This is part of my continuing series looking back on films from the years before I began this blog. The ten films below are unranked and listed in no particular order. Enjoy.
This is Spinal Tap - The line between fantasy and reality is delightfully blurred in this classic rock mockumentary. The lead actors are actually very good musicians, the songs are catchy, and all the absurdity (minus the spontaneous combustion) is totally plausible. Some of the funniest scenes are the simplest ones, like the band getting lost backstage and Derek setting off the metal detector. "Spinal Tap" has become a nostalgic snapshot of the metal era over the years, and I love that the band continues to perform and make appearances in character.
Paris, Texas - We lost cinematographer Robby Mueller this year, who helped Wim Wenders to summon a haunting vision of the American Midwest full of wide expanses, colored lights, and deeply wounded, lost souls. The journey of Harry Dean Stanton's Travis as he attempts to reconnect with his scattered family is as much a spiritual quest as it is a physical one. There's very little dialogue, so most of the story is told through the absorbing visuals and Stanton's fantastic performance. It remains the absolute best of Wenders' road movies, reflecting the lonely side of America.
Beverly Hills Cop - Eddie Murphy was already very well known for his appearances in "48 Hours" and "Trading Places," but "Beverly Hills Cop" made him a bona fide superstar. Playing the fast-talking underdog Axel Foley, he is electric, and it's impossible not to be impressed by his talent and charisma. The underlying bones of the detective story are pretty solid, but it's the cocky attitude and the exuberant style of "Beverly Hills Cop" that make it so memorable. And then there's the immortal "Axel F" instrumental, which is still one of my favorite movie themes ever.
Amadeus - On its surface, "Amadeus" looks like a typical prestige biopic, but the themes and the conflicts in play make for some great drama. The film remains remarkably compelling and accessible after all this time, with the career-defining performances of F. Murray Abraham and Tom Hulce at the forefront. The filmmaking craft on display is legendary, particularly the art direction that revived one of the grand opera houses of the era, the costuming, and of course, the music. Above all, I love the film for finally helping me to appreciate some of the greatest music ever written.
Blood Simple - The feature film debut of the Coen brothers is this darkly satisfying little neo-noir, one that wends its way through several twists and turns until a nail-biting finale. The film is a great example of the Coens' emerging filmmaking style and inventiveness, with several standout suspense sequences and a particularly strong facility with violence. The sound design of that shovel on the asphalt is unforgettable. This was the screen debut of Frances McDormand, alongside a menacing Jon Getz and M. Emmet Walsh. All of them deliver strong, gripping performances.
The Company of Wolves - A hallucinatory fever dream of a film from Neil Jordan, that uses the "Little Red Riding Hood" fairy tale to explore several other stories of sexual awakening and primal fears. Most of the nested narratives take place in a dark, wooded fantasy world full of strange symbols and hidden dangers, where the innocent must be wary of cunning werewolves and vindictive witches. The ending sequence is one of my favorites, a disturbing collision of fantasy and reality set to George Fenton's magnificent score. There's no other fantasy or horror film quite like it.
Love Streams - Sometimes all you need for a great movie is a couple of great actors given the opportunity to show what they can do. Gena Rowlands is indisputably one of the great American screen actresses, and John Cassavetes always gave her the best parts and plenty of spotlight. Here, he and Rowlands play a brother and sister pair who are mentally and emotionally coming apart. The film was made with few frills, mostly shot in Cassavetes' own home. However, it in no way impedes the actors as they tear into their characters, delivering stunning portraits of despair.
Nausicaa of the Valley of the Wind - Though best known as an animator, Hayao Miyazaki also notable for his manga. The most famous is "Nausicaa," and the early volumes form the basis for the beloved feature film. He hadn't fully fleshed out the post-apocalyptic universe yet, so some of the storytelling is a little abbreviated and simplified. However, it's still a fantastic animated world that he brings to life, full of strange creatures and thrilling heroics. Nausicaa herself is one of Miyazaki's best heroines, spirited and daring, who devotes her efforts to averting a devastating war.
Splash - I doubt that there's ever been a fantasy romance with a leading lady quite as fantastic as Madison, a literal fish out of water played by a luminous young Darryl Hannah. There's a winning sweetness to how the relationship develops, capped off by a delightful flight, er swim, of fancy that simply wouldn't fly in the cynical modern era. It's all the little things that make this work - Tom Hanks in his comedic leading man mode, John Candy playing supporting comedic relief, the slightly naughty humor, and special effects work that still looks pretty convincing to this day.
Birdy - The eighties were the heyday of Vietnam War dramas, and "Birdy" is among the most unique. It's a dreamy character study an an afflicted veteran, played by Matthew Modine, who is obsessed with birds and flight. The way the film is structured, using extensive flashbacks, being told from the POV of Birdy's friend, and incorporating a gorgeous fantasy sequence shot with a Skycam, leaves the audience guessing at Birdy's mental state until the very end. Modine's performance also caught my attention, very showy and peculiar, but with a heartbreaking ring of truth.
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