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.