You could probably make this case every week anymore, but this might be the most important week in the history of online streaming. Not only did we see Paul Thomas Anderson‘s newest film Junun released on its exclusive home MUBI, but Netflix’s first original feature film hits the streaming service today. Though the critical overjoy that Beasts of No Nation first received on the festival circuit has substantially cooled, the film is still Netflix’s first big awards contender. We’ve seen the company receive massive critical and awards success on the television side of things with multiple Emmy and Golden Globe nominations and wins for Orange Is the New Black and House of Cards and even two Oscar nominations for documentaries, but an original film with the profile and star cred (Idris Elba and director Cary Joji Fukunaga) has been a bit of a white whale. Even if Beasts of No Nation isn’t represented at the next Academy Awards, there are major stakes in the success of its release—simultaneously in theaters and on the streaming platform. If it can be a profitable model for Netflix, we could easily see their presence increase. And as it did in the world of television, this could happen quickly.

Netflix

Beasts of No Nation (Cary Joji Fukunaga, 2015)

As mentioned above, Beasts of No Nation is a landmark release for Netflix. The film stars Abraham Attah as a child from a small village in Africa who is forced to become a child soldier commanded by a terrifying leader (Idris Elba). Writer-director Fukunaga garnered incredible acclaim for his latest work, the first season of HBO’s True Detective, but has shown the ability to tell harrowing stories from the perspective of a young person with his previous films Jane Eyre and Sin Nombre. Beasts of No Nation is “surreal, powerful, and visually breathtaking and “showcases [Fukunaga]’s skills as both a writer and visual storyteller.” For more coverage of the film, check out our interview with Fukunaga, coming later today.

Other titles new to Netflix this week:
Anthony Jeselnik: Thoughts and Prayers (Stand-Up Special, 2015)
Isabella Rossellini’s Green Porno Live! (Jody Shapiro, 2015)
Jane the Virgin (Season 1)
Glen Campbell: I’ll Be Me (James Keach, 2014)
The Lazarus Effect (David Gelb, 2015)

Fandor

The Phantom of the Opera (Rupert Julian, 1925)

Halloween is only two weeks away and Fandor is in the spirit with this classic silent horror masterpiece. Though it is taken from a popular French novel, it is safe to say that the dozens of adaptations we’ve seen since have a great deal to owe to Lon Chaney’s (The Man of a Thousand Faces) beautiful performance as the title villain. The final reveal of the Phantom’s ghoulish face is one of the landmark moments horror cinema history, but it is otherwise a quite touching tale of love and terror. Also available on Fandor this week is a series of the best from Russia, including films from Tarkovsky, Eisenstein and Shepitko. As with many of Fandor’s Criterion Picks, they are only available for a short time. If you are interested in any of the films listed below, you have to catch them before October 25.

Other titles new to Fandor this week:
The Cranes Are Flying (Mikhail Kalatozov, 1957)
Ivan the Terrible: Part I & II (Sergei Eisenstein, 1945 & 1958)
Solaris (Andrei Tarkovsky, 1972)
The Unbelievable Truth (Hal Hartley, 1989)
Wings (Larisa Shepitko, 1966)

MUBI

Oldboy (Park Chan-wook, 2003)

One of the new South Korean cinema’s most popular and crazy entries, Oldboy is a twisty tale of revenge. For those who haven’t seen it (or the Spike Lee remake, for that matter), Oldboy unfolds over the five days that Oh Dae-su has to figure out who imprisoned him for 15 years—and, perhaps more disturbingly, why they did it. It may be known as having one of the craziest twists in modern cinema, but Oldboy is so much more, with incredible action beats and a strange melancholy tone that pierces deeply into the psyche of its characters. You can check out Oldboy and the other new films listed below for a short time on MUBI.

Other titles new to MUBI this week:
Almayer’s Folly (Chantal Akerman, 2011)
Black Sabbath (Mario Bava, 1963)
Blank City (Celine Danhier, 2010)

Video On-Demand

Tales of Halloween (Various, 2015)

Featuring ten spooky shorts over 90-minutes, Tales of Halloween is the latest of the newly popular but traditional horror anthology film. The film includes segments directed by Darren Lynn Bousman (Saw II, Repo! The Genetic Opera), Neil Marshall (The Descent), Lucky McKee (May, The Woman), and Andrew Kasch (Never Sleep Again: The Elm Street Legacy). An interesting twist to the anthology film is that all ten stories take place in the same suburban town, giving a real connection to each of the films that is sometimes lost in the genre. Tales of Halloween has been playing to rave reviews during its limited theatrical release and is now available to rent or own on VOD.

Other titles new to VOD this week:
Dope (Rick Famuyiwa, 2015)
Experimenter (Michael Almereyda, 2015)
Mississippi Grind (Anna Boden & Ryan Fleck, 2015)
Tomorrowland (Brad Bird, 2015)

After skipping last week’s episode to live out his boyhood dreams at WrestleMania, Bernard is back to host this week’s episode of the Way Too Indiecast! (Did he smell what The Rock was cookin’?) Joining him on the show this week is Susan, CJ, and a very special guest: veteran movie critic and writer at Next Projection, Screen Invasion, and Very Aware, Mel Valentin!

This week’s episode is comic book themed, with the crew discussing their favorite and least favorite comic book movies, as well as running down their lists of which comic books would make for great movies but haven’t been adapted yet (Susan suggests a popular “deathly” manga, and Bernard’s got a pick that could reach Terrance Malick levels of beauteousness). Add to all the graphic novel goodness our weekly Indie Picks and you’ve got one hell of a show! Join us, true believers!

Topics

• Indie Picks of the Week (3:50)
• Our Favorite Comic Book Movies (19:35)
• Bad Comic Book Movies (30:44)
• Comic Book Movies We Want to Be Made (42:08)

WTI Articles Referenced in the Podcast

Man From Reno review

Oldboy review

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Since April starts with people getting fooled, Way Too Indie has decided to end the month by asking its writers when they’ve been fooled by a film. Plot twists have been popular in films for ages, and for good reason. Audiences love when a film manages to successfully pull one over on them, and when done well enough, the film can cement its place in cinematic history. After listing our favorites, we combined our picks and came up with a list of 15 movies that left us with our mouths wide open. Before you read on to see our list, please take note: We have tried to avoid spoilers in our descriptions, but some people might be more sensitive than others when it comes to what constitutes a spoiler. Read carefully, or better yet, just go see these great films already!

WARNING: Mild spoilers ahead

15 Films That Fooled Us

#15 – Dear Zachary

When Andrew Bagby was murdered by his pregnant girlfriend, director Kurt Kuenne set out on a personal project for his now deceased friend. Kuenne interviewed everyone who knew Bagby so that one day his child could learn about his father. Kuenne had no idea what would actually happen once he started filming, and Dear Zachary captures every single anguished moment of it. There’s a genuine, emotionally raw quality to Dear Zachary that viewers can immediately relate to, which makes the devastating ending hit like a wrecking ball to the gut. It’s one of the few films guaranteed to turn its viewers into a sobbing mess by the end, and the raw power of its story is why it still has a lasting impact with people today. [CJ]

#14 – Se7en

“What’s in the box?!” are four words that changed the way people thought of serial killers (and boxes) forever. In 1995 the world was introduced to David Fincher, before Fight Club and Zodiac solidified his status as one of the most revered directors in Hollywood, and after Alien 3 could leave too bad of a taste in our mouths. If you call yourself a Fincher fan, you’re all too familiar with the story of detectives Mills (Brad Pitt) and Somerset (Morgan Freeman) hunting the serial killer John Doe (Kevin Spacey) who orchestrates his murders years in advance, and bases them off the seven deadly sins. With every murder more sordid than the previous one, nothing prepares them – or us – for the heart-pulsating shocker at the end, when the contents of that box made John Doe into one of the most notorious on-screen villains. Here’s a funny story about that: producer Arnold Kopleson at first refused to allow the end to pass because of its sheer psychological brutality. Brad Pitt came to the rescue and said he’d walk if they didn’t allow Fincher to film the intended finale. So, we have Pitt and Fincher to thank for all those sleepless nights. On a personal note, its still my favorite Fincher film by a country mile. [Nik]

#13 – The Usual Suspects

Lately, Bryan Singer’s something of a usual suspect himself (it was right there, I’m sorry…) but forget all about that for a second. Before he ventured into the world of comic books and beanstalks, Singer directed a little film you may have seen called The Usual Suspects. The success of Suspects put him on the map and gave him carte blanche to work on X-Men, which rippled into the insane popularity of superheroes today. So, in a way, we can blame Keyser Soze for the mind-numbing number of comic book movies today. Regardless, nothing could change our thoughts about one of the greatest tricks the devil ever pulled. Premiering in 1995 (a year that turned out great for shockers), the story follows Kevin Spacey’s Verbal Kint, a survivor of a bust gone terribly wrong, as he recounts the events to Agent Kujan (Chazz Palminteri) while drinking coffee in a police station. That’s all brilliant minds need sometimes, and a film that was compelling enough with its intricate narrative and colorful cast of degenerates, became an entirely different beast with its final sequence, putting the twist in plot-twist more memorably than M. Night Shyamalan could ever dream of. Thanks in large part to this ingenious turn of events, the film went on to win two deserving Oscars for Spacey and screenwriter Christopher McQaurrie. [Nik]

#12 – The Prestige

It’s no coincidence two of my picks on this list of twisty films are from Christopher Nolan and his screenwriting partner/brother Jonathan Nolan. The two know how to tell a story that keeps you guessing. The Prestige is often overlooked among Nolan’s work, it had the misfortune of releasing between Batman Begins (Nolan’s fabulous reinvention of what comic-based film could be) and The Dark Knight (quite possibly the best comic-based film ever released, if I have anything to say about it). So you may have missed this one. Starring Nolan favorites Christian Bale and Michael Caine, along with Hugh Jackman and Scarlett Johansson, The Prestige follows two up-and-coming magicians in 19th century London. While at first partners in the same act, the two become competitors, and indeed nemeses, when a magic act goes tragically wrong. From then on their careers are a series of attempts to get vengeance on the other, while also trying to attain top magician status. Their hate filled ambition leads both to drastic and questionable measures, but it isn’t until the very end when–like their magic tricks–the real secrets behind just how far each was willing to go are revealed, and its truly astonishing. When you discover the secret to a magic trick, all you want is to re-watch it and see if you can spot the illusion, so too does The Prestige demand repeat viewings. [Ananda]

#11 – Tell No One

This is a film that I love to recommend to people who normally scoff at having to read subtitles because this French whodunit film is that good. Tell No One doesn’t waste any time setting up the central plot. Alexandre Beck (played by the French Dustin Hoffman lookalike, François Cluzet) jumps into the water upon hearing his wife Margot scream from the other side of the secluded lake. As he climbs up the dock he gets knocked unconscious yet remains the prime suspect after the police find Margot brutally murdered. Despite evidence piling up that supports Alex as the murderer, he seems too distraught to actually be guilty of the crime. Then the film reveals the first of many plot twists. Eight years after the tragic event, Alex receives an email proving that Margot is still alive. Boom! Just when you think you are close to figuring it out, Tell No One presents a new piece of the puzzle. [Dustin]

#10 – Star Wars: The Empire Strikes Back

We’ve all seen the (unnecessary) prequels of the insanely ubiquitous Star Wars series by now so the mystery of Luke Skywalker’s origin is somewhat ruined. But for us older folks who had just the OT (Original Trilogy) while growing up, seeing the arc of Luke’s daddy issues culminate at the end of The Empire Strikes Back blew everyone’s mind. It starts in Episode 4 A New Hope, when Luke begins questioning Obi-Wan Kenobi about his enigmatic father who fought alongside Kenobi during the Clone Wars. Kenobi reveals Skywalker’s father was murdered by the heinously sinister Darth Vader. But then in Episode 5 everything changes. Luke is locked in a duel with Vader in the pit of the monstrous floating Cloud City on the planet Bespin. While it looks as if Vader is about to put Skywalker to the sword, he instead reveals the answer Luke has been waiting for. Skywalker is left in ruin and audiences around the world were left with a three year break before the finale of the series wrapped everything up. [Blake]

#9 – American Psycho

As far as revelations go, the final twist in American Psycho is more bewildering than earth-shattering, but that’s what makes it great. Watching Christian Bale gruesomely plow through hapless victims as New York trader Patrick Bateman only to eventually realize that the murders may not have played out the we we or Patrick thought, is ambiguous and ambitious in the best way. Bale sells the crap out of Bateman’s revelation, and Herron conjures a maelstrom of paranoia and anxiety to swirl around him. The plot twist in American Psycho has been seen before and is a tired tune at this point, but Herron and Bale play it pitch-perfect. It’s one of those reveals that, like the one in Oldboy (also on our list), sticks with you long after the credits roll instead of dissipating immediately. [Bernard]

#8 – The Sixth Sense

The Sixth Sense holds a certain stigma around it that has everything to do with someone either ruining the hugely shocking surprise ending for others, or because once you’ve seen it all the way through, it feels like the magic is gone. However, I’d argue this is absolutely a mistake on the part of potential viewers (thank goodness for a generation of younger people who are blissfully unaware) and of those who’ve already seen this gem of a horror film. Wildly creepy and excellently paced, the twist ending shouldn’t be the only thing that people remember about this film. Bruce Willis is perfect in his role as Dr. Malcolm Crowe, a children’s therapist whose marriage has lost steam. When he takes on a new patient, Cole (Oh, Haley Joel Osment if only cuteness lasted), with a very particular issue–seeing dead people–he begins to feel his methods may not work, until he starts to give Cole the benefit of the doubt. M. Night Shyamalan has tried so hard to duplicate the brilliance of his deception in this film’s ending with almost every other film he’s done since, and unfortunately has never been quite as successful. But anyone wanting a truly good scare, mixed with the sort of heartfelt character investment that makes the plot that much more enthralling, will never be disappointed with The Sixth Sense, time and time again. [Ananda]

#7 – Saw

Just mentioning the Saw series nowadays will result in an eye roll or a sigh because of how ridiculous the franchise got with pumping out a new film every year. But before Saw spiraled off into a massive cash cow of a franchise, it began as an original thriller/horror film featuring a serial killer named Jigsaw who devised puzzles for his victims to figure out. Gruesome puzzles. The film opens (watch a clip) with two strangers who find themselves chained to opposite sides of a bathroom. Between them is a dead man holding a tape player and a gun. They both discover a cassette in their pocket and work together to retrieve the tape player that is just out of their reach. Their jaded past gets exposed after listening to each other’s tapes, discovering the only way out is for one to kill the other. Say what you want about the acting or even the franchise as a whole, but Saw includes one of the most unforgettable endings that you won’t see coming. [Dustin]

#6 – Diabolique

Diabolique‘s now-famous plot twist is perfect, sublime in its execution and ahead of its time by decades. Henri-Georges Clouzot’s nail-biter masterpiece gets my vote for best non-Hitchcock Hitchcock picture, and its brilliance all hinges on one final, heart-stopping surprise in the bathroom. When the wife and mistress of a headmaster conspire to murder their shared ex-lover, sightings of the deceased begin to pop up all over the school premises. When the wife finally arrives at that fateful moment in front of the bathtub, get ready for one of the most classic shocks in all of cinema. Sure, the plot and premise of Diabolique are absurdly implausible, but that’s the power of good movies: they make you believe in the impossible. [Bernard]

#5 – Fight Club

David Fincher is well represented on this list, Se7en is a personal favorite, and while his films have plenty of plot curveballs, what Fincher excels at is the art of the twisty character. He is at his best when working with deplorably questionable characters and while John Doe is terrifying in his sociopathy, there have been few characters in film that demand attention the way Tyler Durden does in Fight Club. Adapted from Chuck Palahniuk’s novel of the same name, Fight Club follows Edward Norton’s Narrator as he gets in with Tyler Durden, Brad Pitt’s most memorable role. Depressed, sleep-deprived, and caught in lethargic consumerism, the Narrator meets Tyler on a plane and is immediately sucked into his charismatic anarchist world. Together they form Fight Club (of which we do not speak), and its barbaric, therapeutic appeal to bored blue-collar workers like the Narrator turns into a nationwide underground movement. When Tyler’s power becomes chaotic and dangerous the Narrator tries to uncover his plans, and ends up learning more about himself. All to mind-blowing effect. [Ananda]

#4 – Chinatown

Say what you want about Roman Polanski and his messed up private life, but the man has proven time and time again that he can direct circles around most of his contemporaries. None is perhaps so potently absorbing as his 1974 crime mystery Chinatown, starring Jack Nicholson and Faye Dunaway in peak form. What starts off as a routine investigation into the disappearance of an L.A. Department of Water and Power engineer, turns into something much more intriguing, complex and diabolical and all before P.I. Jake Gittes (Nicholson) can say “I cut myself shaving.” His life completely changes when he meets and falls for Evelyn Mulwray (Dunaway), daughter of powerful tycoon Noah Cross (John Huston,) and decides to help her with her… predicament. It’s not for nothing that Robert Towne’s Oscar-winning screenplay is mentioned ad nauseam in every screenwriting course, lauded for its brilliant structure and build-up to a – you guessed it – shocking finale that still leaves me jaw-dropped after countless repeat viewings. I’m just not sure which scene gets to me more; the reality of Evelyn’s sickening family history revealed slap by slap, or the cruel end securing “Forget it Jake, it’s Chinatown” as one of the most haunting final words in cinema. [Nik]

#3 – Psycho

Despite many believing the “big reveal” in Hitchcock’s Psycho happens at the end of the movie in the Bates’ basement, the true twist comes halfway through the film in the motel. What happens to Janet Leigh’s Marion Crane in that famous shower scene is one of the most innovative, forward-thinking jukes in movie history, and the film’s revolutionary (at the time) plot structure is seldom used to this day, as few filmmakers dare to be so audacious. The shower scene is immaculate, obviously, but few pay homage to what it actually meant for the movie. From that scene forward, all bets are off. We’re disoriented, we’re confused, our allegiances are shifted, and Hitchcock ingeniously puts himself one step ahead of us. They don’t call him the master for nothing: we’re just followers, guinea pigs he’s tickled to toy with. [Bernard]

#2 – Memento

Oh, Chris Nolan, how you love to mess with our minds. It would be annoying if it wasn’t always so genius-ly well done. Memento isn’t just a film with a twist ending; its scatterbrained storytelling literally keeps you guessing with every scene and because it’s literally told backwards, its twist end is actually a twist beginning. Guy Pearce stars as Leonard, a man with short-term memory loss and the inability to create new memories. Leonard uses a system of notes, Polaroids and tattoos to continually remind himself of his mission: to find and kill the man who murdered his wife. Two storylines portray Leonard, one that runs straight forward chronologically of Leonard on his motel phone telling the story of Sammy Jenkins, a man he encountered in his days as an insurance fraud investigator, who had a similar memory problem that led to the accidental murder of his own wife when he gave her too much insulin. The second storyline is told backwards as Leonard searches for his own wife’s killer, trusting and untrusting all the wrong people. The end/beginning reveals a truth that is far more complicated than just solving a murder, but gets at the very nature of revenge itself. I did not catch all the nuance in this film and it’s ending upon my first viewing, repeat viewings are absolutely necessary. [Ananda]

#1 – Oldboy

When Oh Dae-Su is let go after 15 years of captivity, the first question on his mind is who put him there. It doesn’t take long before he’s told that the “who” doesn’t matter, it’s the “why.” That “why” is what puts Oldboy at the top of our list. Dae-Su’s quest for vengeance is director Chan-Wook Park, and the “Korean New Wave”, at its peak; gorgeous cinematography, powerful writing, and bravura sequences (any mention of Oldboy must mention the classic one-take fight scene). But none of this could prepare audiences for the climax, when Dae-Su’s captor unveils his own master plan of revenge. It’s a twist almost nobody saw coming, and to this day people still get unsettled thinking about it. That twist ending is why Oldboy has grown such a large following since its release, and is required viewing for any cinephile. [CJ]

Welcome the feature where I recommend 4-5 under watched, under-appreciated or films that I just personally love. My goal is to take the hassle out of deciding on which film to stream on the plethora of streaming sites that populate the internet. To make your streaming life easier, I include which streaming platform each film is available on along with a link to the trailer. Now sit back, relax, and click on play!

Hoop Dreams

If not the best documentary ever made, surely the best sports documentary ever, Hoop Dreams is one of my favorite films, period. Director Steve James follows two inner city basketball prodigies for nearly all of their high school years as we watch the boys, William Gates and Arthur Agee (and their families), struggle through practices, games and everything that life throws at them. You’ll laugh, you’ll cry, you’ll shake your fists in anger and eventually you’ll jump up and cheer. What makes Hoop Dreams so good is how the filmmakers are allowed to get so close to the families and see their day to day struggles. Yes, the film is 3 hours long, but they fly by and you’ll hardly notice. I’ve seen the film 3 times now and I can’t wait to see it again. – Watch the trailer

Oldboy

By now you’ve probably seen this thrilling master class from South Korea about a man who is released after 15 years of imprisonment (for reasons unknown) only to be told he has 3 days to figure out why he was locked up. Chan Wook Park lit the world afire when he released this astonishing thriller back in 2003. But since Spike Lee, in all of his infinite wisdom, decided to remake it, I felt like it was a good time to remind people of the brilliant original. If you haven’t seen Oldboy yet, stop reading anything about the film and watch it now. The final 30 minutes will blow your mind. Rarely am I as devastated after a movie as the time when I finished Oldboy. – Watch the trailer

Mystery Team

I’m not entirely sure I even like Mystery Team. But what I am sure of is that I love the concept the film presents. The film also made me laugh A LOT. We’ve all seen the kid’s movies where a 10 year old has a detective service where he is hired by neighborhood kids to find their lost teddy bears. Ok, how about a movie that takes that same idea but ages the kid detectives to their late teens but they still have the same innocent childish mentality of a 9 year old? That’s Mystery Team. Donald Glover (Community) stars as the leader of the Mystery Team, a trio of completely innocuous “detectives” who are trying to solve a local mystery that is completely over their heads. While the film has a lot of great (and VERY funny) moments, I’m not entirely sure the film works overall. I still think the film is worth seeking out; especially if you’re looking for something slightly different from normal comedic fare. – Watch the trailer

Spring Breakers

Harmony Korine’s Spring Breakers about four girls who travel to Florida to take part in America’s annual festival of sex, drugs and dub step is a full on assault on the senses. He takes Spring break to the extreme. Everything that happens during the two week escape for college kids is on full display. Korine shies away from nothing; his film is FILLED with gratuitous female nudity, drug use, drinking and even shootouts. At the core of all this is an unbelievable performance by James Franco as a rapper/gangster who goes by the name, Alien. By far his best performance; he steals every scene he’s in. Another highlight is a montage of Alien and his four new friends as they beat up and rob innocent people in a slow motion montage set to Britney Spears’ “Everytime”. It’s a scene that has to be seen to be believed. Korine pushes all the extremities of Spring break to its limits. And you’ll be watching mouth gaping until the end while Korine sits in the corner smiling as you pick your mouth up off the floor. – Watch the trailer

The highly anticipated American remake of Park Chan-wook’s Korean cult classic, Oldboy, finally has a trailer for your viewing pleasure. While many diehard fans of the original are clamoring that a remake is completely unnecessary, others are glad that the film (both versions) will reach a new audience. Time will tell if Spike Lee’s version with Josh Brolin as the lead and co-stars Samuel L. Jackson, Elizabeth Olsen, and Sharlto Copley will meet everyone’s expectations are not. The trailer confirms that the violent hammer scene from the original is still intact, though the scene involving the live octopus is anyone’s guess at this point.

Watch the official trailer for Oldboy (2013):

In the spirit of the Cannes Film Festival having recently announced this year’s winners, the staff here at Way Too Indie have decided to compile our favorite films that have previously won an award at the Cannes Film Festival. In order to give ourselves the most freedom, we voted on films that have won any award at the festival, instead of just ones that have won the top prize of the Palme d’Or. Not only are these films our favorite Cannes winners, but these are films that all film lovers should make an effort to watch.

Top 10 Cannes Winners

#10 – Dogtooth

Dogtooth is nothing if not original. In 2009, the film was the winner of the Un Certain Regard category, a selection of film at Cannes that tend to be of the “edgier” fare, though surprisingly it did go on to earn a Best Foreign Language nomination at the Oscars. The film is about a brother and two sisters that are completely fenced in from the outside world by their over-protective parents. The parents instill fear into their children by telling them the cat they sometimes see in the backyard is a vicious creature that they should stay away from. Pairing well with the unique story is the brilliant camera work that carefully keeps everything in the center of the frame. This fixed camera technique means that you are only allowed to see what is inside the frame, detaining the viewer similar to how the high-wall fence around the house detains the children. Dogtooth is a wonderfully disturbing satire on censorship. [Dustin]

Dogtooth movie review

#9 – Taste of Cherry

Abbas Kiarostami is one of the most unique and poetic directors in film today, and Taste of Cherry is as good an example of his vision as any. Mr. Badii, middle-aged man, scours Tehran looking for someone who will aid him in killing himself. He is willing to offer quite a sum of cash to any who will help, but to his surprise, no one is willing to carry that weight. Badii’s potential accomplices try desperately to talk him down from the ledge, but he’s a stubborn one. Winning the Palme d’Or at Cannes in 1997, Kiarostami’s life-affirming masterpiece is one of the great indie treasures of the ‘90s. [Bernard]

#8 – Apocalypse Now

Francis Ford Coppola’s film is one of the best ever made about man’s decent into hell. Taking place during the Vietnam War, Captain Willard (Martin Sheen) is tasked with exterminating (with extreme prejudice) a Colonel (Marlon Brando) who has lost his mind. Traveling up the Nung River on a boat into Combodia, Willard is joined by a small group of soldiers who all seem to be at their breaking point. Coppola fills his film with exciting, visceral images that will haunt you long after the film finishes. Sure some of it is extreme, in one scene has an ox hacked to death with a machete in another Willard’s boat passes a slew of decapitated human heads on large sticks, but certainly you cannot deny how powerful the film is. Dennis Hopper, Robert “I love the smell of Napalm in the Morning” Duvall, Harrison Ford and Laurence Fishburne populate this frightening film. While the film is definitely hard to watch at times, it is one that is not to be missed. Coppola’s vision of the Vietnam War is the best that cinema has ever produced; unrelenting, disgusting, nightmarish, deplorable, fascinating all at the same time. [Blake]

#7 – The Piano

Told with a sweeping paintbrush of emotion, Jane Campion’s 1993 Palme d’Or winner, is a haunting film. Mute Ada arrives from Scotland on the shores of 19th century New Zealand to enter into an arranged marriage. With only her daughter Flora to interpret her sign language, Ada prefers to communicate by playing her piano. So when her husband-to-be decides the piano isn’t worth the trip through the swamps to their home, she’s understandably upset. Their neighbor Baines retrieves the piano and bargains with Ada to earn it back by teaching him to play; lessons that quickly turn into something more. Holly Hunter truly earned her Oscar that year, making each stroke of the piano keys more sincerely intense than any line uttered (for only her “mind’s voice” is heard in narration), and for fogging glasses with a sexually charged romance with a blue-tattooed Harvey Keitel. Anna Paquin made history as the second youngest actress to win an Oscar for her role as Flora, the contrarily verbose and imaginative daughter to silent Ada. Resonating with imagery, one almost feels damp as the characters traipse through New Zealand’s unsettled land. And accompanied by a flawless score written by Michael Nyman, a librettist who understands how to allow a piano to do most the speaking, The Piano is evocative and unforgettable. [Ananda]

#6 – Uncle Boonmee Who Can Recall His Past Lives

As he prepares to die from kidney failure, Uncle Boonmee goes to the countryside with his family to live out his final days. Ghosts, monkey creatures and princesses are only a few of the oddities that pop up throughout Apichatpong Weerasethakul’s masterpiece, a film about moving on to the afterlife that feels like it exists between our world and the next. Despite its bizarre content and free-flowing narrative, including a 15 minute detour involving sex with a catfish, the film walked away with the Palme D’Or in 2010. It was one of the few years at Cannes where the Palme was given to the most deserving film in competition. [CJ]

#5 – The Seventh Seal

Still (for my money) the best example of cinema at its most lyrical and literary, Ingmar Bergman’s The Seventh Seal is one of cinema’s most essential works. When it won the Special Jury Prize at Cannes in 1957, it alerted the entire film community of the genius of Bergman and the silver-screen titan that is Max Von Sydow. Set in an exquisitely realized middle ages, a knight on the way home from the crusades engages in a high-stakes chess game with death himself (one of cinema’s most enduring images) as he treks a plague-ridden countryside with his partner, the squire. Bergman used The Seventh Seal, like many of his other films, as a way to visually articulate his inner-struggle with mortality and God’s muteness. Says the knight, “I want God to put out his hand, show his face, speak to me. I cry out to him in the dark, but there is no one there.” [Bernard]

#4 – The Tree of Life

Terrence Malick’s The Tree Of Life took home the coveted Palme d’Or in 2011 for his visual masterpiece of a film. Despite winning over many critics and picking up Oscar nominations, the film had a difficult time winning over the general audience and has the box office numbers to prove it. But Malick is one of those directors who is in the rare position to not depend on commercial success, which allows him to make such daring and experimental films such as this. The Tree Of Life is a mesmerizing cinematic experience that contains some of the most visually stunning scenes you will ever see in film. It is too bad its theatrical run was cut short, this is a film that deserves to be seen on the big screen. [Dustin]

The Tree Of Life movie review

#3 – Taxi Driver

Taxi Driver was amid the first few films that kick started De Niro’s career, and one that won the Palme d’Or award in 1976. Argued to be one of the greatest films of all time by Roger Ebert, it holds great cultural and historical significance to American history in regards to the post-Vietnam era. De Niro’s character, Travis Bickle is a war veteran who received honourable discharge from the U.S Marines. He is an extremely lonely and depressive man whose chronic insomnia allows him to take a job as a taxi driver. Travis soon finds himself being overwhelmed and angered by the street crime and prostitution he is witnessing on a daily basis and turns this built up frustration into training his body and his mind into a man capable of doing anything. Taxi Driver is a great classic that has imprinted profoundly within film history and definitely worth a watch. [Amy]

#2 – Pulp Fiction

Resevoir Dogs was a hit for Quentin Tarantino in 1992, but it wasn’t utnil 2 years later when he premiered his highly influential game changing masterpiece Pulp Fiction to the world. The film shot Tarantino into the stratosphere of filmdom’s elite and to countless year-end awards. Pulp Fiction tells three tales of blood, mayhem and hilarity. Two hit men, their boss’ wife, the prize fighter they hunt and a special briefcase that is an enigma unto itself. Tarantino and screenwriting partner Roger Avery expertly weave these three stories from back to front to middle to the back again. Tarantino’s dialogue glides off the actor’s tongues like an ice cube in the heat. A career best performance from John Travolta leads the numerous supporting turns from Bruce Willis, Uma Thurman, Samuel L. Jackson, Eric Stolz, Frank Whaley, Harvey Keitel, Ving Rhames and Christopher Walken in a single scene stealing cameo. This is one of the most invigorating film going experiences that cinema has to offer; one that only becomes richer and richer the more it’s viewed. [Blake]

#1 – Oldboy

It is unbelievably difficult to summarize this film in just a few short sentences, seeing as the storyline is so complex and vastly different to anything you may be expecting. Oldboy focuses on the painfully playful torment and torture of Dae-su Oh who has been kidnapped and imprisoned for fifteen years without any known reason. His mission, once released, is to find his captor and confront him. As Western popular film audiences have only been introduced to Asian cinema through the horror genre, Oldboy is an excellent example of modern East Asian cinema. Oldboy was a phenomenal stylistic achievement and along with the soundtrack and intense original storyline makes it essential viewing to any film fan. [Amy]

The Playlist names their Top 10 most anticipated indie films this summer. Some of them that made the list are; Moonrise Kingdom, Beasts of the Southern Wild, Safety Not Guaranteed, To Rome With Love, and Take This Waltz. [Playlist]

Speaking of Top 10’s recently Roger Ebert names his Top 10 Movies of All Time. The biggest surprise in his list was the inclusion of last year’s Tree of Life. Or maybe it was not such a big surprise, it scored high in our review of the film. [HitFix]

LA Film Festival made their lineup announcement with Steven Soderbergh’s Magic Mike and Wood Allen’s To Rome With Love making premieres. There are almost 200 films playing at that festival which begins on June 14th in downtown LA and ending on June 24th. [LAFilmFest]

Sounds like Spike Lee finally found his villain for his re-make of Oldboy. Sharlto Copley (District 9) will be playing the “mysterious billionaire trying to destroy the life of Joe Douchett (Josh Brolin).” I just hope the remake is half as good as the original (it’s one of our highest rated films). [MovieLine]

We posted a trailer for Beasts of the Southern Wild that we think must be watched by all. The film won the Grand Jury Prize for Drama at Sundance. Watch the trailer now.

Another trailer worth taking a look at is Your Sister’s Sister. We recently posted the official trailer for the film by director Lynn Shelton that stars Mark Duplass, Emily Blunt and Rosemarie DeWitt.

It was nice knowing you Kodak. A deal was struck that The Dolby Theatre will host the Oscars’ for the next 20 years. “Dolby will continue to update the theatre with innovative, world-class technologies to ensure that the theatre remains state-of-the-art, beginning with the immediate installation of its recently released Dolby® Atmos sound technology.” [HitFix]

Ever wanted to go behind the scenes with a film festival judge? Follow an IFC contributor who joins a film jury at the Sarasota Film Festival. [IFC]

News hit last week that Windows 8 will not support DVD or Blu-ray playback natively. Because of decoding licenses Microsoft has opted to not support playback by default even if the computer comes with a DVD or Blu-ray drive. Windows 8 will require you to buy an upgrade option in order to play your movies.

Oldboy is a powerful Korean film that is as mesmerizing as it is disturbing. It is one that would not be able to be distributed in America because of the nature of it’s sexuality and violence. It is about a man who seeks revenge after being captured and imprisoned for 15 years without knowing why. When released he is given 5 days to figure out why. They say that revenge is a dish best served cold, I think after 15 years his dish was still frozen. The plot may seem simple but it is told in a sophisticated, and at times extreme, manner.

A middle-aged man named Oh Dae-su (Choi Min-sik) is in police custody and is highly intoxicated at the police station. While belligerently shouting at the police, we learn that it is his daughter’s birthday and that he had gotten her a pair of angel wings as a gift. A friend comes to bail him out and as they stop to make a call from a photo booth, Oh Dae-su mysteriously disappears.

When he regains consciousness he finds himself in a hotel looking room with a desk, a bed and a TV. Although it looks like a hotel room it is more like a prison cell. He receives his food on a tray through a slot in the door and pleads with the man to tell him why they are imprisoning him. No reply. This is where he will spend the next 15 years of his life.

The TV becomes his only companion and learns from the news that his wife was murdered and his daughter has been adopted. To make manners worse, the police are after him as their lead suspect in the case. At least he now knows that the police are in no way associated with his current situation. So he starts making a list of all the people he is wronged in the past to try and come up with who might be behind this.

Keeping a man in solitary confinement for that long has drastic consequences on one’s mind. Partly out of frustration but mostly to keep an edge for revenge, he keeps up with martial arts like training in his room. He punches the solid wall until his hand can no longer take it.

After 15 years of chiseling away at the concrete wall with a chop stick, he finally breaks through a brick in a wall to the outside world. He figures it will be exactly a month before he is finally able to escape. Many exciting thoughts rush through his head such as; what will he eat when he gets out, how will he get his money, with all the car sounds he must be in a city but which one? But the most important question he asks himself is what floor is he on, it could very well be the 52nd floor. He decides he does not care, even if he falls to his death he will still be getting out.

Turns out he would not have to wait a month to escape because they release him before he could do so. Still he is given no answers as to why he was imprisoned or who was behind it. He goes to a sushi restaurant where he befriends a female chef he recognizes from his TV. Her name is Mido (Kang Hye-jeong) and she answers his request for something to eat that is alive. As he eats the live octopus, which by the way is not for the squeamish, and you cannot help but wonder if he is eating it just to feel what it is like to be alive again after being “dead” for nearly 15 years.

Mido and Oh Dae-su’s friendship spawns into a relationship and eventually love. She is willing to help with his cause and track down the person responsible for his imprisonment. After doing a bunch of legwork they find out that the person he is looking for is Lee Woo-jin (Yu Ji-tae). Oh Dae-su receives a threat from Lee Woo-jin that if he does not figure out in 5 days why he was imprisoned, every woman he loved will be killed. If he does, Lee Woo-jin will kill himself.

As with most films that have a mystery element, this film has quite an amazing twist that presents itself towards the end of the film. Sharing the details would of course ruin the entire film, which is why I will not divulge the spoilers in my review. The twist is what helps make this film so amazing to watch.

There were so many wonderful scenes throughout Oldboy, which range from suspense filled, violence driven and emotional. There is a scene where he hallucinates ants are crawling out of his arm which makes you wonder if the whole thing is all just in his head. At one point he fights a while room filled with guys with his fists and a hammer and is easily one of the better fight sequences to watch.

A couple of scenes are disturbing to sit through. One of those scenes is when Oh Dae-su eats a living octopus. Four actual live octopods were eaten for the scene, which gained a lot of controversy when the film was released, despite the fact eating live octopus in Korea is common. The other hard to watch scene is where we see very realistic teeth-pulling using the back of a hammer.

Director Park Chan-wook is very poetic throughout his film. The main character often refers to the world as the bigger prison. At the beginning we are presented with the quote, “Be it a grain of sand or a rock, in water they sink the same”, which reflects that Oh Dae-su does not know whether he did something small or big to Lee Woo-jin in order to get imprisoned. One that is repeated several times in the film is, “Laugh, and the world laughs with you; weep, and you will weep alone.” A quote that is true about finding answers, “You can’t find the right answer if you ask the wrong questions.”

Every once in a while there is a film you come across that blows your mind, Oldboy is one of them for me. It is not hard to praise it for it’s technical achievements, the intelligent script, the acting and the amazing plot twists. The film never feels too long as the story always seems to be advancing even towards the end. There is a reason why it won Grand Prize of the Jury at Cannes Film Festival in 2004, it is filmmaking at it’s finest.