Welcome to the 2nd part of my rundown for the 50 best films I've seen. If you haven't seen the previous 25 entries or my intro to that article, please check it out here. That way you know what's going on with this article. If there are no other questions at this point, let's not waste any more time and resume looking at the other 25 films.
Lawrence of Arabia (1962)
David Lean makes lightning strike twice by helming this epic tale of T.E. Lawrence, a British lieutenant who's sent to Arabia during WWI to assist them in their fight against Turkish rule. "Lawrence of Arabia" is the definitive showcase of the wide-screen process. It fully utilizes the big screen in every way imaginable. A tiny dot from afar can be seen as a viable threat, because the scope of the desert is that detailed. As a war film, we bare witness as our leads use clever strategies to meet their objectives, such as riding in the desert at night.
Maurice Jarre commands his orchestra to maximum effect when it comes to the music. The soundtrack compliments the epic journey that is bound to unfold and then some. Peter O'Toole is masterful in his portrayal of our complex titular character. As much as he fights for the liberation of the Arabs, our lead finds himself conflicted in his allegiance, leading to his own internal struggles. This entire narrative for that matter shows how American and/or British interference with the Middle East has put us where we currently are now.
It's constantly complicated. Peace as a concept seizes to exist. Even when united in a common enemy, the tribes are unable to share other common ground. It's through this subtext that "Lawrence of Arabia" has remained on many a filmgoer's mind. The standouts from the stellar cast include Omar Sharif as Sherif Ali serving as the middle man between the tribes and Lawrence, and Anthony Quinn as Auda Abu Tayi, an entertaining side character with a satisfying character arc. If ever there is a must see film on the big screen, this is it.
Mary Poppins (1964)
"Mary Poppins" was one of the first films I've seen as a kid. That's impressive when you consider its running time is well over 2 hours, which is a big ask from kids. Looking at it again as an adult, that's clearly no coincidence. On the surface, this film is about a magical nanny (Julie Andrews) who helps a family in need. However, it comes with refreshing twists. The titular nanny doesn't give the kids everything they want from her. Also, the kids aren't misbehaving as much as they just need attention, while each of their parents are occupied at work.
There's more depth to this narrative than you might realize. Andrews hits the perfect note with her Oscar-winning role as the titular nanny. She finds a balance between being cheery and stern in a way that fits her character. David Tomlinson as the kid's father, Mr. Banks, has the most fleshed out arc in the story. We see how he struggles to give his kids the proper attention after long days at the bank. As a musical, this film is fun and breezy, with Walt Disney himself going on record of declaring "Feed the Birds" his favorite song.
Even with his Cockney accent apparently not being historically accurate, Dick Van Dyke is a blast as Bert who accompanies Mary and the kids in their more extravagant adventures. He leads one of my favorite numbers near the film's close with "Step in Time". Countless chimney sweeps unite to dance around in an affectious and joyous manner. It's a number that practically keeps going as long as you want. Like "The Wizard of Oz" before it, "Mary Poppins" is a highly essential family film that deserves a spot in everyone's physical media collection.
The Sound of Music (1965)
Julie Andrews stars in yet another classic family musical with plenty of running time to spare. This time she plays Maria, a nun tasked with being the governess to seven children of retired Austrian naval officer Captain von Trapp (Christopher Plummer). The main difference with this and "Mary Poppins" is that a romance slowly but surely blossoms between Maria and von Trapp, all while he's engaged to a wealthy baroness (Eleanor Parker). "The Sound of Music" easily boasts some of the best visuals and audio in the film business to date.
I'll never forget any photography capturing Austria's majestic mountains. It matters not if it's day, night, sunny or cloudy, the film is a scenic treat to behold. The music and songs come courtesy of Rodgers and Hammerstein, and there's a reason they're the most famous songwriters in history. "Do-Re-Mi" is a nice crash course on learning how to sing. The title song is exemplary. "Climb Every Mountain" is aspiring in its message, especially with its unforgettable closing reprise. This is a worthy send-off to Hollywood's Golden Age of Cinema.
Young Frankenstein (1974)
Mel Brooks has widely been regarded for pioneering the film spoof, as evidenced by his success over "Blazing Saddles". With "Young Frankenstein" however, not only did he perfect the formula, but he managed to reinvent an even better retelling of the story of Frankenstein than its predecessors. From someone who's last name is frequently misprounced as well, it's only fitting. This film takes place after the Frankenstein films of old, but it does have its own spin on how they bring the "monster" to life, as shown by the creature's (Peter Boyle) bald head.
Anyone who isn't into scary films can easily have a good time with this, as it frequently turn potential scares into laughs. Plenty of great humor and jokes to be found here, ranging from a revolving bookcase to a brilliant cameo from Gene Hackman as a blind man. The attention to detail in the production is such that they filmed in black and white ("no offense") and borrowed the sets and props from the Frankenstein films. That alone tells you how much affection and effort they put into spoofing this license, making it the definitive film parody.
Monty Python and the Holy Grail (1975)
Like the Marx Brothers before them, Monty Python is renowned for producing anarchic comedy that stems from the most random sandbox you could find. Their main goal is providing entertainment and laughter in the most creative way imaginable, even if it means breaking the rules. With "Monty Python and the Holy Grail", we see this troupe at the peak of their game (film or otherwise). The main plot centers on King Arthur's (Graham Chapman) quest by God to seek the Holy Grail. Many side detours surround said central plot however.
You won't mind however, as this is usually par for the course with Monty Python. Whether a kingdom owner, one of the main characters meets, is telling his son to stop singing. Or our main lead runs into a group of knights who say "ni". Even a knight who insists on fighting with his limbs chopped off. Whatever lurks around the corner, this film succeeds at delivering on its own ambitious humor and gags. True to the group's roots, "Monty Python and the Holy Grail" is always dishing out something new that hasn't been done before and succeeds.
One Flew Over the Cuckoo's Nest (1975)
One of the only three films to win the major five Oscars (Best Picture, Director, Actor, Actress, and Screenplay) and the honor is well deserved. Jack Nicholson is a convict who's been sent to a mental institution run by a controlling nurse (Louise Fletcher). The two naturally are at odds with each other's methods, and it's only a matter of time until the tension further escalates. A clear plot premise at its core that's also grounded in reality, as there's both right and wrong for both sides of the coin. Randle McMurphy (Nicholson) is obviously a free spirit.
His intentions for the other patients is all well and noble. Lest we forget however that everyone has different needs. Some people need structure, especially the disabled, while others like McMurphy rebel against it. As for Nurse Ratched (Fletcher), for as cold and unsympathetic as she can get towards certain patients, there's clearly a method to how she operates. It's her job and there's a reason to most of what she does. For better or worse, she's keeping the patients safe. I highly respect films like this where this realistic conundrum is fully fleshed out.
Jack Nicholson is highly energetic and unhinged as McMurphy. There's a confident giddiness to his character that you'll gladly play along with. You've also got Brad Dourif as the stuttering Billy, who's open to trying more than allowed to him. Will Sampson as the mute Chief, has the most satisfying arc development in the entire film. Nicholson's reaction says it all. Also, Sydney Lassick as Cheswick delivers an intensely emotional performance you won't soon forget. Look for early roles from Danny DeVito as well as Christopher Lloyd here in this great film.
Taxi Driver (1976)
For my money, "Taxi Driver" remains Martin Scorsese's definitive film. Relaying the anger and frustration inherent for many in that decade, "Taxi Driver" is a satisfying catharsis for that demographic. Even if you're not in that group, this film serves as a captivating character study nonetheless. Travis Bickle (Robert DeNiro) is a marine veteran who's just accepted a job as a New York City taxi driver. As he gets accustomed to the long hours and rowdy passengers, he runs into a young hooker (Jodie Foster) and is determined to take action.
What we have with Travis Bickle is a classic anti-hero. The type of character that's most prevalent in modern TV, namely "Breaking Bad". For every noble intention Travis has, there's a sinister side to him that can't be ignored. He struggles with dating a woman (Cybill Shepherd) that isn't interested in him. He shows concern for a struggling teenager. Yet, he attempts to assassinate a presidential candidate. There's alot of anger and hate inside waiting to come out. "Taxi Driver" is a crime drama that everyone's still talking about, or to, and for good reason.
Close Encounters of the Third Kind (1977)
What if creatures from another world aren't arriving on Earth to attack us? What if, like humans, there's a potential curiosity with life on other planets that must be fulfilled? These questions and more are pondered over with Steven Spielberg's spellbinding follow-up success to "Jaws" two years prior. Unusual sightings and disappearances are taking place all over the world, and it's all linked together by a series of flashing lights and a specific musical pattern. The first 60-70% of the film is focused on the mystery behind these random events taking place.
The rest of the film unveils a phenomena that's slowly but surely hinted at, until the enchanting climax ensues where words won't do justice. Richard Dreyfuss plays a father whose mentally striken by a mind state or an image he can't erase. It can't be explained, only felt. Simply put, you'll look at mashed potatoes quite differently after one scene, but no appetite loss. "Close Encounters" does what great sci-fi should do, which is expand the imagination and provide original thoughts that challenge prior assumptions.
Raiders of the Lost Ark (1981)
The definitive action-adventure that every film, including its sequels, aspires to reach. This collaboration between George Lucas and Steven Spielberg has everything true film fans would want or dream of having in their films. Jaw-dropping action of all kinds. The edge of your seat kind, aka the rolling boulder. Also the satirical kind, namely a scene that proves the gun is quicker than the sword. Sometimes a blend of both, a pursuit where our hero hangs underneath an enemy truck. There's also outstanding music courtesy of John Williams.
The iconic theme sets the stage for the globe-trotting adventure our treasure hunting hero Indiana Jones (Harrison Ford) is set to embark on. Witty dialogue and spicy exchanges aplenty courtesy of writer Lawrence Kasdan's script. Along with our fleshed out hero Indiana Jones, we have a badass love interest in Marion Ravenwood (Karen Allen) and a host of juicy villains and amusing sidekicks, each with their own distinct personalities. Everyone that's seen it is still swearing by it, and there's no sign of that slowing down any time soon.
Back to the Future (1985)
Time travel is of universal appeal. It doesn't matter if you travel to the future or the past. If it was real, everyone would want to try it. With Robert Zemeckis' sci-fi comedy, we follow teenager Marty McFly (Michael J. Fox) as he's sent back in time through a DeLorean time machine built by eccentric scientist Doc Brown (Christopher Lloyd). He runs into his parents-to-be (Crispin Glover, Lea Thompson) in their teenage years, and interferes with his own birth. Marty must get them to reunite, go back to his time, or else he'll cease to exist.
"Back to the Future" is a proud staple of my film collection for decades. I've easily seen it more than 50 times in my life, and have never gotten tired of it. It's amongst the films I've studied the most, with each viewing picking up another minor detail I didn't notice. The script and direction are tight, with every plot element playing a part later on. Great ensemble all around, with Lloyd in particular being irreplaceable as Doc Brown. Terrific music from Alan Silvestri as well. A timeless time travel tale that I'm sure to have 50 more viewings of.
The Princess Bride (1987)
Before we had "Shrek" or any of the Disney Renaissance era animated films, we had "The Princess Bride" as the go-to for the modernized fairy tale. And yet Rob Reiner's take on said bedtime stories also doubles as a tribute to adventurous swashbucklers from back in the day. "The Princess Bride" is an affectiously fun time all around. You're bound to find discussion and references to every scene about this film on the internet. For starters, the tongue-in-cheek segments involving the grandfather (Peter Falk) and his grandson (Fred Savage).
Everyone quotes the catch phrase said by Inigo Montoya (Mandy Patinkin). Before voicing Rex in "Toy Story", Wallace Shawn and the word "inconceivable" were seen as inseparable. Billy Crystal has a well-timed smaller role in the film's second half. Our main couple Westley (Cary Elwes) and the titular princess Buttercup (Robin Wright) have quite the active chemistry here. "The Princess Bride" wears its charm on its shoulders and is proud to show off what it offers. A nice, breezy rom-com that gives you as much replay value "as you wish".
Big (1988)
Here's another fantasy comedy centering on irresistible subject matter. Josh Baskin is a young kid wishing to be "big", to date a taller girl at school. He gets his wish alright, courtesy of the Zoltar machine, and turns into an adult overnight. Now with his best friend Billy (Jared Rushton), Josh must find a way to get back to his young self, while living the best adult life he can until then. He lands a job at a toy company courtesy of a boss (Robert Loggia) hungry for youthful workers, and eventually romances fellow coworker Susan (Elizabeth Perkins).
Director Penny Marshall knocks this film out of the park with its entertainment value. Terrific scenes aplenty ranging from funny and charming to tender and sweet. The big piano duet between Josh and his boss. Josh and Susan jumping on a trampoline together. Josh playing with a co-worker (John Heard) and arguing over the rules of their game. "Big" understands how youth operates with how relatable Josh is. I'll never forget a scene where he visits his neighborhood between the score and the visuals of autumn. An underrated gem.
Field of Dreams (1989)
There's a time in everyone's life when they say "when in Rome". In Ray Kinsella's (Kevin Costner) case, it's building a baseball field with his farm land. He does so after hearing a cryptic voice in the fields one day, and thinking this'll help him reconnect with his late father. Ray also believes this field will help redeem the souls of past baseball players by playing on it, like Shoeless Joe Jackson (Ray Liotta).
It's through this voice again that Ray is persuaded to go cross-country and find other people to help feed their soul through baseball. As I write this, I realize this narrative has an abundance of ground to cover. But at its core, "Field of Dreams" is about one man's journey in taking a chance. On that front, this film succeeds. But such a feat wouldn't be possible without a worthy ensemble cast to make it happen.
The late James Earl Jones plays a prolific author who has a swell speech about what this game means to many people. Burt Lanchester is a baseball player/doctor who has the most emotionally potent arc within the narrative. Amy Madigan is very likable as Ray's supportive wife. James Horner brings a terrific score to compliment the beautiful photography of the farm lands. An exceptional sports film in its own right.
Beauty and the Beast (1991)
The first animated film nominated for the Best Picture Oscar and it's well deserved. "Beauty and the Beast" took the lessons Disney learned from their previous fairy tales and ended up perfecting the formula. As a musical, it ranks amongst the best within the genre, with each song advancing the narrative forward. Starting with the opening number "Belle", we immediately understand who these people are and get a grasp of their motivations and interests. Then, we get "Gaston", a song that perfectly compliments the titular antagonist.
"Be Our Guest" goes down in history as Disney's most entertaining musical number. Alan Menken and the late Howard Ashman know how to dish out a magical musical score. Linda Woolverton's script adds layers to the story that I've seldom seen before or since in any other Disney film. I miss the 2D style of animation immensely, and this film serves as exhibit A as to why. The attention to detail all around is apparent as shown by the challenging angles and shots they had to draw by hand. Proof that a tale as old as time can always be made anew again.
Groundhog Day (1993)
Ever feel like you're living through the same day over and over again? Phil Connors (Bill Murray) knows that feeling all too well in the comedic fantasy "Groundhog Day". Phil finds himself trapped in the titular day for what feels like an eternal loop. He goes through every emotion in the book, coming to grips with his conundrum. My favorite day is when he believes he's God, after surviving death and coming back to life on Groundhog Day proper. Will Phil realize the error of his ways in able to break this cycle or is history destined to repeat itself?
On paper, this sounds like a plot concept that is doomed to fail on account of its repetition. But as executed by writer-director Harold Ramis, the film has much more diversity with its comedic situations than you might think. The longer he's trapped in this loop, the more he learns about this town and its citizens. His new producer Rita (Andie MacDowell) in particular is seen in a new light by him. Going from a happy-go-lucky co-worker to a likable love interest confirms that much. Happy early "Groundhog Day" to all.
Jurassic Park (1993)
Everyone has been curious about dinosaurs at one point. In the case of "Jurassic Park", that curiosity has reached new heights, both with audiences and the characters within this story. A handful of various experts are invited to tour a park specially devoted to preserving recreated dinosaurs, brought back from extinction. However, everything that possibly could go wrong for this test run goes disastrously so. Naturally with this being a sci-fi thriller, expect the most dangerous creatures such as the T-rex and raptors to chase after the humans.
There's a reason Steven Spielberg's sci-fi thriller remains relevant in comparison to the various follow-ups in its wake. Its special effects (both practical and CG) on the dinosaurs have aged better than the sequels that came later. Themes about the consequences of tampering with the laws of nature are explored and examined to great effect here. Whether "life finds a way" beyond the park's scientific limitations or the dinosaurs rely on their killer instincts against humans, one can easily grasp that dinosaurs will refuse to be contained.
The human characters are intriguing as well. Dr. Alan Grant (Sam Neill) isn't that amused with the idea of having children. The owner John Hammond (Richard Attenborough) has trouble with select employees (namely Wayne Knight) and keeping the tour on track. Then you have Ian Malcolm (Jeff Goldblum), a chaos theorist whose ideas and dialogue are the most captivating in the whole cast. Top this off with another exceptional soundtrack courtesy of John Williams, and it's easy to see why I've also seen this multiple times.
The Shawshank Redemption (1994)
This prison drama has one of the more distinctive character arcs to come from the film industry. Andy Dufresne (Tim Robbins) is sentenced two life sentences at a state penitentiary for a double murder he didn't commit. And yet within a few days since his arrival, he remains ever calm practically taking a walk in the park, as fellow inmate Red (Morgan Freeman) has observed. After a few choice events unfold, a friendship unfolds between the two inmates. But as Andy reminds Red further into the film, you either "get busy living or get busy dying".
At its core, "The Shawshank Redemption" is about finding hope, or something like it, in the midst of eternal solitude. With Andy, we witness how he inspires fellow inmates with what's out there in the world, as evidenced by a scene where he plays an opera record for the whole prison. As for Red, his journey is about finding something to believe in again, after being used to the grim routine of the penitentiary for most of his life. It's through this deep and layered narrative that it makes sense why this has been the highest rated film on iMDb for years now.
Toy Story (1995)
Pixar's path to the successful animation powerhouse it is today started with the first animated film made from computer. When you take its historical significance out of the picture, the first "Toy Story" still has its high entertainment value intact after birthing three more sequels. The story at its core is familiar territory, with two toys not getting along with each other at first, then learning to work together when the chips are down. But as was the case with "Beauty and the Beast" before it, "Toy Story" towers over the rest of the genre on account of its script.
Buzz Lightyear (Tim Allen) believes himself to be the real person that this toy is based upon. Woody (Tom Hanks) and the other toys in their owner Andy's room have their status quo they abide by. When Woody has to tell it like it is to Buzz with his disillusion, he is branded a "sad, strange little man". Then both toys land in the hands of a kid named Sid, who loves to destroy toys for the fun of it. "Toy Story" is consistently fun and sharp all around complicated by great side characters, specifically Mr. Potato Head. To infinity and beyond indeed.
Saving Private Ryan (1998)
It's common knowledge by now that war is hell. One need only witness the actions of politicians and countries hungry for war to grasp that concept. Or you can see Steven Spielberg's Oscar-winning WWII drama, about a group of soldiers (led by Tom Hanks) assigned to send a soldier (Matt Damon) on the battlefield back home, to understand that. As the platoon (namely Edward Burns) questions the practicality of the orders they've been given, they must work together to survive so as to be able to complete and reach their objective.
Within the first 20 minutes or so of "Saving Private Ryan", you immediately get a sense of the goriness and brutality involved in war through the D-day battle. War veterans of all kinds seem to view this film annually, to remind them of the gratitude they receive for what traumatic experiences they have to endure. As he did with "Schindler's List" five years prior, Spielberg doesn't shy away from showing the gritty and dark side of war. It's a place where law and order ceases to exist, regardless of whose side you're on. The definitive anti-war picture to see once.
The Iron Giant (1999)
Before writer-director Brad Bird became a powerhouse name at Pixar, his first feature was with well-known Disney rival, Warner Brothers. This tale of a giant robot landing on Earth and befriending a young boy has slowly but surely gained its status as a cult classic. As with the other animated films to make this list, "The Iron Giant" has a script with plenty of refreshing touches that adults can appreciate while watching along with their kids. Namely the story taking place during the Cold War, and the U.S. government basically being in panic mode.
That distinction is made clear through the film's antagonist Kent Mansley, and his response to the Iron Giant's presence as a possible threat from another rival country. "The Iron Giant" doesn't shy away from delving into heavy subject matter, such as a kid explaining the concept of death. In this day and age when family films seem to be more of the same thing, it's refreshing to keep looking back at a film like this and recall that this genre can evolve further if we let it. Any fellow millennials who haven't seen "The Iron Giant" will be blown away.
Up in the Air (2009)
The Great Recession saw many increasing unemployment issues through a myriad of factors. How poetically ironic then that Ryan Bingham (George Clooney), a man whose job is firing people on behalf of their companies, is about to see his future go "Up in the Air". See what I did there? To better understand the nature of what he does on a regular basis, ambitious new hire Natalie Keener (Anna Kendrick) is tasked with accompanying him before her vision of firing people through video conferences comes to pass for the company.
As Ryan does business as usual under her supervision, he also keeps intimate tabs on fellow traveler Alex Goran (Vera Farmiga). Will Ryan have his outlook on life renewed on account of these two or is a new journey in store for him? As much as air travel in the U.S. sucks now thanks to 9/11, "Up in the Air" doesn't shy away from showing off why Ryan likes the lifestyle that he chooses. Yes, we delve into the consequences that come with that, aka estranged family relations. On the whole though, this is a way to travel all over without actually going anywhere.
The Social Network (2010)
David Fincher's drama about the creation of Facebook and the immediate implications its success had (for better or worse) always felt important since it was first released. As proven by its induction into the National Film Registry a few days ago, "The Social Network" clearly tapped into something completely relevant for our current era. Yes, people still use Facebook, although not as many people use it today after some controversial scandals caused consumers to rethink using the platform. This film's appeal isn't limited to that distinction.
"The Social Network" also functions as a cautionary tale about what happens when you mix business with friendship. As Mark Zuckerberg (Jesse Eisenberg) faces two paralleling lawsuits at once, we witness the choices and decisions that caused this outcome. Yes, he obtained success through this social media platform, but at more than one cost. Trusting folks he maybe shouldn't have with his operations, taking his CFO Eduardo Saverin (Andrew Garfield) for granted, and leaving some choice Harvard students in the dust.
As both "Citizen Kane" and "There Will Be Blood" did before it, "The Social Network" shows the complete picture (both good and bad) behind a successful business' leader. The film does switch between showing how Facebook got specific features (Ex: are you single or in a relationship) and the lawsuits Mark is begrudgingly taking care of. But it never becomes too much of a strain to follow thanks to Fincher's firm hand and Aaron Sorkin's captivating written words. "We lived in farms. We lived in cities. And now, we're going to live on the internet."
Gone Girl (2014)
David Fincher knocks it out of the park once again with this crazy murder mystery that everyone's still coming to grips with. If anyone who's still single needs a reminder of their good fortune, they can watch "Gone Girl" to see how much hell a single marriage can be. To those unacquainted with the many messed up plot twists within this narrative, that statement is putting it mildly. Rosamund Pike is chillingly good as Amy Dunne, a missing wife presumed dead whose diary hints at a violent relationship with her husband Nick (Ben Affleck).
As Nick's fate is looking increasingly grim based on the testimony presented to officials, his public image with photos that are inappropriate for the time, and a secret affair with another woman, Nick must find a way to prove his innocence somehow. Tyler Perry of all actors is surprisingly good as a lawyer who comes to his aid and defense. Commentary about one's public image in the press is examined and addressed. Each plot twist is executed perfectly. Hitchcock fans like myself should practically feel right at home with this dark and edgy thriller.
Brooklyn (2015)
There's always been something to Saoirse Ronan as an actress that's always drawn me to her, and this lovely romantic drama is a key factor as to why. On the surface, this is a plot we've seen before with our lead Eilis Lacey (Ronan) immigrating from Ireland to the titular section of New York to start a new life for herself. It's what lies beyond its concept that keeps me coming back to this one. From the moment Eilis meets her blunt yet caring fellow cabinmate Georgina (Eva Birthistle), I knew that "Brooklyn" would be special. But it only gets better from here.
Eilis finds a room in a boarding house (run by Julie Walters) devoted to young Irish immigrant ladies, and is able to enroll into community college thanks to sympathetic priest Father Flood's (Jim Broadbent) kind gestures. As she navigates her job at a department store and attends classes, she meets cool and suave Italian Tony Fiorello (Emory Cohen) and the two hit it off with each other. When Eilis is called back home over a family emergency, Eilis faces a crisis between two homes, either staying in America or returning to Ireland.
Ronan is very likable as the humble Eilis in how we witness her grow and blossom with her new surroundings and friends. After understandingly being shy at first, her story sets an example to future immigrants in the same predicament. Cohen oozes smooth charm as Tony in that he's a true rarity in films of this nature: a class act that's flexible when supporting Eilis in her endeavors. It's rare you have good role models to follow, and this couple serves as an exception. One of the last truly great films I saw, "Brooklyn" is a place you'll definitely want to visit.
The Martian (2015)
Another great film that sounds familiar on paper only to have more ingenuity behind its narrative than initially thought. "The Martian" centers on stranded astronaut Mark Whatney (Matt Damon) who's been left behind on Mars after being presumed dead from a storm. Being lucky surviving said situation, Mark must put his botany knowledge to the test as uses whatever resources are at his disposal to survive. The other test that Mark, his crew and the team at NASA on Earth have to conquer is finding a way to get Mark back home in one piece.
It's not everyday a sci-fi film is this highly entertaining and yet still feels smart in its approach. As you appreciate the real-life botany knowledge incorporated into the film's plot, you also bare witness to what is possible if various countries work together in achieving a common goal. The subplot with the folks at NASA brainstorming how to overcome various obstacles of space travel showcases this theory in action. You can't imagine being in Mark's situation, but you can still have plenty of fun in outer space with this outstanding flick.
And those are all of my top 50 favorite films in chronological order at long last. This was a notoriously difficult list to assemble. Any future films that get the "Critic's Choice" label will practically be in addition to what you see here. But what are your favorite films you've watched? Any of your picks make the cut here? Let me know in the comments.
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