Do you remember when I was going to take the most popular 80’s movies from Letterboxd and watch them “all” this calendar year of 2018? I do. I also remember failing at it, quite badly.
It started out well enough, even with a bit of misstep. I watched a couple of films that I thought were on the list but weren’t, then quickly jumping in with an incredible film in Nausicaa. My optimism for the project remained high, as I cherry picked films, popped that popcorn and took in movies week after week. I believe – without doing any check here – that I was on track to watch eight or nine of these eighties films every month, which would put me on track to complete the full 180 titles. Yes, I was cheating a bit by giving myself a head start in checking off movies I had seen previously but that just meant the list could be larger and more robust with 180 entries instead of something more attainable, like 90.
You may even recall the notion of a monthly post providing a quick review of each title. It would serve as a mechanism to present more content on the site, and personally, help me back into writing on a more frequent basis. Perhaps the first catalyst for failure happened here.
As January winds to a close, I feel compelled to provide you - the faithful reader - an update on my 2018 project to chronicle the most popular movies of the 1980's. Let's dive right in, shall we?
It all started on a quiet Friday evening; the air outside was cold, but the heat was on and I had two little warmers by my side in the form of my cats. I took the time to make popcorn on the stove top, a recently discovered favourite of mine, that blows away your traditional microwave variety. It is a bit time consuming, but paired with a cold soda and a blanket, it's well worth it. I spent the previous week acquiring various movies for the project, and had a couple of false starts, but this time I knew the movie was on the list, and I was ready to ceremoniously begin the Chronicle.
Nausicaa of the Valley of the Wind.
Yes, this would be perfect, with original Japanese audio, thereby forcing my attention to read subtitles throughout the duration. I'm not sure it mattered though, as this movie had me engrossed from the very beginning. It's so beautiful, from start to finish, that anything I could really say about it would be amateur-ish in the world of film critique. Everything about the movie, and the setting in my apartment was perfect that night, and I truly felt as though I had just watched the first five star movie of what should be many; although, I did knock it down half a star simply because I reserve those perfect scores for movies I've seen multiple times. For a movie that is ranked number 69 on this list of films, I figure the quality of the others must be astounding, and this project will be an absolute breeze.
It's not like me to put together New Years Resolutions, but this year - being inspired by other movie-lovers - I have decided to try one out. It had to be movie-related of course; something feasible that can be arduous yet achievable. Something that would be fun; something that would expose me to cinema I may not look for on my own. With the rash of eighties movies I have thoroughly been enjoying the past little while, I had my focus and my plan sprung into place rather quickly: I would assemble a list of the most popular films of the 1980's and watch all of them.
Utilizing my go-to, Letterboxd, I was able to sort each individual year by popularity; for numbers sake, I took the top 18 of each year and put them into one large list, resulting in a hefty 180 titles. That many movies in one year is difficult, but definitely possible (I regularly clear 200 now). The issue is that: there wouldn't be room for other movies. Fortunately, Letterboxd saves the day again in the form of my watch history, and in the list, I can quickly see that I've already seen 46% of these movies, leaving me with just over 90 films to take in to fulfill this project.
Some may be quick to point out that it doesn't count if I don't watch all 180 in one year, but let's be realistic for a moment. And if I did accept that angle, I could easily knock it in half to be the top nine from each year, effectively halving my intake and making this that much easier. But I wanted to branch past the top ten of each year, which would expose me to some lesser known material. It's also important to note that this is Letterboxd's most popular: not necessarily the highest rated, or most successful, but the most popular.
A link to the list can be found here: https://boxd.it/1lJxc
I would encourage you to take browse through the list, and even create your own Letterboxd account (it's free, you don't need to go 'pro' to mark movies watched) and see how many in this list you've watched. Add me as a friend as well!
Stay tuned for month-by-month updates of my progress through this list, with some commentary on the films and the journey.
As I work my way through a few different classic series, I stumble upon the third in a franchise and always forget one important trope from the '80s: the third movie MUST be in 3D.
Of course, I don't have the 3D version of Friday the 13th Part III, but the effect is obvious and quite frankly, distracting. Instead of panning across suburban street with kids playing baseball, the camera focuses on the child holding the baseball bat directly at the camera for a few seconds before moving on. We've got a yo-yo scene (which goes on for seconds too long), juggling, brooms and of course, lots of stabby weapons, including both ends of a pitchfork. This may seem like nipticking and it really is. I just can't help but think of all the scene setup and extra seconds here and there "wasted" on the 3D visuals, but on the other hand I would be really interested to see what these effects looked like in theatres back in the '80s, having only really experienced modern, Avatar-type 3D over the past few years myself.
Immediately upon starting this film you have no choice but to notice how damn fast the dialogue and ensuing scenes are. As we cut through from scene to scene, and through dozens of characters I find myself nearly exhausted, especially since I simply can't listen to the dialogue: I have to read everything. Later on I would see in the IMDb trivia that the movie could be described as a Aaron Sorkin written political with a healthy injection of monster for good measure. The end result is brilliant, and a refreshing take on the classic Japanese monster film that I've enjoyed through my life.
As I delve deeper into the world of horror movies of the 70s and 80s, I often skip across the surface of these famous Italian directors and producers. I was really impressed with Inferno and Pieces, and with that, I probably saw The New York Ripper on a list and managed to get my hands on it. I feel so dirty now. Gore is definitely a major factor in these films, but Ripper takes it a step further. The director, Lucio Fulci, takes New York and allows the city to breathe its dirty eighties breathe all over, not unlike what William Lustig's 1980 film Maniac. I thought it interesting that Maniac takes place, for the majority, in the dark, while Ripper embraces the daytime. They both showcase everyday places that you would find yourself and cranks the horror and gore to untold levels. This lit approach to the film leaves nothing to the imagination; it leaves nothing for you to hide yourself behind. You have no choice but to look away, as each murder escalates in intensity and terror.
Finally sitting down to take in Cape Fear was a bit of a cathartic experience; we had the VHS kicking around the basement when I was younger, and I had vague memories of the film itself, although truth be told, most of those memories were probably formed by the smartly done Simpson's parody episode. The chilling music is something that would pop into my head on an alarmingly regular basis, but actually watching the film somehow slipped my priority until recently, and I'm quite taken aback with the idea of having seeing this as I was younger: it was quite a bit more disturbing, in both content and style, than I was prepared for.
Tackling Hollywood’s latest video game adaptation was always going to be an interesting exercise. It’s a wonder that any of these become made; even in the face of an abysmal track record, producers will always make an attempt at adaptation when some semblance of a built-in audience is already around. Indeed, I got right into the video game when it first came out, and eagerly played the second (which was even better). I played the hell out of the third title, Brotherhood, and got burnt out on the fourth: Revelations. I believe there have been eight or nine main entries in the series to date.
With that many titles in the series, there’s a lot of story to pull from, and it’s easy to see the variety of ways that you could adapt these scenarios into compelling action and drama on the big screen. The base concept is interesting enough: it’s the story of two groups - the Templars and the Assassins - waging war for centuries in the hunt for pieces of eden, which apparently when combined, would allow for the control of the entire human race. Conveniently enough, the technology assists that allows an individual to relive the memories of their ancestors. In this case, Desmond is a modern-day man who comes from a long line of Assassin’s, which allows us - as gamers - to wreak havoc and see events unfold in a number of timelines.
You can see how the concept is well suited for a series of games: each game could take place in a different time, with one continuing story in the present to string it all together. THis is, of course, exactly what they do, as we start the series in the Third Crusade, then advance through history (and all over the world) with each iteration. It seems straightforward, then, to adapt the exact same premise into a movie franchise. It can’t be that simple though, right? Of course not.