7 - 4
Oh stop whining. If Lucas belongs here, so do the Wachowskis. Bellyache over the final two phases in this virtual reality rigormoral, but when the Annotated History of Future Shock is written, the story of Neo, the Machines, and the saving of Zion will have its own hollowed place. Besides, it’s rare when a single film can jumpstart a whole genre, and yet the first installment proved that audiences were hungry for speculation done with flash, finesse and just a small amount of philosophizing. Granted, some of the intelligence got lost along the way, and the final battle with Agent Smith is overkill for excess’s sake, but these are good movies. Go on, admit it.
Pixar’s place in animation’s long legacy is all but secured. With the exception of Cars 2, the company has made one universally adored CG surprise after another. But when viewed in retrospect, when given the down and distance that something like Walt Disney has, it will be these three films that strike the most popular chord. As a triptych view of youth—from childhood, to adolescence, to the escape to college—these insightful efforts act as a meaningful mirror to audiences who see themselves in every discarded plaything. Here’s hoping the company keeps to its word and stays with a solid three. Another installment in the series would be padding for profit, not the public’s, sake.
Sam Raimi was too young to have such success. By 22, his debut horror film was being heralded by none other than Stephen King as the most terrifying scarefest ever. By 28, he was every fright geek’s favorite filmmaker. And by 33, he was ready to jump into the ranks of Tinseltown titans. Oddly enough, each of these milestones was met by an installment of his sensational (and influential) Evil Dead efforts. By bending genres to fit his needs, investing fear with funny business and heroism with the hackneyed, he formed the basis for an entire generation of reference-happy visionaries. Looking over the 2011 cinematic landscape, his imprint still remains.
It should come as no surprise that Korean director Chan-wook Park was a student of philosophy at Sogang University in Seoul. His movies are as much about virtue as they are about violence. For many in the West, Oldboy announced this filmmaker’s fanciful way with payback. Yet it was the other parts of his terrific trilogy that argued for his place among the current track of trendsetters. It was there where he merged ethics with evil, the need for personal justice accented by the desperation of human pain. Like all feats of greatness, it takes time for a clear critical consensus to be formed. But it’s coming, if it hasn’t already arrived.