

McGinty says it best, “When the Washington Sentinels left the stadium that day, there was no tickertape parade, no endorsement deals for sneakers or soda pop or breakfast cereal. Just a locker to be cleaned out and a ride home to catch. But what they didn't know, was that their lives had been changed forever because they had been part of something great. And greatness, no matter how brief, stays with a man. Every athlete dreams of a second chance, these men lived it.”

In the end, glory lasts forever.

The Departed

The Departed

2006

Director: Martin Scorsese

Writer: William Monahan, Alan Mak, and Felix Chong

151 Minutes

In 1991, there was uproar in the film community about Martin Scorsese losing “Best Director” and “Best Picture” to Kevin Costner for Dances with Wolves. Scorsese admitted that Dances with Wolves was more academy appropriate, but he would continue to make films.

Fifteen years later, Scorsese took home his first Academy Award for “Best Director – The Departed.” He has had a great career full of blockbusters, presidential assignations, and a bit on Curb Your enthusiasm.

He never needed an Oscar, but it was well deserved.

The Departed is about the corruption within the Massachusetts State Police and organized crime in the city of Boston. The cast of characters includes DiCapiro, Damon, Nicholson, Wahlberg, Sheen, Baldwin, and the ever-so-sexy Vera Farminga. It was a remake from the 2002 film Infernal Affairs, which their rights were purchased for just under two million dollars.

The Departed went on to gross 289 million dollars worldwide, receiving four Oscars, and had a body count of 22 people.

Not bad, Mr. Scorsese.

In the scene above, Colin Sullivan (Matt Damon) shoots Barrigan (James Badge Dale) in the head after Barrigan shot both Brown (Anthony Anderson) and Billy (Leonardo DiCaprio). It’s shit show. It’s a blood bath. It’s what wins Oscars.

Everyone dies. Everyone should die. No one is good. Everyone is corrupt. Thus, everyone dies.

But the reason why this scene is important is because you know why everyone is killed. They all had reasons. Barrigan was working for Costello (Jack Nicholson), thus he shoots Billy. Brown walked into a murder scene that had an infinite amount of questions, thus Barrigan shoots him. Sullivan shoots Barrigan because if there are no witnesses, there would be only one story to tell.

And Billy was shot because we weren’t expecting it. BOOM. I mean, who shoots Leonardo DiCaprio in the face?

Martin Scorsese does.

But it was exciting. It was a fun. And it was an entertaining film. It was jammed packed with celebrities, brilliant writing, and great direction. This film came together perfectly, which is why it received not only the Academies approval, but the box office as well.

And Mr. Scorsese, it was a long fifteen years for one of the most celebrated directors in history to gain his prize. Bravo, sir.

In the end, I leave you with this:

“When you decide to be something, you can be it. That's what they don't tell you in the church. When I was your age they would say we can become cops, or criminals. Today, what I'm saying to you is this: when you're facing a loaded gun, what's the difference?” – Frank Costello

It’s true. What’s the difference.?

Love Actually

Love Actually

2003

Director: Richard Curtis

Writer: Richard Curtis

123 Minutes

First-time director Richard Curtis loves love. He is famous for writing such films as Bridget Jones’s Diary, Notting Hill, and Four Weddings and a Funeral. For his next project, Curtis took long walks on his vacation in Bali and would come up with a new story everyday.

Those stories eventually became Love Actually.

Love Actually has an ensemble cast, including Colin Firth, Liam Neeson, Emma Thompson, Keira Knightley, Hugh Grant, and Laura Linney, which their characters interact with each other revolving around the theme of love. You have forbidden love, erotic love, hopeless-romantic love, lost love, brotherly love, young love, etc.

Then Curtis added Christmas into the mix. It’s just…unfair.

Each of these characters has highs, lows, midpoints, low-points, and climatic scenes about love. But in the end, all they wanted for Christmas was you.

In the scene above, Sam (Thomas Sangster) has been in love with Joanna (Olivia Olson) for the entire film. It’s the reason he is not sad about his mother’s death. It’s the reason he learned to play drums. It’s the reason for living.

Though we haven’t met Joanna until this scene, we know she’s one in a million. When the lights dim on the Christmas pageant and the majority of characters are present in the audience, Joanna takes stage.

The opening to her song, which she sings a cappella, is breathtaking. The characters are stunned. The audience is stunned. But we now see why Sam loves his girl.

But it’s the song: All I Want For Christmas is You.

It’s the meaning of the film. It’s why we love this film. We all want to be with the ones we love at Christmas - whether it be friends, family, new lovers, old lovers, or someone you met that day as a naked body double on a film set.

Love and Christmas. Like I said, unfair.

In the end, there were so many moments in this film that you walk away saying, “…that was great.” It’s because Love Actually is a great film. You have Colin traveling to Wisconsin to find American girls. The Prime Minister kissing Natalie in front an entire audience. Mr. Bean. Billy Mack. Billy Bob. You have lovers learning languages. Candid shots of real people at Heathrow Airport. And you have a man standing in front of his love with nothing but written cards and false hope.

But there is love. In life, that might be all you need. And at Christmas, that’s all you want.

Fight Club

Fight Club

1999

Director: David Fincher

Screenplay: Jim Uhls

139 Minutes

Fight Club is a philosophical film. It holds wisdom far beyond our grandparent’s reach and sets a standard for humanity’s actions against itself.

But, it all started with Tyler Durden (Brad Pitt).

For the quotes, wisdom, philosophy placed within the actions and dialog of this film, it came at a time when people needed an escape. We bought our happiness. We paid our dues. And we were ants marching on a log heading closer to our ultimate demise. Then this film came out:

“Welcome to Fight Club. The first rule of Fight Club is…”

And with it, Tyler changed lives. He inspired people to stand on the wall. And he gave meaning to hundreds of people that had no purpose. He was an alter-ago. He was a man’s man. And he was everything we wanted to be, then and now.

“All the ways you wish you could be, that's me. I look like you wanna look, I fuck like you wanna fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not.”

In the scene above, Tyler is discussing materialistic goods with the Narrator (Edward Norton). Tyler mentions, “The things you own end up owning you.” This then leads to Narrator’s apartment exploding. This leads to moving in with Tyler. And that leads to Fight Club.

But every second of this film is Tyler. We follow the Narrator, but Tyler is our hero. And heroes get the best dialog:

“You're not how much money you have in the bank. You're not the car you drive. You're not the contents of your wallet. You're not your fucking khakis. You're the all-singing, all-dancing crap of the world.”

And

“It's only after we've lost everything that we're free to do anything.”

And

“Without pain, without sacrifice, we would have nothing. Like the first monkey shot into space.”

And

“Self improvement is masturbation”

And finally:

“How much can you know yourself if you've never been in a fight?”

In the end, Fight Club is epic. It was an epic shooting schedule of 138 days with over 300 scenes shot on 200 locations. Director David Fincher, who is notorious for doing numerous takes, had Brad Pitt and Edward Nortan do 38 takes in Lou’s Bar after Narrator’s apartment blew up. And with a 71 million dollars budget, you get one of the greatest films in the history of cinema.

But the quote of the film, having no philosophical involvement, goes to Marla Singer (Helena Bonham Carter) during the pillow-talk scene.

The studio wanted to the original line “I want to have your abortion” cut, thus Fincher made a deal he would cut that line, but the replacement line couldn’t be cut.

Fox Studio’s agreed, thus Marla says, ‘I haven’t been fucking like since grade school.”

And she has Tyler to thank for it.

Coming to America

Coming to America

1988

Director: John Landis

Writers: David Sheffield and Barry Blaustein

116 Minutes

There is nothing better than Eddie Murphy walking around the streets of Queens singing Jackie Wilson's, “To Be Loved,” while the neighbors scream obscenities.

Or Eddie Murphy saying, “Good Morning, my neighbors,” while the neighbors scream obscenities. Or Eddie Murphy playing Saul, Randy Watson, Clarence screaming obscenities.

In short, this movie is Eddie Murphy. And we want him screaming obscenities.

Coming to America is about a young prince who rejects his chosen bride, ventures past his kingdom, and finds his Queen…in Queens, New York.

But there is heart to this familiar story. Prince Akeem wants a woman to love him for himself, not for money or fame. Thus, he disguises himself as an average person to find his queen. The elements from hundreds of great stories can be found laced within this romantic comedy.

And it’s brilliant.

In the scene above, Akeem works at a local fast-food restaurant called McDowell’s. When a hold-up man (Samuel L. Jackson) enters to rob the joint, everyone freezes. Everyone except Akeem. Slowly, Akeem loosens his mop handle, excuses himself, and approaches the hold-up man, and this is how it goes down:

It would be wise for you to put the weapon down.
Who the fuck is this asshole?
Please refrain from using any other obscenities in the presents of these people.
What?
I’ve warned you. I’ll be forced to thrash you.
Fuck you.

Akeem thrashes, trips him to the ground, while his friend and loyal subject Semmi (Arsenio Hall) grabs the shotgun and says, “Freeze! You disease rhinoceros’s pizzal.”

Akeem is a hero and only after jacking up Samuel L. Jackson does his Queen-to-Be notice him.

But this is why we go to movies. This is what movies used to be. They were fun. Fun dialog and obscenities. Fun thrashing. And two fun heroes.

In short, we want Eddie Murphy from the 1980’s.

Sadly, we are left with the Eddie Murphy in the 2000’s that brought us Norbit, Pluto Nash, and Doctor Dolittle. He got older. He had kids. And screaming obscenities doesn’t sell in the 2000’s like it did in the 1980’s.

But it should, GOD DAMMIT!

Coming to America is a film that should never be remade. It shouldn’t be studied in film classes, nor frowned upon by a rated-R rating.

It should be enjoyed. Eddie Murphy should be enjoyed. And bathing like the Prince of Zamunda should be enjoyed.

And while you're in the clapping mood, I'd like to introduce my band: Sexual Chocolate.

The Lion King

The Lion King

1994

Director: Roger Allers and Rob Minkoff

Writers: Irene Mechhi, Jonathan Roberts, Linda Woolverton, etc.

89 Minutes

The Lion King is one of Disney’s best. It holds rank with such films as Snow White, Streamboat Willy, and the Toy Story franchise. Even though it took over twenty-five writers (Disney’s consistently uses handfuls of writers to complete a film) to assemble the story and additional material, this film ranks as one of the best-animated films ever created.

And Hakuna Matata means no worries.

The Lion King is a story about a young prince named Simba. When his father is killed, Simba (Jonathan Taylor Thomas) leaves the pride lands and is considered dead by his friends and family. When his soul mate Nala (Moira Kelly) finds the adult Simba (Matthew Broderick) alive, she convinces him to return to the pride lands and take back his kingdom.

Simple, direct, and it was best selling home video of all time with 55 million copies sold to date.

In the scene above, Mufasa (James Earl Jones), Simba’s father, is killed trying to save his son. When Simba discovers his body, Mufasa’s brother Scar (Jeremy Irons) tells Simba that he is to blame for this accident. Scar tells him to run away, while he sends hyenas to kill the young cub.

Simba escapes the hyenas, but ventures into the unknown world – a world where you eat bugs.

This is a coming-of-age story and without Simba’s departure and prodigal son return, Simba couldn’t have come-of-age. He would have been dead or unchanged. Leaving your home, meeting his new friends, and growing into a man is what this film explains and explores.

Boyhood to manhood.

This is a common story. A heroes journey. Simba is not unlike any of us at a young age. He is bright, clever, and curious. He represents us. Once he grows up, he fights for what is right in the world. Like I said, he represents us.

The Lion King is an “us” film. We see ourselves in this story much like Simba sees his father in himself. That’s why we loved his film. It resonates deep within our subconscious and explains who we are in the world. We have been lost or scared after losing a parent. We have avoided our responsibility at one time. And we have fought for what's rightfully ours.

We have all been Simba. And right, wrong, good, bad, or indifferent, Simba was a hero.

And we are all heroes - right, wrong, good, bad or indifferent.

The Lion King spawned sequels, books, and a musical because it’s subject matter. It hit home with audiences. With a great soundtrack and outstanding visual effects, The Lion King deserved its 770 million dollar box office success, including a re-release 3D version currently out in theaters.

But it did take over twenty-five writers to tell this story.

Twenty-five.

Beautiful Girls

Beautiful Girls

1996

Directed: Ted Demme

Writer: Scott Rosenberg

112 Minutes

Willie (Tomothy Hutton) found true love when he came back to his home town of Knights Ridge. His only problem was his true love was a thirteen-year-old, Lolita named Marty (Natalie Portman).

There we other women, including Willie’s fiancé Tracy (Annabeth Gish). There was Andrea (Uma Thurman) the most attractive, intelligent, and lovable visitor to enter this small town. And there were others before.

But none of them were Marty.

Marty was an “old soul,” who asks the questions for Willie. And though he is taken back by her comments, he realizes how priceless this young girl is. She will grow into a wonderful woman, a lover, and the dream long past, but never forgotten by William.

In the scene above, Willie signals Marty over after visiting friends in the ice fishing shack. After a certain back and forth about friends and adolescence boyfriends, Mary makes a comment about how Willie is her new boyfriend.

William laughs it off.

Marty marriage advice to Willie, “You should wait until you’re ready. You should wait until you meet someone that excites you.”

She is saying he should wait for her – wait five years.

Willie suggests that in five years, Mary won’t remember him. She has changes. She will grow up. And she will out-grow and forget him like Christopher Robin did with Winnie the Pooh.

That’s what happens when you grow up. You forget.

Willie would be ready and willing, if society allowed it. Marty is the girl he wished he met when he lived in Knight’s Ridge. She is funny, lovable, and accepts Willie for everything he is not.

But, he can never have her. He has to live in the present and five years is a lifetime for someone who has only lived thirteen.

They part ways, but that was their moment. It was a moment that they admit there is a flame between them, if only for a second. And now that it’s gone, Willie has to go back to figuring out his life.

That’s why Beautiful Girl is a terrific film: it’s about figuring shit out.

Willie has his old friends, a brother, and these women to help him find what life is about. They help him find the true meaning in this world and that is this:

"A beautiful girl can make you dizzy, like you've been drinking Jack and Coke all morning. She can make you feel high full of the single greatest commodity known to man - promise. Promise of a better day. Promise of a greater hope. Promise of a new tomorrow. This particular aura can be found in the gait of a beautiful girl. In her smile, in her soul, the way she makes every rotten little thing about life seem like it's going to be okay."

In the end, Beautiful Girls is about finding someone special and loving her until the end.

But there was always Marty and Winnie and Pooh.

Social Network

Social Network

2010

Director: David Fincher

Writers: Aaron Sorkin and Ben Mezrich

120 Minutes

Aaron Sorkin can write. David Fincher can direct. Jesse Eisenberg, Andrew Garfield and Justin Timberlake can act.

This film was amazing. It truly was.

The Social Network was based on the book, “Accidental Billionaires” by Ben Mezirch, who also wrote “Bringing Down the House,” which was turned into the film 21 starring Kevin Spacey.

But many were skeptical about filming the story of Facebook, the ultimate social networking website. Some questions, "who wants to see a film about Facebook?"

They were wrong.

This film was about these characters handling their raising success against an established college dorm friendship as much as it was about creation of Facebook. It was a struggle. It was a war. And it didn't go well.

In the end, every character was a millionaire. And some billionaires. It’s hard to feel bad for anyone that can buy a private jet or retire at twenty-five.

In the scene above, Mark Zuckerberg (Jesse Eisenberg) has met Sean Parker (Justin Timberlake), the creator of Napster, in a club to talk about the potential of Facebook. Sean waited for Mark's best friend to be out of town to have Mark's exclusive ear and since Mark had always been taken by Mr. Parker, he listened well. Mark knew this “product” was a game changer, but it took Sean to explain how much of one.

“Napster wasn’t a failure. I changed the music industry for better and for always,” says Sean Parker. He was right. Napster was a game changer.

At one time or another, that’s what we all want: something that changes the world.

Sean Parker did. So did Mark Zuckerberg.

This is why this film is important. It’s about three young guys making an impact on the world. Hell, they changed the world. Today, Facebook has over 750 million users. It’s in almost every country in the world and continues to grow today.

Facebook was the ultimate game changer.

“A million dollars isn't cool, you know what's cool? A billion dollars.”

Sure, friendships ended. Yes, they screwed people over. And of course, they hurt people in the process.

But that is every business. That is government. That is corporations. That is the United States.

This film is the American Dream. Love it or leave it, but accept it as the creation of something used more than coffee is drank. And there are over 17,000 Starbucks in the world.

Like a said, a game changer.

Almost Famous

Almost Famous

2000

Writer: Cameron Crowe

Director: Cameron Crowe

122 Minutes

Cameron Crowe was of the youngest contributor for Rolling Stone Magazine, only sixteen years old, when he got the assignment to tour with the Altman Brothers.

This film’s main character was a young, fifteen year old boy named William Miller who gets a paid assignment with Rolling Stone Magazine to write about the band Stillwater.

The parallels are complete and twenty-seven years later, Crowe made a movie about his experience called Almost Famous. Yet, the movie stands the test of time reliving Elton John’s “Tiny Dancer,” and the side effects during an acid trip.

The film won a well-deserved Academy Award for best writing.

In the scene above, William has accepted his writing assignment, blessed by his controlling mother, and jumped in the car with the ultimate band-aid Penny Lane (Kate Hudson). When they take off on their journey, the cover of Pink Floyd’s Dark Side of the Moon is reflected in the windshield.

This is Crowe’s metaphor that William is crossing into the unknown world. It’s a world of adventure, drugs, and sex. It’s a world that will change him forever. It’s Rock and Roll.

The reflection goes quick, but it’s meaning lives on. William will be tested, trained, heartbroken, disillusioned, and inspired on his journey to write about his idols, Stillwater. He learns what happens to bands on the road from massive egos to failing airplanes to childhood crushes to utter disappointment.

But, it all starts here. It all starts by crossing into the Dark Side of the Moon.

"The only true currency in this bankrupt world are the moments you share with someone when you're uncool." - Lester Bangs (Philip Seymour Hoffman)

Cameron Crowe, you are William Miller. And we are better people for hearing your uncool, yet wonderful story.

Rocky

Rocky

1976

Director: John G. Avildsen

Writer: Sylvester Stallone

119 Minutes

A mildly successful boxer named Chuck Wepner fought Muhammad Ali in 1975 and went fifteen rounds before he was knocked out. A young Sylvester Stallone watched at home on this television.

This was a catalyst for the young actor/writer/director/producer.

Rocky was the first sports film to be nominated for Best Picture at the Academy Awards. That night, it took home Best Director, Best Editing, and Best Picture in addition to nominations for Actor, Actress, Supporting Actor, Supporting Actress, Original Song, Sound, and Writing.

It is one of the best films ever made.

But, there is more to Rocky than boxing. In fact, none of the six Rocky films are strictly about boxing. They are films about the struggle. In this first installment, Rocky (Sylvester Stallone) wants to be something in this world. He works for a low-end bookie, visits the pet store daily, and ignored by his trainer Mick (Burgess Meredith).

He has nothing.

In the scene above, Rocky and Adrain (Talia Shire) lay in bed together the night before the fight. Rocky mentions that if he could go fifteen rounds against the Heavy Weight Champion, Apollo Creed (Carl Weathers), then he would have made something of himself. If he could go fifteen rounds, he wouldn’t be a bum.

The entire movie rests in this scene because it’s not about winning and it’s not about money. It’s about making something of yourself. That’s why we love this film. We all want to make something of ourselves, if only fifteen rounds. Rocky knew it. He has humble goals, but they speak the truth.

And we, the audience, appreciate the truth.

In reality, the scene above is about Sylvester Stallone writing a great film and making something of himself. Rocky was his autobiography of a struggling actor. And the greatness of this man, scene, and film is Stallone he was given ONLY one take to complete it.

He was given one chance.

In life, that’s all we ever need. Rocky is a phenomenal film. It’s an underdog story. It’s a coming-of-age film. It’s the Best Picture of the year.

If you get one shot at greatness, don’t let it pass you by. Sylvester Stallone didn’t.

Secretariat

Secretariat

2010

Director Randall Wallace

Writers: Mike Rich and William Nack

123 Minutes

Some 37 years ago, a horse named Secretariat won the Triple Crown by 31 lengths and a run time of 2:24. He was the greatest horse that ever lived. And though it bares the name of this film, this story is not about a horse. It’s about a woman.

Penny Chenery.

Often times, women have to face the men in their lives. Penny Chenery (Diane Lane) knew that all too well. She came from a strong family, married a strong man, and when her family’s horse ranch came under fire, she was quick to be strong and save it. Yet, saving the farm meant challenging every men she ever met, right down to her own flesh and blood.

Patriarchal oppression.

It was a troubled time for the Cherney family, but they had a winning horse. Secretariat was named Horse of the Year and won sixteen individual races overall. Penny Chenery knew how special this horse was. She knew his history. She knew his potential, even though the men in and around her life questioned her to the bitter end.

She beat them all.

In the scene above, Penny has returned to her farm and asked about the sale of one of their horses by Trainer Earl Jansen (Graham McTavish). His plan was the sell this prized stallion to another farm, where then they would sell it for double its value.

When Penny questions him again, Earl talks down to her like it was her first time in a stable. But, she knows what she’s talking about. She knows the horse game. And she knows this trainer is a fraud and fires him on the stop.

This is the first test of many. For Penny, it was her against every man in the horse racing game. It was her against her father’s friends, trainers, other owners, siblings and even her husband. Everyone questions her. She even questioned herself.

Yet when it came to those three minutes, when Secretariat ran his race, no one was more right in the world than Penny Chenery.

She proved everyone wrong, rising above the rest like her house always did.

It was different times back then, but this world continues to need strong women like Penny Chenery. We need people to stand up for what they believe in, even when the world is telling you to give up.

We need the fight in folks.

Had Mrs. Chenery quit, we never would have known of a horse named Secretariat and the largest winning margin in horse racing history.

31 lengths. My god...

Little Miss Sunshine

Little Miss Sunshine

2006

Directors: Jonathan Dayton and Valerie Faris

Writer: Michael Arndt

101 Minutes

Three things happened to Little Miss Sunshine. One, writer Michael Arndt quit his job as Matthew Broderick’s assistant to write a story. Two, it took five years for this story to be made into a film. Three, the film grossed 100 million dollars and took home two Oscars, one for Mr. Arndt himself.

One would think an assistant who reads hundreds of scripts a week would have an idea that could put audiences in the seats. But, this story wasn't pretty.

More so, it seems illogical that a great, emotional, compelling story would take five years to make when it had no explosions or special effects or car chases. But, it might not have made money.

Yet, it did both. It was pretty and beneficial. Instant success. Little Miss Sunshine did well at the box office, great with the critics, and touched millions of Americans.

It’s because it was real.

From conversations about 'A la Mode' to plastic Burger King cups, Little Miss Sunshine is a true film about real people. We can relate because we know these characters. We know the emo kid who doesn’t talk. We’ve heard the judgmental father. And we love the outspoken grandfather.

We know them. We love them.

In the scene above, Dwayne (Paul Dano) and Frank (Steve Carell) talk outside the Little Miss Sunshine Beauty Contest. During a conversation about suffering, Dwayne says this:

“Fuck beauty contests. Life is one fucking beauty contest after another. School, then college, then work... Fuck that. And fuck the Air Force Academy. If I want to fly, I'll find a way to fly. You do what you love, and fuck the rest.”

That’s real talk.

This film is filled with moments of honesty and truth. Even Frank’s reply to Dwayne’s confession is, “glad you’re talking again, Dwayne. You’re not nearly as stupid as you look.” It’s funny, but also real.

Often times, life can be a beauty contest. Anyone that reads People or US Weekly can testify to what the popular kids are doing this week. Suburban neighborhoods are filled with expensive cars, huge mansions, and tapered lawns. And the amount of money we spend on clothes, shoes, or make-up could feed small countries for years to come. Like I said, life can be a beauty contest.

But when you get a film like Little Miss Sunshine, it all goes away. There is no competition in this film. There are only simple truths about the human condition. It was real and helped us escape the beauty contest we're all living in.

It’s why we watch films. It’s why this film did well. It puts everyone on an even playing field, capable of an emotional connection to fictional characters that represent ourselves.

We are all flawed, just like Frank and Dwayne. And we often want to say, “Fuck beauty contests.”

Little Miss Sunshine was a story that meant something. Often times in Hollywood, we rarely get a film that has a story. But, we need both. We need the explosions, special effects, and car chases. We need Michael Bay. Though, we need these pieces of art as well. We need stories that are true and honest, helping us understand ourselves with each frame that speeds by.

Michael Arndt deserved the Oscar for this film. He wrote something that made us feel, escaping the beauty contests of life. Within this medium, is there anything more real?

Jay and Silent Bob Strike Back

Jay and Silent Bob Strike Back

2001

Director: Kevin Smith

Writer: Kevin Smith

104 Minutes

This was the first film that Carrie Fisher and Mark Hamill had appeared in since Star Wars VI: Return of the Jedi. The list continues with notable actors including Will Ferrell, Ben Affleck, Shannon Elizabeth, George Carlin, Tracy Morgan, Chris Rock, Seann William Scott, Judd Nelson, Shannen Doherty, Jason Lee, Joey Lauren Adams, and Alanis Morissette. Even without these bankable stars, the movie would have been enjoyable.

Because who doesn’t want to see Eliza Dushku and Ali Larter in leather.

Jay and Silent Bob Strike Back is about Jay (Jason Mewes) and Silent Bob (Kevin Smith) journeying across the country to stop a film being made about their alter egos Bluntman and Chronic.

It was supposed to be the final film in the View-Askew Universe. When Kevin Smith decided to make Clerks II, the universe once again was established. This universe is a series of inside jokes, movies references, and nods to characters and their dogs (Walt Flannigan). Being apart of the joke and knowing the people involved invites you into the Kevin Smith world that connects you to his life, reality, and humor. We are friends of Kevin because of these references.

We know him or feel like we do.

In the scene above, Jay and Silent Bob have hitched a ride and stop at a convenience store. The catalyst to this adventure was their arrest outside the Quick Stop convenience store where they sold drugs and were outspoken commentators. Once they are in front of *this* convenience store, they assume their normal position.

Something isn’t right.

They switch places, but it’s still off. It’s off because it’s *not* the Quick Stop. These two characters are out of their element. They are on the road. They are in another world, different than Jersey, and cannot accept the separation from their roots.

This is the entire film.

We watch films like Jay and Silent Bob Strike Back because we like to see two stoner characters in a different world, interacting with beautiful vixens, and causing havoc at every venue. It’s the fish out of water genre and Jay and Silent Bob flap around, yell obscenities, and steal monkeys.

For God Sake, they called Jason Biggs a pie-fucker.

It’s what makes these films great, but you have to know the world. Kevin Smith has a small army of loyal fans apart of it. We know about the girl who died in the YMCA pool, pillowpants, William “Snowball” Manchild, stink palms, Branky’s tracer complex, and the milkmaids.

Kevin Smith is a friend and makes movies for his friends. He has about 50 million of them. Probably more.

Jay and Silent Bob will never die. They live on with the DVD sales. But, there is something special about these two characters. It’s something real.

To end, Jay said it best: I hope one rips the other one's shirt off and we see some fuckin titties floppin around, yeah!

Like I said, something real.

Wayne's World

Wayne’s World

1992

Directed: Penelope Spheeris

Writer: Mike Myers, Bonnie Tuner, and Terry Turner

94 Minutes

Mike Myers feature film debut. Chris Farley’s film debut. Alice Cooper. Stan Mikita’s donuts shop. A gun rack. Game on. And of course, Bohemian Rhapsody.

This film is not a meaningful story of good verse evil or hope overcoming the odds. It’s a bro-mance between Wayne (Mike Myers) and Garth (Dana Carvey). It’s a ridiculous story of two cable-access hosts selling out and realizing a band performance by one of their girlfriends can be linked through satellites, beamed into a limo, and that recording contact could save their show.

But then you have the small jokes.

In the scene above, Wayne and Garth make light of television program hand signals, which they refer to hand jobs. They laugh together. They always laugh together. They make jokes and laugh at them. Together.

This is the entire movie.

Originally, Wayne’s World was a Saturday Night Live sketch and the only spin-off to gross over a 100 million dollars. Therefore, it’s not that absurd to believe this entire movie could be based around one-liners.

And we love them for it.

“Shitty Beetles? Are they any good?”
“They suck”
“Then it’s not just a clever name.”

Again, they laugh together. We laughed with them. That’s why this film is genius. It’s not only the one-line jokes and small jabs at commercialization. These were characters that we enjoyed watching.

The characters were us.

The affect on pop culture says everything. Wayne and Garth brought us “That’s what she said,” and “Party on,” and “…Not!” They were the voice of generation X. They were characters that did what they wanted, listened to good music, and talked about the importance of unimportance.

Interesting fact: Dana Carvey is an accomplished drummer and actually played Garth's solo in the guitar store.

This film needed to be made. It spoke to the pimple-popping teenager drinking in his parent's basement with his friends, playing riffs of Stairway to Heaven, and watching Bill and Ted’s excellence adventure. They needed movie that talked about what they were talking about. They needed Wayne and Garth.

Genius.

And the list continues. Within this movie you have Robert Patrick reprising his role from Terminator 2, a play on foreign films when Wayne speaks Cantonese, Wayne getting a gun rack when he doesn’t own “a gun,” and nods to commercials including Grey Poupon, Doritos, Pizza Hut, Reebok, and Pepsi.

It’s was the small jokes that made this film great.

In the end, Wayne says it best: I once thought I had mono for an entire year. It turned out I was just really bored.

Exactly.

Armageddon

Armageddon

1998

Director: Michael Bay

Writer: Jonathan Hensleigh, J.J. Abrams, Tony Gilroy, and Shane Salerno

150 Minutes

Michael Bay spent his early years in the film business working on commercials and music videos. Then a script titled Bad Boys came to him. Success. And then a script titled The Rock came to him. Winner.

Finally, Armageddon came to him. Blockbuster.

Armageddon is a story about a group of oil drillers commissioned by NASA to stop a Texas-size asteroid from destroying earth.

But, there was so much more to this film.

In the scene above, A.J. (Ben Affleck) has taken Grace (Liv Tyler) to a secluded park on his day-pass away from NASA training. Grace happens to be Harry Stamper’s (Bruce Willis), A.J.’s boss/leader/commander, daughter. A.J. is apart of the oil digging crew and this is his last chance to be with the woman he loves.

They romance in pillow talk.

Grace asks, “Babe, do you think it’s possible that anyone else in the world is doing this very same thing and this very same moment.”

A.J. replies, “I hope so. Otherwise what the hell are we trying to save.”

This scene amplifies the importance of their mission. They are not trying to save large cooperation’s, amusement parks, and colossal cities; they are trying to save the small moments that an individual shares. They are trying to save children laughing, birds singing, and mother's praying.

In short, they are saving the human race, however large or small your definition is.

Between A.J. and Grace, their love isn’t about the grand adventure or royal weddings. It’s about intimate moments. Their love is pure. Their love is kind. And that’s why those men are going up.

“I really don’t think the animal cracker qualifies as a cracker,” A.J. says.
“Why”
“Well cause it’s sweet, which to me suggests cookie, and, you know, I mean putting cheese on something is sort of defining characteristic of what makes a cracker a cracker. I don’t know why I thought of that, I just…”

This film was not a shallow attempt at “we have special effects, so there is no need for story.” This film was a meaningful journey between father and son, mentor and apprentice. It's about friendship. And it's about love. These themes and ideas climbed aboard that shuttle along side A.J. and Harry.

That’s why this film is remembered.

In the years following, Michael Bay was commissioned to direct the Transformer’s saga. And in my personal opinion, it doesn’t live up to Bad Boys, The Rock, or Armageddon.

It’s because there is no story. No themes.

In the end, we need those small moments in life to let us know what's important. Life is not about six figure salaries, nor Lakefront mansions.

It’s about animal crackers conversations.

Hot Tub Time Machine

Hot Tub Time Machine

2010

Director: Steve Pink

Writers: Josh Heald, Sean Anders, and John Morris

101 Minutes

In one of the biggest high-concept films of 2010, John Cusack stated he joined the cast simply based on the title.

In essences, this film is about four guys time traveling back to the 1980’s and reliving the weekend of their lives, finding out how detrimental the Kodiak Lodge was to their future.

Déjà.

In the beginning, Adam (John Cusack), Nick (Craig Robinson), Jacob (Clark Duke), and Lou (Rob Corrddry) travel up to the mountains because Lou tried to kill himself. Hoping to relive some positive memories, the four venture back into their “past “ only to find the Kodiak Lodge is in despair, mirroring their own lives.

Kodiak is history.

They are escorted to their room by the pissed-off, one-armed Phil (Crispin Glover) and find a hot tub time machine that will eventually take them back to 1986. Once back in time, they realize how good they had it, how much promise lay before them, and how much potential was in their lives.

Instead of enjoying the 80’s, the four friends vow to repeat the exact events that weekend, thus avoiding the Butterfly Effect.

But when Adam decides to change his course of history, the rest of the group follows suit. They’ll enjoy themselves. They’ve earned it. And the 80’s rocked.

In the scene above, Nick and Lou are playing pool discussing how they can change their own future, this time for the better. When the AFC Championship game against the Denver Broncos and Cleveland Browns comes on the television, Lou gets an idea to bet on the game.

He knows the future, why not.

But this is what happens in the Butterfly Effect (not the movie, the system). You change one course of normal life and the rest of history will evidently be affected. These friends traveled back in time and puked on a squirrel. The squirrel ends up on the field during the AFC Championship and John Elway’s pass goes incomplete, thus ending "The Drive" and losing the game.

But, Lou knows the potential. He understands the Butterfly Effect.

At the end of the film, the four friends have a chance to return to 2010. Lou refuses. By him staying in the past, he can positively effect his life decisions and redo the mistakes he has made in the past. This is the entire theme of the film. Lou made poor decisions. Now, he wants to correct his missteps and turn them into advantages.

Lou goes onto invent “Lougle,” an Internet search engine and was the lead singer to Monte Crew.

Perfect.

We’ve all made mistakes before. We’ve all asked ourselves, “what if I could change this event in my life…” and would this ultimately change my course of history. But, we cannot change our history, which is why films about time travel are popular. These stories place characters in situations that help them understand the past and consciously affect the future, this time for the better.

So much of the case is exactly what Lou needed. He needed a Hot Tub Time Machine.

In the end, I leave you with this: ‘Life can only be understood backwards; but it must be lived forwards” - Soren Kierkegaard

This is only true unless you spend a weekend at the Kodiak Lodge. Or you have a delorean that can do 88 mph.

The Mighty Ducks

Mighty Ducks

1992

Director: Stephen Herek

Writer: Steven Brill

100 Minutes

“I hate kids. They're barely human.”

Gordon Bombay (Emilio Estevez) had a long way to go after receiving a community service sentence to coach peewee hockey. He was assigned to the District 5 hockey team, a group of kids that would later become the Mighty Ducks.

But, Gordon was no stranger to hockey. Years before, Gordon played for The Hawks, the number one team in the league and arch rivals to the Mighty Ducks. In the last game of the state championship, Gordon missed a shot that would have clinched the game.

A quarter of an inch the other way and it would have gone in.

Gordon has lived with that demon since childhood, completely erasing hockey from his life and became a successful lawyer. After winning a major case, Gordon gets pulled over for drinking and driving. And thus, begins Gordon’s journey.

*CLING* - the sound the puck makes by hitting the post.

In the scene above, the Mighty Ducks have mutinied against Gordon after he made several sarcastic comments about the team. When the majority of the team didn’t show for the next game, they were forced to forfeit. Before this all happened, Peter (J.D. Daniels) found an article about Gordon’s missed shot and believed his comments weren’t sarcastic and Gordon’s loyalty remained with the Hawks. Peter used this information to turn the team against Gordon.

Except for Charlie Conway (Joshua Jackson).

After the forfeit, Gordon and Charlie have lunch and talk about Gordon’s hockey past. When Gordon finishes explaining the “quarter of an inch” missed shot, Charlie simply replies, ‘Yeah, but a quarter inch the other way and you'd have missed completely.”

Gordon never thought of it that way.

This is the moment that Gordon realizes he has just as much to learn from these kids, as these kids have to learn from him. He has a dark past - one he might have been embarrassed about - which doesn’t make him much different than the rest of the Mighty Ducks.

In this instant, he realizes his old team, old coach didn’t understand the reason kids play hockey is to have fun. It shouldn’t be effecting your life years after the fact. Hockey is a game and it supposed to be enjoyed.

His team taught him that.

In the end, Gordon takes the Mighty Ducks all the way to the state championship where they faced-off against the Hawks. It was a brutal game, but Gordon cannot be out matched by his old team and eventually is victorious.

Bravo, Disney endings.

The Mighty Ducks is a family film about a young hockey team. The story is about a coach letting go of his past and progressing forward towards his passion. In the final scene of the film, Gordon gets hockey advice from the ducks and then boards a bus for a minor league hockey try-out. Again, he’s victorious.

But for Gordon, he’ll forever be a duck. And ducks fly together.

Bill and Ted's Exvellent Adventure

Bill and Ted’s Excellent Adventure

1989

Director: Stephen Herek

Writers: Chris Matheson and Ed Solomon

90 Minutes

Bill S. Preston, Esq. (Alex Winter) and Ted Theodore Logan (Keanu Reeves) have been given a time machine to travel through time collecting the greatest figures in history in order to pass their final exam. Where then, these two individuals and their band, Wild Stallions, go onto create a futuristic society based on their music.

It could happen.

Yet when we meet Bill and Ted, they are bumbling idiots that can barely play music.

Hey now, it could happen.

Bill and Ted’s Excellent Adventure grossed over 40 million dollars. It was a hit, creating an outstanding career for Keanu Reeves and launching a directing career for Alex Winter. George Carlin played the ever so knowledgeable Rufus and Go-Go’s guitarist Jane Wiedlin played Joan of Arc.

But, this wasn’t just a film about two jokers. There was heart to this story.

In the catalyst, Bill and Ted are told their history presentation will decide if they pass or fail this semester’s course. They have slacked off, made jokes, and completely ignored the course material. Now, they have to ante up for their final exam to finish school.

But there is more.

In the scene above, Ted is told by his father (Hal Landon Jr.) that if he does not pass his history presentation, he will be shipped off to Oats Military Academy, thus separating the Wild Stallions. This act means everything. If the band separates, the future will sees to exist. More so, Bill and Ted’s friendship will ultimately be extinguished.

Ah oh.

See, it’s not that Bill and Ted care about failing school. That’s nothing. It’s the fact that if they fail, Ted will be shipped off, and their band won’t make it. That's everything. And even though they are the worst band in the world - their music career amounting to almost nothing - they agree the band must survive.

Like I said, bumbling idiots.

But, they have dreams. That’s what makes them likeable. And they are best friends. That’s what makes them lovable.

We, the audience, don’t want to see two best friends break up, especially Bill and Ted who finish each other’s sentences. We realize they must carry on. Ted’s father oppression causes conflict, but he cannot succeed. These two have to stay together. And thus, we begin the story of how these two will travel through time, collecting folks such as Billy the Kid, Sigmund Freud, and Abraham Lincoln.

And what’s more entertaining then watching two stoners interact with some of the greatest leaders, minds, and warriors that ever ruled the earth.

In the end, Bill and Ted’s Excellent Adventure was fun. It was pure and simple. It was entertaining. But even "fun movies" need something to back it up. Here, it was friendship.

What could be more important than that…?

The Breakfast Club

The Breakfast Club

1985

Director: John Hughes

Writer: John Hughes

97 Minutes

It took exactly two days to write the script for The Breakfast Club. The great John Hughes was a master at effortlessly completing his stories, knowing full well the intention and motivation of each character. In this film, there was a brain, athlete, basket case, princess, and a criminal.

And the Simple Minds song, ‘Don’t You Forget about Me.”

In the scene above, the five strangers have collected together to explain their stories and reasons for being in detention. We know what they’ve done, but now we need the why. And through this interaction, they pour their hearts out to each other.

Claire (Molly Ringwald) cut school to go shopping, but she's there because she suffers from problems at home. Her parents use her to get back at each other and the expectation of being “perfect” is too much, thus she seeks negative attention.

Brian (Anthony Michael Hall) had a flare gun in his locker that went off. He carried a gun to school because he failed shop class. He cannot fail. And he’s there because he couldn’t handle that pressure.

Andrew (Emilio Estevez) taped a guys butt cheeks together because his father wants Brian to mirror his adolescence “fun.” His father was a winner and the pressure to be number one dominates Andrew's life.

Bender (Judd Nelson) pulled the fire alarm because well…wait not. He doesn’t have a good home life, school life, or social life – he has nothing, going nowhere and suffers from it all.

Finally, Allison (Ally Sheedy) didn’t do anything. She didn’t have anything better to do on a Saturday, but she’s there because she wants a connection to reality – something absent from her life.

All these characters have problems, but like Andrew says, “Some of us are just better at hiding it, that’s all…”

But the scene above is the moment – a low point – that all the characters realize they are not the labels the student body has placed on them, but individual people with individual issues.

There is the connection.

Having problems – like family, pressure, reality – is what connects all the characters in The Breakfast Club. Moreso, having problems is what connects audiences to this film. Finally, we are given a story we can relate. This is a story with problems, similar to the one we face, but fair enough away that we can enjoy.

For the audience, this is the ultimate escape: our problems faced by other people.

This is a film for every generation. From the pimple-faced freshman to the stock broker adult, we all went to high school and we all had problems. Moving past them is what’s essential in life.

Unfortunately, some never understand that.

But, these characters are given a chance to vent, connect, and realize how special each other are and find solace that their wasted Saturday was not so wasted.

In the end, John Hughes gives you this:

“Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did *was* wrong. But we think you're crazy to make an essay telling you who we think we are. You see us as you want to see us. In the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain, and an athlete, and a basket case, a princess, and a criminal...does that answer your question?... Sincerely yours, the Breakfast Club.

But, don’t you forget about me…

Flash of Genius

Flash of Genius

2008

Director: Marc Abraham

Writer: Phillip Railsback and John Seabrook

119 Minutes

Detroit is a tough town. A town created around automobiles, Tiger baseball, and Coney Island dogs. Within that city, there was a story about a man named Bob Kearns who invented the intermittent windshield wiper. Once completed, brought it to the “Big Three Auto,” to make a deal. And after everyone rejected it, Ford and Chrysler started installing Kearns’s invention in 1969.

There’s the problem.

Bob Kearn (Greg Kinnear) had a flash of genius - a term used in patent law that describes someone inventing a product out of nowhere and without any prior knowledge or experience of the subject.

There’s the genius.

In the film, Bob Kearns fight against the U.S. automobile industry, while raising six children is the source of any conflict. He was an average man in an average city, trying to live the American Dream. He invented a great product, it was stolen, and he fought against the system losing everything he cared about in the process.

Losing everything but his integrity. And there’s the rub.

He eventually won over thirty million dollars by suing both Ford and Chrysler – the price of righteousness Bob Kearns wouldn’t back down from.

In the scene above, an automotive engineer explains to the court that their factories had all the pieces to make the intermittent windshield wiper, but hadn’t put it together until after Bob Kearns meeting. In a brilliant move, Kearns pulls out “A Tale of Two Cities…” and explains everyone had the words, “it was the best of times, it was the worst of times,” but it took Charles Dickens to put it together.

That’s the brilliant part.

That line was the entire film – it was the entire case. The auto industry might have had the products to make this invention, but it took Bob Kearns’s flash of genius to create it. He brought it to them and they exploited it. And he knew the correct way to explain to the court that right is right, fair is fair and even Charles Dickens would agree.

But, there is more.

The additional source of conflict in this film was Bob Kearns did not only want money for his stolen invention, he wanted this American automobile companies to admit he created the intermittent windshield wiper – he wanted them to admit what they did was wrong. They offered money and then more money, but Kearns never took it unless they admitted their mistake

He studied the law himself, helped by his son and took down two of the biggest auto names in the business.

He won.

This story is the most American story that can be told. It involves one man’s struggle against a large villain. Yet, it also involves two great American companies - companies we support - which could be why the film was only mildly successful. America has always prided themselves on their automotive industry and this film insults it.

But in the end, Bob Kearns’s invention is carried in over 145 million cars worldwide. And all the credit goes to him. In he won, but this film lost.

In this life, we could all be so lucky to have a flash of genius. In some cases, we already have, but we’re too scared to fight for it.

Don't be.

The Wizard of Oz

The Wizard of Oz

1939

Director: Victor Fleming, George Cukor, Mervyn LeRoy, King Vidor

Writer: L. Frank Baum, Noel Langley , Florence Ryerson, Edgar Allan Woolf , Irving Brecher, William H. Cannon, Herbert Fields, Arthur Freed, Jack Haley, E.Y. Harburg, Samuel Hoffenstein, Bert Lahr, John Lee Mahin, Herman J. Mankiewicz, Jack Mintz , Ogden Nash, Robert Pirosh, George Seaton, Sid Silvers

101 Minutes

Every year, around Easter, The Wizard of Oz played on television. It was a family event for a family film. Dorothy (Judy Garland) sang into our hearts by wishing “Over the Rainbow,” while her friends skipped down the yellow brick road singing “Off to See the Wizard.”

Dorothy was us, scared to be away from home and lost in an upside-down world.

She had her hair in pigtails, a beautiful blue dress, and striking ruby red slippers. Her best friend was a dog, while her biggest supporter a scarecrow, soulmate a tinman, and a cuddlely lion as escorts through pastures, forests, and fields. A wicked witched chased her. A wizard denied her. And a good witch saved her.

Her name was Glinda (Billie Burke), the beautiful good witch.

In the scene above, Dorothy has made it through the frightful task of retrieving the Wicked Witch of the West’s (Margaret Hamilton) broomstick and has delivered it to the Wizard of Oz (Frank Morgan). After some convincing, the Wizard grants three wishes to Scarecrow (Ray Bolger), Lion (Bert Lahr), and Tin Man (Jack Haley), but has nothing for Dorothy. Nothing, except a ride home.

One hot air balloon.

On the departure day, Dorothy misses her ride home when Toto jumps out of the hot air balloon. Suddenly, Glinda appears. The good witch informs Dorothy she has had the power to return home all along, but had to learn it for herself.

Tin Man asks, “What have you learned, Dorothy?”

“Well, I - I think that it - it wasn't enough to just want to see Uncle Henry and Auntie Em - and it's that - if I ever go looking for my heart's desire again, I won't look any further than my own back yard. Because if it isn't there, I never really lost it to begin with! Is that right?” she says.

A message for every child trying to leave home on an adventure; this film teaches us that life isn’t lived on the road, away from the ones you love. It’s about accepting the family around you and being grateful for a place called home, however difficult it can be. It’s about recognizing the loved ones around you. Most of all, it’s about appreciation.

Three clicks on the ruby slippers and “…there is no place like home.”

The Wizard of Oz remains in our hearts with one title: classic.

Dorothy’s ruby slippers remain in Washington D.C.’s Smithsonian Institution, though the red carpet in front of the attraction needed to be replaced numerous times due to wear and tear. The MGM casino in Las Vegas was build with a Wizard of Oz décor, including life-size models of each character. And in 2007, the Munchkins were giving a star on the Hollywood Walk of Fame.

The Wizard of Oz is a part of us, it's magic grabbed us, and somewhere over the rainbow there is a wizard waiting to save us.

Star Wars IV: A New Hope

Star Wars IV: A New Hope

1977

Director: George Lucas

Writer: George Lucas

121 Minutes

There is too much to write about. And like the story, this film is epic. It’s an adventure. It’s a space opera. It’s part of almost everyone’s childhood. Broomsticks used as lightsabors, action figures, and Halloween costumes made up the Star Wars infatuation, which continues even today.

But in the beginning, there was a boy with a dream to leave home.

Luke Skywalker (Mark Hamill) lives a rural life on his home planet of Tatooine. He is a farmer, but wishes to join the Imperial Academy to become a pilot. In short, he wants to leave his home – a theme most teenagers and young adults desire.

Luke is a part of another world, different than ours, in a galaxy far, far away. He knows there is more to this universe than crops, bandits, and the Toshi station, though he has responsibility to his Aunt and Uncle. Once they are killed by the evil Empire, Luke follows Jedi Master Obi-Wan Kenobi (Sir Alec Guinness) to Mos Eisley, eventually teaming with Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) to start his adventure.

But again, it all started with a boy dreaming about leaving home.

In the scene above, Luke has an argument with his Uncle about joining the Imperial Academy a season early, skipping the harvest, and eventually “getting off this rock.” When his Uncle declines, Luke irritably rushes outside and looks towards the horizon at two setting suns.

This duel sunset creates a curiosity in Luke (and in the audience) that there is more to this universe – more we want to explore, investigate, and discover. There is an adventure beyond the sand – a rebellion against the Empire – and excitement past moisturizer evaporators, blue milk, and his chores.

Luke wants the adventure. We all do.

George Lucas created a world for his hero’s journey, which is the genius behind Star Wars. The STAR WARS UNIVERSE was the ultimate release, escaping audiences into a world of hot-rod spaceships, the force, jawas, a Western-style cantina, planetary space stations, golden droids, and the villainous Darth Vader. And after creating this universe, he placed our hero, an All-American boy, against a Galactic Empire - a classic hero's tale.

Simple, creative, and brilliant.

Once upon time, in a galaxy far, far away…there was a film that started a revolution. Star Wars went onto be the highest grossing film, keeping the title until E.T. the Extra-Terrestrial's release in 1983. It spawned two sequels, three prequels, an animated series, numerous video games, and list goes on.

But, it all started with Luke.

Like I said, there is too much to write about. This film is perfect, wonderful, and entertaining, even 34 years after it’s initial release. But in the end, Han Solo shot first. If you know what that means, you’re a true fan.

If not, watch it again.

Indiana Jones and the Last Crusade

Indiana Jones and the Last Crusade

1989

Director: Steven Spielberg

Writer: Jeffrey Boam, George Lucus, Menno Meyjes, and Philip Kaufman

127 Minutes

He was sent his father’s journal and with it, found the Knight’s shield, then named the city which the map begins, and escaped Nazi capture in addition to rescuing his father, then fled Germany only to be sitting next to a man he has nothing to say to, though has so much to explain.

In the scene above, Indiana Jones (Harrison Ford) shares a drink with his father.

Indiana Jones is the James Bond of Generation X. He’s a hero. He’s an adventurer. And he always manages to get out of impossible situations by using his charm, wits, and a big leather whip.

Everyone wants to be Indiana Jones, if only for a day.

But when facing Nazi Germany’s quest to find the Holy Grail, Dr. Jones will not only have to escape this evil enemy, but confront his repressed feelings over his absent father. That is his true test of character. Dr. Jones has beaten Nazi’s before. He has found mystical stones from a forbidden lands. He has discovered the Ark of the Covenant. And he’s even found two beautiful women to follow him on his journeys.

But, he has never faced his father. Until now.

During production of this film, the great Tom Stoppard, writer of Shakespeare in Love, Empire of the Sun, and Brazil, was brought in for additional dialog, specifically for Indiana and Professor Henry Jones’s (Sean Connery) interactions.

Spielberg said, “It was an emotional story, but I didn’t want to get sentimental. Their disconnection from each other was the basis for a lot of comedy. And it gave Tom Stoppard, who was uncredited, a lot to write. Tom is pretty much responsible for every line of dialog.”

In the scene above, both father and son have escaped every bit of danger, excitement, and thrills, though when they’re finally safe, they have one quiet moment together.

Indy comments, “Remember the last time we shared a drink. I had a milkshake.”

This moment means everything to a son. And even when Henry asks, “what do you want to talk about,” Indiana has no answers. He simply replies, ‘I can’t think of anything.”

But, he wished his father had been there. He wished to share his father’s adventures, asked for advice, and rode off into the sunset together. Every boy wishes that for his parental relationship. And if denied that, you are left with a certain disconnection that is so evident in this film. Perhaps that’s why most consider this film the best out of the series because of its emotional journey rather than simple action, adventure, and beautiful women plot lines.

Though Dr. Elsa Schneider (Alison Doody) is amazingly gorgeous.

In the end, Spielberg is the master at reconnecting failed relationships having the final shot of the film being Indiana and Henry riding into the sunset. Together.

The series of Indiana Jones is cinematic gold, holding up against Star Wars, Harry Potter, Lord of the Rings, and James Bond films. Dr. Jones, himself, is a character with humanistic actions, impeccable integrity, and a large fear of snakes. He doesn’t always say the right things, but he always does the right things.

“No ticket,” he says after tossing the Nazi Officer out the blimp window.

Well said, Dr. Jones.