My Top Ten Films of 1986

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.

The Fly - This is easily David Cronenberg's most commercial feature, but in many ways it is also the most pure distillation of his particular brand of body horror. There's a clarity and cohesion here that is often missing from his other, more cerebral films. At the same time, genre cinema rarely sese such measured treatment of guts and gore. The deterioration and transformation of our hero is executed via a spectacular combination of practical special effects, makeup, and Jeff Goldblum's performance. I also found the love story unusually affecting, giving the finale some real pathos.

Jean de Florette - The film is only the first half of a longer saga, concluded by "Manon of the Spring," However, "Jean" strikes me as the much stronger piece, not only because of the involvement of an excellent Gérard Depardieu, but because the themes in play are much more interesting. The struggle of Jean against the land and the elements, and the active deception being carried out by the villagers creates terrific tension and tragedy. It also gives the filmmakers the opportunity to really spotlight the gorgeous art direction and cinematography of the recreated Provence countryside.

Blue Velvet - One of the key works in David Lynch's strange, enthralling cinematic universe, where we first see him pair banal suburban melodrama with nightmarish horror. Much of the film's content remains shocking and upsetting, with Dennis Hopper's performance as deeply unnerving as ever. The imagery is indelible - the severed ear, the oxygen mask, and poor Isabella Rossellini in a scene of such graphic distress that it prompted outrage and criticism. The film has only grown more effective and fascinating with time, especially in the context of Lynch's later related output.

Sid and Nancy - Before Sid Vicious and Nancy Spungen fall victim to their notorious folie a deux of substance addictions and self-harm, they have a bloody good time thumbing their noses at polite society in this quintessential punk rocker biopic. From Gary Oldman's scalding recreation of Vicious' version of "My Way" to the tender make-out session in a trash-strewn alley, Alex Cox tells the counter-culture love story of his generation in energetically subversive cinematic terms. And though Cox may maintain that the story is cautionary, it's hard not to root for the delinquents and the creeps.

Manhunter - Violent criminals are creatures of the night, and no one creates nighttime worlds on film better than Michael Mann. This remains the best adaptation of Thomas Harris's "Red Dragon," delving into the ins and outs of serial killers and forensic psychology. Tom Noonan delivers a memorable performance as our killer, simultaneously sympathetic and monstrous. However, the film is largely driven by its intense atmosphere of dread, colorful nocturnal mise-en-scene, and a relentless soundtrack. It's still rare to find such an effective, thrilling crime procedural to this day.

The Sacrifice - Tarkovsky left us with this "poetic parable" as his final film, the story of a man who bargains with God in an attempt to avoid impending disaster. The final scene, contained all in a lengthy single shot, is a real jawdropper. A house is burned to the ground in real time, our main character appears to succumb to madness (or experience a profound religious awakening), and the audience is left to decide whether they have just witnessed a tragedy or a miracle. It's possibly the culminating achievement of Tarkovsky's entire career, and a cinematic experience that's impossible to forget.

The Mission - Part religious epic, part historical fiction, and part heaving melodrama, there's plenty that's problematic about "The Mission" upon close inspection. However, the sheer daring of the spectacle and the earnestness of the spiritual and moral questioning is something I miss in later films, and appreciate seeing here. And there is simply no questioning the brilliance of the cinematography, the score, and the production design. There are some profoundly moving moments here, the product of an absolutely committed group of filmmakers and performers working at the height of their craft.

Ferris Bueller's Day Off - Sure, it's fun to watch the hijinks that the kids get themselves into, and marvel at the cool confidence and daring of the seemingly untouchable Ferris. However, after a couple of viewings I realized that the film was actually about Cameron and Jeannie, and their journeys to enlightenment and self-acceptance. The self-aware, utterly indulgent script may be the most delightful thing that John Hughes ever wrote. And it's remained a surprisingly smart, insightful, and touching watch, decades after nearly everything else in the 1980s teen comedy genre went out of date.

Mona Lisa - An unusually sentimental gangster film that pairs a small time ex-con with a high class prostitute, and sees them become unlikely friends. This was an important picture in advancing the careers of both director Neil Jordan and star Bob Hoskins, who elevate some pretty well-worn material to pleasurable heights by mixing several genres, tones, and moods. British neo-noir never looked better than it does here, absolutely dripping with stylish sleaze and atmospheric cool, while Hoskins never delivered a more wonderfully humane and touching performance.

Stand By Me - Four boys go off an adventure together, getting into trouble, telling disgusting stories, and sharing the kind of secrets that only boys of a certain age will truly appreciate. By turns funny, poignant, gross, insightful, and nostalgic, Rob Reiner's "Stand By Me" remains one of the most enjoyable coming-of-age films ever made. It's certainly one of the most influential in terms of portraying kids and how they actually interact with each other. The performances are also unusually strong, probably because the young actors are largely playing themselves.

Honorable Mention:

Henry: Portrait of a Serial Killer
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