GUEST COLUMN: 10 Best Inspirational Movie for Self Growth

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10 BEST INSPIRATIONAL MOVIES FOR SELF GROWTH

By Stella Lincoln

In different places, we are searching for inspiration — books, podcasts of music. Nonetheless, it might be a film that gives you the boost you are after when you try to get something and build on yourself if you are an enthusiastic movie buff–and a visual guy.

Various stories can cause new ideas for improving yourself. Perhaps:

• Your goal is to eat healthier.

• You want to travel more or promote healthy connections.

• You will find and go after something you didn't even think about.

These ten movies will motivate you and help you grow.

1. The Pursuit of Happyness (2006)

You didn't think we could mention the most motivational and inspiring films and included this one, did you? Simple, if you have not seen a The Pursuit of Happyness (Yes, happyness with' Y '), watch it one of the most inspiring films on this list. Record it again if you've seen it for a while. The Pursuit of Happyness is based on Chris Gardner and his young son (Jaden Smith)'s real-life story of overcoming poverty in their pursuit of a better life. This movie is probably the most motivational dialog you can find.

2. Tony Robbins: I Am Not Your Guru (2016)

I am not your Guru, an extraordinary insight into Tony Robbins' life, is the gritty and inspiring account of much more than just a practitioner of human behavior but a person who cares deeply about others' sufferings because he's no stranger to suffering. This is an inspirational film on several accounts that can't be missed if you've followed or enjoyed the work of Robbins in the past (or present).

3. Spotlight (2016)

Priority is not what most would think of an inspirational movie. Yet reading between the lines is one of the most compelling social rights stories ever told. It's an unbelievably important film and, in itself, it's not just an inspiring story. Based on a true story, Spotlight focuses on the reporting by the Boston Globe of local Catholic priests about sexual abuse. This tells the story of the exploitation by those in control and the underdog who prevailed over very powerful forces, steeped in cover-ups and conspiracies. It is an important reminder of the value of such research in a world where reporting is targeted to balance the scale of justice and corruption.

4. Hawking (2004)

Late Stephen Hawking was one of the brightest and most influential scientists of the 21st century. Nevertheless, Hawking was not just a scientist but a survivor who survived a fatal ALS (or Lou Gehrig sickness) case and went on to live a fulfilled life. Hawking is a BBC TV documentary about Stephen Hawking's early years as a Doctoral student at the University of Cambridge, his early studies and his battle against neuronal motor diseases. He stars as Hawking and debuted in the UK in April 2004, with Benedict Cumberbatch. Don't get this through if you want a great story of determination and grit.

5. The Greatest Showman (2017)

Michael Gracey's first film, written by Jenny Bicks and Bill Condon and directed by Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, and Zendaya and Maia, will be biographical in 2017. The film is influenced by the history of P with nine original songs by Benj Pasek and Justin Paul. P. T. Barnum founded the American Museum of Barnum and the lives of its celebrity attractions. Sure, this is the time you announce who you are! If one of your goals is to live without fear and control your own emotions, this is for you. Be inspired to even be you in front of someone or something that criticizes you.

6. Zootopia (2016)

This movie is much more but appears to be at first only another Disney animated film. A big-city police officer aspires to Zootopia. It is located in Zootopia, a vast metropolis that houses every animal species that nobody else knows about because man doesn't exist. The officer aspiring? A spunky girl, a bunny baby, born far away from the city. Somehow, while sharing a compelling tale of bigotry, racism, and xenophobia, Zootopia is a hugely fun and entertaining film for children and adults alike. If you have kids or just like animated films (and you haven't seen them anyway), look at them.

7. Living on One Dollar (2013)

For years, I have seen Living on One Dollar for the first time, but I recall it still in detail. It is the kind of movie that gives you a lasting feeling and changes your way of life eternally, though subtly. One dollar is a practical, four college students followed by eight weeks in Guatemala where the average citizen can survive on as little as a dollar a day (thus the title). The first dollar is one dollar a day. In reality, the movie explains that more than one billion people in the world now live like that.

For the movie, each student was paid $9 to $9 per day and shared a small hut that he bought with a small loan that simulated the more specific circumstances of living. They face disease, parasites, famine, unexpected costs, and the frustration they all experience throughout their time here in the country. Yet love, modesty, and the soul can also be found along the way.

8. The Bad Kids (2016)

The Bad Kids follows four Black Rock High School students, who are in danger of not graduating from a school of 11th and 12th graders. You get to know each of the four students throughout the film and what keeps them. The filmmakers are doing an excellent job of showing the kids not just as warped, apathetic, and even dangerous for what others see them as, but underneath. These students wear premium jackets and do bad stuff in western America with no guilt.

The primary source of inspiration is Vonda Viland. Viland deals with students with kindness and compassion almost divine evaluate students regularly on a case by case basis and even picks up students when they are unable to go to school. The movie inspires a sense of good action and empathy through Viland like no film I've ever seen.

9. The Little Prince (2015)

The Little Prince is a movie adaption of Antoine de Saint-Exupéry's similar-name news, definitely one of my favorites on this list. It is a young girl who is moving into a new neighborhood to qualify for the same prestigious school as her mother attended years ago. Her mother had not only planned her whole education lovingly but her whole life to the second–albeit wrongly. The Little Prince, Starring Rachel McAdams, and Jeff Bridges is a wonderful reminder of the precious life and the importance of adventure and connections.

10. 42 (2013)

See Black Panther? Who hasn't, okay? Would you like to see more Chadwick Boseman? You are in luck.  42 is based on the inspiring life story by the great baseball player, Jackie Robinson, who had been the first black ballplayer to succeed in the major leagues since 1889. 42 was performed by Boseman as Jackie. It is a tale of courage and the human spirit and serves as a reminder of what one person can do by standing up for what they believe. Robinson's widow, Rachel Robinson, contributed to the production process to enhance the film's authenticity.

Conclusion

Films can be transformational in your view of health, wealth and wellness or even give you a more creative aspect. Whether it is a biopic that encourages you to make the world a new backing or a documentary that makes you ruin your life, certain films can act as catalysts for personal transformation. With these extremely good movies, you will surely get motivated.

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GUEST EDITORIAL: What Lessons Do 5 Top Pet Movies Teach You?

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What Lessons Do 5 Top Pet Movies Teach You?

By Stella Lincoln

The animation was like never before at the start of this century. In the name of entertainment, not only did globalization have an impact on children's bedtime stories, but it was also intruding in ethics and morality in the form of rude caricatures and indecent cartoons. Nevertheless, you can let your children see easily with cartoons, and many of them are considered classics. Animals were popular with children when cartoons were concerned. Children may want to be able to see them moving on their monitors because they cannot communicate with many mice or lions like Ratatouille and The Lion King.

Here is a list of pet movies that will surely teach you something like Animal cartoons, which might be examples of bravery, commitment, determination, and self-belief, not teaching children compliance or submission.

1. A Dog's Purpose (2017)

A dog's purpose is an adventure film by Lasse Hallström, produced by W. Bruce Cameron, in the United States in 2017. Like the novel, the film tells a devoted dog who searches for and wants to achieve his rightful intent. A dog committed to fun and love (Josh Gad), learns the value of his very presence in the lives of people. Similarly, everyone has a particular value and importance in other human’s life. Between fifteen years, the adorable pooch has been reincarnated as several canines and has formed an attachment with an Ethan sibling spirit (Bryce Gheisar).

2. A Dog's Journey (2019)

A Dog's Journey is an American comedy movie by Gail Mancuso in 2019. Cathryn Michon, Maya Forbes, Wally Wolodarsky, and W. Bruce Cameron are the writers of it. The film is based on Cameron's 2012 novel. Promise, caring, love and sympathy are the lessons of this movie. Gloria is a mother who hatred a dog named Bailey. Later on, the pet died due to cancer. Afterward another female beagle pet named Molly came into the house. CJ convince her mother. And then a loving and caring from both sides get started. So, Bailey's journey begins with love, friendship, and loyalty across many lives. Josh Gad, Marg Helgenberger, Dennis Quaid, Betty Gilpin, Kathryn Prescott, and Henry Lau are the stars of the film.

3. Stuart Little (1999)

This is a PG-rated film that uses a brief word and a family who goes to the market to adopt a new member of the family and ends up taking a mouse who eventually becomes the "leader." Stuart doesn't like the cat of the family, Snowbell.

George, the boy of the family, was less open to his brother at first, but Stuart won everyone's heart, showing that small things often come in great packages. Parents enjoy seeing the children entertained by a little white mouse. Viewers can easily learn how love can attract everyone towards you. We all need love from others then why not we spread the same.

According to a blogger Mrs. Joanah Julia of Australian Master, “Strong love and continuous sympathy play an effective role in connecting people and establishing a bond between them. Stuart shows that the harsh attitude easily be molded by patience and love.”

4. My Dog Skip (2000)

My Dog Skip is a 2000 American family drama film, directed by Jay Russell with a screenplay by Harry Connick Jr., with Frankie Muniz, Diane Lane, Luke Wilson, and Kevin Bacon. The film tells Willie Morris ' story as he is given a Jack Russell Terrier (named Skip in the movie) for the time of his birthday. The movie showed how the dog changes many aspects of his life.

The review of this film was excellent when it was released that several students left their studies, buy essay for submissions, and reached the cinema to watch it on a big screen.

On March 3, 2000, Warner Bros released My Dog Skip. Family entertainment generally received strong critical reviews. Over $35.5 million on a budget of 4.5 million dollars was received.

Willie Morris was a magazine editor, and the film is based loosely on his childhood moments. He is thinking about an non-athletic boy's connection to his dog on his ninth birthday. The following is a friendship record and shared acceptance. What parents like about this movie is the connection between entertainment and reality. Moreover, the performance of the pet, it’s love toward Willie, securing the owner through scaring the culprits, and friendship impresses the viewers.

5. Patrick (2018)

It is a British based comedy movie released in June 2018, written by Mandie Fletcher. Sarah (Beattie Edmondson), a school teacher is the main character of this film who has no interest in pets. She was spending the mess life after the death of her grandmother. In fact, it goes worse when her apartment lease strictly forbids. And then she became homeless.

Now, this is the turning point, when she got energetic due to the dog Patrick. The love, caring and getting fit will be the outcomes of the relationship of Patrick. Moreover, when we spend time with other living things, we got attachment and this is another lesson of this movie. Kids enjoy it a lot when Patrick doing a mess of the whole room.

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GUEST ESSAY: Architecture as a Vessel: "The Fifth Element"

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Architecture as a Vessel: The Fifth Element

By Coleman Coddington

Architecture in The Fifth Element functions as a vessel for the narrative of the film. The architecture is reminiscent of a utopian society in which the majority of objects are automated and function autonomously from human intervention. With this comes a certain level of disconnection between the characters and the buildings within the film. Architecture in The Fifth Element serves little purpose to the characters other than housing the events they partake in. Architecture remains ordinary and typical, allowing it to not become very prominent and distracting in the film. However, Besson has caused the opposite reaction. In viewing the film, the built environment almost becomes suspicious to the viewers. Since it consistently seems to be removed from the characters and events, viewers begin to wonder why it appears in the form it does. Why is architecture subordinate to most other entities? Why does architecture seem to not be as futuristic as the majority of the film? These questions, among many others, are provoked carefully and intentionally throughout the film. Architecture in The Fifth Element takes on a role that can be labeled as incidental (1). Incidental architecture can be defined as “…architecture need not play a prominent role where it can merely be the setting in which the affect takes place (2).” Architecture is merely a setting for the events of the film to take place, for the characters and viewers alike (3).

This essay will argue The Fifth Element is a unique architectural film in that to achieve an uncanny yet convincing future it uses familiar and traditional architecture of our current time as the setting of a utopian society, in converse to the majority of utopian films. The idea of using familiar architectures that mirrors our current setting is radical when compared to many other films of this style. This offers a certain level of believability while watching the film due to the familiar environment. Thus, making us see architecture as a subordinated to the current events and beings of the film. This is based upon its ability to foster the traditionality of current architecture as a container around time, space, characters, and events to enhance the plot. (Figure 1) The general condition of the architecture, which includes its relationship to humans and finally, the removal of the characters from traditional architectural elements. (Figure 1) In this setting traditional architecture is defined as our contemporary architecture. Contemporary architecture will inevitably become a tradition in the future, regardless of its inherent style, as time and architectural eras progress.

Figure 1. Film Diagram. This film diagram is a depiction of how many architectural styles, many of which are familiar, wrap around the characters of the film to act as a literal vessel for the events of the film.

Before we can understand the concepts of familiar architecture, first we must grasp the general theme and storyline of the film. In The Fifth Element exists the manifestation of a prophecy about the coming of world-ending evil and the only hope of stopping it. Leeloo, an extra-terrestrial being in the form of a human considered to be the fifth element, crashes into the main characters, Korbin Dallas’, cab. They embark on a quest to find four elements, four stones that hold the power, when combined with Leeloo, to stop the world-ending evil. The main characters, Leeloo and Dallas, encounter many types of beings, e.g. aliens, priests, evil overlords, in a variety of architectural typologies during their travel, part of which happens in space. With this, in early scenes of the film, ancient Egyptian architecture helps set the stage for how old the prophecy is and acts as a precursor for the transcendence of architecture (4). The inclusion of these scenes gives the audience a clear view of the prophecy, its significance, and age. These scenes exist to set the stage for architecture and offer us the image that architectures sole purpose is to house the five elements, in this instance. The setting of these opening scenes, in an Egyptian realm, adds to the mysticism of the prophecy. Given the surrounding environment of the pyramids and rock-carved open environments, the inherently unexplainable geometry, and massive scale of Egyptian architecture. The incompressibility surrounding Egyptian architecture lends a level of mysteriousness to the prophecy in the film, further captivating the audience. (Figure two) By setting the opening scenes in this environment viewers are offered another level of believability. Since these mystic structures, pyramids, existing in this Egyptian landscape the prophecy, being very mystic, seems more believable. In these scenes’ architecture takes a back seat to the occurring events. Further analyzation shows even the markings on the temple seem to have been conjured by the aliens. These events show that architecture remains removed from human existence, in a state of inexplicable service, to whatever or whoever needs to use it (5)

Traditional Architectural Elements

Reflecting on the previous definition of traditional architecture we need to look closer at a more localized scale and interpret what elements of a building can be defined as traditional. From a futuristic perspective, traditional architectural elements may include doors, windows, entryways, and defined rooms to state a few. Things typically seen in all types of architecture. Traditional notions of architecture ground us as architects and viewers in the settings of films. In The Fifth Element, we see constant removal of characters from the traditional notions of architecture. These elements only exist because of the style of architecture in the film. This removal begins with the police chase. During the chase between Dallas, Leeloo, and the police they encounter a train housed in a portion of the city that appears relatively unused. In this scene, Dallas parks his cab on the side of the building, almost saying architecture is beneath him, that his current issue is more important than the identity of the building. On top of this Dallas’ apartment has a front door but he chooses to use the garage instead of the traditional door, disregarding the traditional elements of architecture and showing the characters in the film have developed past the issues of architecture and only focus on their immediate human issues. This explains why architecture is presented as such, it is no longer an issue anymore. Architecture in The Fifth Element can be likened to the state of affairs in Interstellar (6), where the largest issue is food. The vehicles in this film are similar to today but the film is set years in the future. The halt on the development of cars is the same as the condition of the architecture in The Fifth Element. Cars in Interstellar were developed to serve the needs of their users perfectly, thus they were developed no more. This is directly applicable to architecture in The Fifth Element, the current style was developed to serve its users perfectly, so it was developed no further. Lee Hilliker’s article, “In the Modernist Mirror: Jaques Tati and the Parisian Landscape” is a keen representation of much of this. “This meditation on and active manipulation of perception sets Playtime apart. The film works in several ways to destabilize relationships between perceiver and perceived, while it questions the very capacity of humans to assess accurately basic conditions of spatial location and personal identity.” Besson is continuously doing this throughout The Fifth Element through architecture. The relationship between viewer and viewed (humans - architecture) is challenged time and time again. We are viewing what is labeled as a futuristic film but are seeing a set that was born before we were and is existing as we are now (7). 

It is interesting how one aspect of architecture seems to be closely related to the human while remaining independent; the car. Besson treats the car as an extension of Dallas’ body, even though Dallas hates his car. The car takes on its own life, we see this when it talks back to Dallas, despite his best efforts to make it “shut up (8).” When we first see Dallas fly his cab, he has it parked or docked in his garage, a very postmodern form of architecture, usually seen in suburbs (9). This grounds the viewers in a familiar setting, the garage, that is quickly taken away. Once Dallas removes his car from his garage, he is immediately floating far from the city floor, above the cityscape. Cars are floating in rigid paths, in rectilinear methods like cars move today, only there are no roads. By having the cars move in similar ways to now we are set in something familiar, but quickly removed from it by seeing the cars fly (10). We rarely see the city floor, disconnecting the car from the most fundamental connection it makes, tires to the ground. This constant removal from traditional architectural notions further devolves our perception of architecture in the film. Interestingly, this removal seems to be one of few constants through futuristic films, especially The Fifth Element (11). Is it because we as humans fail to visualize the future well? Or is it because we, un-admittedly, hope architecture lives in this way in the future?

Disassociation, Familiarity, and The Fifth Element

The use of such familiar architecture in The Fifth Element is a radical move in movies of the genera. This decision provides the viewers believability in viewing the film, something that is not offered in the vast majority of other dystopian/utopian film. The film becomes a phenomenal representation of architecture as a vessel. The most particular occurrence is the disassociation of characters from traditional characteristic of architecture, even though the architectural setting itself remains traditional. For example, Dallas’s misuse of his apartment by not using the front door only the garage that houses a flying car, not something we see in any traditional garage. Additionally, the removal of the car from its most fundamental truth; the road. The removal of characters in the film and viewers of the film from traditional characteristics of architecture is uncanny. This being said, the architecture seen in The Fifth Element exists for a reason. For the characters in the film, it has offered them all they need so no further development was needed. For us as viewer of the film, it offers us grounding and allows us to see ourselves living the characters’ lives. We can see ourselves hailing the cab that Dallas drives or going home to the small city apartment Dallas lives in. We are offered a sense of solace supported by the existing built environment within The Fifth Element. The viewer is left with few questions at the end of the film other than, when will this environment be a reality? We are left with an overwhelming desire to live the way Dallas does and in the city environment that is present because it is familiar and, frankly, fun.

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CITATIONS

1. Maria Flores, “Architecture & AFFECT,” The Archeologist. (August 2019).

2. Stepehn Mackie, “Psychospace,” issue, (June 2010).

3. For more information reference Stephen Mackies dissertation. https://ift.tt/38dK31n.

4. Luc Besson, The Fifth Element. DVD. Directed by Luc Besson. United States: Columbia, 1997.

5. The above being that case, I believe Besson would have liked to take it even one step further. The ideal representation of architecture in The Fifth Element would instead be the absence of it. Our preconceived notions of architecture are physical, tangible objects. Things we can see and touch. The architecture should dissolve into the background of the film as it does. Luc Besson is successful in this, constantly challenging our perception of architecture based upon making us beg the question, “why is it even there?” A good comparison to what would have been the ultimate representation of architecture in the film can be seen in Lars von Trier’s Dogville where we see the most fundamental aspect of our perceived notion of architecture challenged. The removal of walls, floors, roofs, and doors, anything that would allow us to identify anything in the film as architecture.

6. Christopher Nolan, Interstellar. DVD. Directed by Christopher Nolan. United States: Paramount

Pictures, 2014.

7. Lee Hilliker, “In the Modernist Mirror: Jacques Tati and the Parisian Landscape,” The French

Review 76, no. 2 (Dec. 2002): 318-329.

8. Luc Besson, The Fifth Element. DVD. Directed by Luc Besson. United States: Columbia, 1997.

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BIBLIOGRAPHY

Abouhela, Islam M., Amr Al-Gohary, Khaled Dewedar. "Significance of Future Architecture in Science Fiction Films." First Architecture and Urban Planning Conference 1, no.1 (2005): 1-17.

Besson, Luc. The Fifth Element. DVD. Directed by Luc Besson. United States: Columbia, 1997.

Flores, Maria. “Architecture &: AFFECT.” The Archiologist. (August 2019).

Hayward, Susan. "Luc Besson's Cinquieme element (1997) and the Spectacular: The City-Body and the Sci-Fi Movie." In The Seeing Century: Film, Vision, and Identity, edited by Myriam Diaz-Diocaretz, 136-160. Amsterdam - Atlanta: Rodopi B.V., 2000.

Hilliker, Lee. “In the Modernist Mirror: Jacques Tati and the Parisian Landscape.” The French Review 76, no. 2 (Dec. 2002): 318-329.

Lamarre, Thomas. "Seeing through the Car: The Automobile as Cosmopolitical Proposition in The Fifth Element." Journal of Film Studies 11, no. 1 (Fall 2010): 1-25.

Mackie, Stepehn. "psychospace," issuu, (June 2010).

Nolan, Christopher. Interstellar. DVD. Directed by Christopher Nolan. United States: Paramount Pictures, 2014.

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GUEST EDITORIAL: Five Lessons from "The Fault of Our Stars"

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Five Lessons From The Fault in Our Stars

 by Chinedu Ibeakanma
“My greatest fear in life is oblivion. I wouldn’t want to live without being remembered after I’m gone.” This line is from Augustus Waters, One of the lead characters from the movie The Fault in Our Stars which is an adaptation of John Green’s teen novel, “The Fault in Our Stars.”

The movie is a heartbreaking story of a young girl Hazel Grace whose battle with metastatic thyroid cancer has left her with little rays of hope for life. Her condition and constant battle for her life defines the storyline of the movie.

As part of efforts to make Hazel lead a normal, she is advised by her parents and family doctor to join a support group where she gets the opportunity to meet other kids fighting different kinds of terminal illnesses.

Fortune decides to smile on Hazel in the support group as she meets Augustus, who is also a cancer patient but has refused to give up on life even after getting amputated due to cancer. Gus as he is fondly called will always say “The world is not a wish granting factory” when he needs to stay motivated. This, he passes on to his newfound love, Hazel.

The love story between Hazel and Augustus takes a tragic turn when Augustus gives up his battle with cancer leaving a devastated Hazel to continue the fight. Such emotional devastation was handled perfectly by Hazel who takes solace in a letter written before hand by Gus to motivate her after his demise.

Five Lessons From The Movie

When Life Gives You Lemons, Make Lemonade

 As much as life wasn’t fair to the lead characters in the movie, they made the best out of their situation and shared beautiful moments together despite their deteriorating health conditions. One of such moments was when Hazel used a Sony a6000 dynamic range camera to capture beautiful scenery at the park while hanging out with Gus.

Self Condemnation Dangerous For Growth

Hazel Grace allowed her pessimistic nature win a great deal of her life before she met Gus. She had already concluded that life was unfair to her and she wouldn’t do anything to change her fate.

This self condemnation kept her in a sad state until she decided to come out of her shell and join the support group where she met Gus. Life seemed to have a huge turnaround after her first encounter with Gus.

Hope Never Dies

Despite Grace’s pessimism, Her hope for a better life someday came to fruition when she met Gus. Her life turned around and came alive once again and despite the long while it took, her hope for a better life became a reality.

Death Is Not A Loss But Victory

Having suffered cancer for a long period of time, Gus developed a positive spirit towards his fate. He never saw death as a loss in his battle with cancer rather he saw it as an end to his long suffering which he believed will end someday. He believed that death will certainly come and will make him emerge victorious over cancer.

Every Man Is The Architect Of His Own Destiny

Gus was an epitome of a strong soldier in a tough battlefield. He believed every man has the right to decide his own fate even in the face of vicissitudes of life. He was down with cancer yet he never stopped doing things that made him happy. At some point, he became a source of inspiration to those around him.

Hazel on her part changed her impression about life about life after she met Gus and to an extent decided for herself what she wanted.

The Fault in Our Stars remains one of the best-selling movies for teens especially with the use of long exposure Sony a6000  camera which resulted to a good picture quality. Also the discipline of the script writers Scott Neustadterand and Michael H. Weber to stick to the plot without much deviations gave the movie high ratings from the audience. We do hope you enjoyed seeing the movie and if you haven’t, now is a good time to do so. 

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COLUMN: My Top 100 Movies of the 2010s

As a guy who turned 40 this past year, the reality of 2020 sounds like the absolute future, like something out of science fiction.  Alas, here we are. 2020 marks the 10th year of Every Movie Has a Lesson. Hundreds of thousands of pageviews and visitors later, what started as a harmless blog and an outlet to flex the creative muscles has turned into something far more connected and viable than I ever imagined.

Ten years ago, this was a hobby to fiddle with in my spare time.  I never dreamed of being published in print as I am on Southland Voice or featured on websites with international reach like The Examiner and 25YL.  Ten years ago, I would have told you reaching a press level of access to movies was a pipe dream.  Here I am today card-carrying credentials from recognized awards-voting critics organizations, including one I helped found, and approval all the way to Rotten Tomatoes.  The movies come to me instead of me going to the movies, and it’s a truly amazing and fulfilling blessing.  I can’t wait to see what happens in a new decade for Every Movie Has a Lesson. Before we step further in the science fiction era of our times, allow me one more reflection step back.  

In my review work, I tend to rate about a dozen five-star movies a year.  Creating a “Best of the Decade” list from 2010-2019 means I have over 100 movies receiving my highest score to sort. Trimming or ordering them can be like choosing among your own children.  The 100th movie could be a good as #1. I wanted this discerning and massive challenge.

To build a master list, I turned to the Pub Meeple Ranking Engine.  I entered a list of just under 200 five-star and high four-star movies and let the hundreds of clickable “versus” matchup permutations slot everything.  It’s really a slick tool, and it nailed my results. The cream of the rose to the top, just as they should. I’ve said this before on other lists, but this is more about “best” than “favorites.” Also, I did not include documentaries.  Quality edges easy entertainment more often than not. Here are the results with a little commentary here and there in between. Links are posted and all slideshow posters are from IMDb. Enjoy!

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MY TOP 100 MOVIES OF THE 2010s

THE 10 BEST:

1. Whiplash

2. Room

3. La La Land

4. Spotlight

5. Her

6. Inception

7. Toy Story 3

8. If Beale Street Could Talk

9. 1917

10. 12 Years a Slave

I knew going into this that it would become a battle between Whiplash and Room for the top spot.  When I put those two against everything else, both casually in the Pub Meeple tool, their opponents never win.  The fascinating thing for me became where #3-10 would fall and wondering if they would or would not match my annual year-end lists.  Sure enough, five of those eight movies (La La Land, Inception, If Beale Street Could Talk, 1917, and 12 Years a Slave) were my #1 picks of their given year and the other three (Spotlight, Her, and Toy Story 3) were #2s.  I’m not saying I’m a pillar of consistency, but I’ll pat my integrity on the back for those Top 10 winners.  I have no problem personally putting If Beale Street Could Talk over Moonlight, even if Moonlight was the bigger winner and considered historically more important film. Toy Story 3 might be the only animated film in the entire Top 100.  I’ll take all the recency bias you want to shovel with 1917.  The movie is that damn good, and you’ll see two more 2019 films next.

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THE NEXT TEN:

11. The Descendants

12. Brooklyn

13. Searching

14. The Way Way Back

15. Zero Dark Thirty

16. A Monster Calls

17. Jackie

18. Little Women

19. Marriage Story

20. Scott Pilgrim Vs. the World

I love the eclectic mix of these next ten!  Two more year-end top picks (The Descendants and Zero Dark Thirty), three second-places (Searching, Jackie, and Little Women), and two super high third-placers (Brooklyn and The Way Way Back) shine here.  Like with Barry Jenkins, I’m comfortable having Little Women over Lady Bird (#21) when it comes to Greta Gerwig. The surprise climbers from the ranking tool battles were A Monster Calls and Scott Pilgrim Vs. the World.  By these measurements, the latter technically counts as my #1 comic book movie of the decade and I’m completely fine with that, Captain America: The Winter Soldier (#32), Logan (#44), Black Panther (#51), Joker (#56), The Avengers (#81), and Avengers: Infinity War (#100) be damned.

With Room and Spotlight above at #2 and #4 overall and Brooklyn here at #12, 2015 is showing to be my top year of the decade.  You’ll find nine more 2015 titles below: Sicario (#30), The Martian (#33), The Big Short (#45), Star Wars: The Force Awakens (#65), Creed (#72), Far From the Madding Crowd (#82), The Revenant (#84), Inside Out (#88), and ‘71 (#94).  

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SEARCH MY BLOG FOR REVIEWS OF INTEREST

(because, damn, that’s a whole bunch of links to dig up under here…)

THE BEST OF THE REST:

21. Lady Bird

22. Moonlight

23. The Social Network

24. Skyfall

25. First Man

26. Wonderstruck

27. Life of Pi

28. Boyhood

29. Selma

30. Sicario

31. A Star is Born

32. Captain America: The Winter Soldier

33. The Martian

34. Gone Girl

35. Short Term 12

36. Flight

37. Silver Linings Playbook

38. Pete's Dragon

39. The Grand Budapest Hotel

40. Luce

41. Paddington 2

42. Hearts Beat Loud

43. Roma

44. Logan

45. The Big Short

46. The Artist

47. Beautiful Boy

48. The Place Beyond the Pines

49. Phantom Thread

50. 50/50

51. Black Panther

52. War for the Planet of the Apes

53. The Perks of Being a Wallflower

54. Eighth Grade

55. The Farewell

56. Joker

57. Argo

58. Get Out

59. I, Tonya

60. Source Code

61. Parasite

62. Black Swan

63. The Peanut Butter Falcon

64. The Big Sick

65. Star Wars: The Force Awakens

66. Jojo Rabbit

67. Knives Out

68. The Light Between Oceans

69. Midnight in Paris

70. War Horse

71. American Sniper

72. Creed

73. Dawn of the Planet of the Apes

74. Me and Earl and the Dying Girl

75. Clara

76. Booksmart

77. Shame

78. The King's Speech

79. Manchester By the Sea

80. Moonrise Kingdom

81. The Avengers

82. Far from the Madding Crowd

83. Before Midnight

84. The Revenant

85. Man of Steel

86. Lucky

87. The Florida Project

88. Inside Out

89. Nocturnal Animals

90. Gravity

91. I Kill Giants

92. The Wolf of Wall Street

93. Hugo

94. '71

95. The Shape of Water

96. Loving Vincent

97. The Great Gatsby

98. Interstellar

99. A Quiet Place

100. Avengers: Infinity War

Go ahead.  Take attendance after all that.  Plenty of five-star reviewed films still fell off this list, (most notably Lincoln, Carol, The One I Love, Steve Jobs, Birdman, Southside With You, Coming Through the Rye, and Prometheus).  The cinephile integrity questions will now start.  I can feel it.  

There’s not a single Quentin Tarantino or Terence Malick film in sight. The first and only Steven Spielberg movie finally lands at #70 and it’s not Lincoln, Bridge of Spies, orThe Post.  Woody Allen (#69) and Clint Eastwood (#71) only appear once.  Rip up my movie snob card if you must because it took until the nineties to finally have a Martin Scorese film (The Wolf of Wall Street and Hugo) and a second movie from Christopher Nolan (Interstellar).  I’m clearly transitioning to become a new school guy with someone like Damien Chazelle having three films in the Top 25, including #1 and #3.  I’m at peace with that. There’s room to love the present and the past.  

If anything all of this should demonstrate how deep this decade was for quality. This is all me and to each their own. This is “MY” list, not “THE” list.  I’m content to value what I value and grade how I grade. Let the life lessons reign. Pass me the sunglasses GIFs and celebratory drinks!

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SPECIAL: 23rd Annual Online Film Critics Society Award Winners

In their twenty-third year (and my second as a card-carrying member), the Online Film Critics Society (OFCS) continues to recognize the most superlative achievements of the year with no higher honor being presented by a body of film critics whose work appears predominantly online. This marks the second consecutive year that a non-English language film has taken their top prize.

Taking home six awards, including Best Picture of the Year, “Parasite” was the clear favorite of the Online Film Critics Society. “Us” and “1917” were the only other films to earn multiple awards. Below is their full list of winners.

Established in 1997, the Online Film Critics Society continues to support and champion the best of global online film criticism. With an international membership, work is published in over 15 languages and covers cinema from around the world. More information can be found at www.ofcs.org.

Best Picture

Parasite

Best Animated Feature

Toy Story 4

Best Director

Bong Joon-ho – Parasite

Best Actor

Adam Driver – Marriage Story

Best Actress

Lupita Nyong’o – Us

Best Supporting Actor

Brad Pitt – Once Upon a Time… in Hollywood

Best Supporting Actress

Jennifer Lopez – Hustlers

Best Original Screenplay

Parasite – Bong Joon-ho, Han Jin-won

Best Adapted Screenplay

The Irishman – Steven Zaillian

Best Editing

Parasite – Jinmo Yang

Best Cinematography

1917 – Roger Deakins

Best Original Score

Us – Michael Abels

Best Debut Feature

Olivia Wilde – Booksmart

Best Film Not in the English Language

Parasite

Best Documentary

Apollo 11

Technical Achievement Awards

Ad Astra – Best Visual Effects

John Wick: Chapter 3 – Parabellum – Best Stunt Coordination

Knives Out – Best Acting Ensemble

1917 – Best Production Design

Parasite – Best Production Design

Lifetime Achievement Awards

Julie Andrews

Olivia de Havilland

Roger Corman

Martin Scorsese

John Waters

Special Achievement Awards

Agencia Nacional de Cinema (Brazil) for supporting art against the attacks from a fascist government

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MOVIE REVIEW: Just Mercy

(Photo Credit: Jake Giles Netter for Warner Bros.)

Gala Presentation and Black Perspectives selection of the 55th Chicago International Film Festival

JUST MERCY-- 4 STARS

Admittedly so, there is a great deal about Just Mercy that feels, for lack of a better word, formulaic. Legal movies have their mimetic blueprint elements from the courtroom theatrics to the political commentary. The performances reach for showy heights and the empathy levels are turned to 12.  Why? It’s because it works. When movies of this tone do not work is when some of those tried-and-true elements are forced or unrealistic. The formula is overmixed or overcooked. The melodrama invades over earned sentiment.

There is a certain steadiness to Destin Daniel Cretton’s new film that pushes back those gaudy tendencies. Its central real-life figure Bryan Stevenson is not the firebrand type most legal movies typically adore and request. Played by Michael B. Jordan, in a fitting and matured leading role for the muscled actor, Stevenson is not made to be something he is not. His real-life story and iron will principles are not smudged just to show a little pizzazz for the sake of pizzazz.  

This steadiness to not explode with all the rage you think is coming is precisely a strength and not a boring detriment to Just Mercy. Simply put, the case at hand and the true story provide the magma for the movie. Around Mr. Stevenson, the passionate ensemble of Jamie Foxx, Brie Larson, Rafe Spall, Tim Blake Nelson, O'Shea Jackson Jr., and Mudbound’s Rob Morgan have all the flash one needs to balance the entertainment value. Steady becomes a compliment.  Steady is what more of these movies should be in the first place.

Just Mercy tells the beginning of the Bryan Stevenson story as a newly-minted Harvard lawyer in the late 1980s. Rather than stay north and chase paychecks, Bryan relocates to Alabama to return to the death row of the Alabama prison system where he worked as a student for the Southern Center of Human Rights. After the federal government eliminated funding public defense of death-row cases, Stevenson founded the non-profit Equal Justice Initiative in Montgomery with operations director Eva Ansley, embodied with s-word-swinging frankness by Brie Larson.

Together, they reopened cases, earned the trust of jaded convicts, sat down at dinner tables of hopeful family members, and knocked on doors high and low to advocate against the death penalty’s ticking clock. The case featured in Just Mercy is that of the wrongfully convicted Walter McMillian. Played with infinite mettle by Oscar winner Jamie Foxx, McMillian has been imprisoned for murder on flimsy evidence and coerced witnesses. Appeals have fallen on deaf ears until Bryan joins the battle.

LESSON #1: “THERE’S ALWAYS SOMETHING TO DO”-- The work of Stevenson and his group went beyond any cursory “just want to help” nudges and “heart in the right place” cliches. They brought a tireless work ethic to dig into flawed cases. Stevenson possessed an integrity to keep going until the last possible second in the most dire of eleventh hours.

LESSON #2: BE A GOOD FRIEND-- Where and how Bryan Stevenson found his virtue is in connecting beyond his cold and objective job title. He was challenged “what are you going to do different?” He grew to know and befriend his clients. Couple this with Lesson #1’s energy and   he found their lives to be more meaningful than a won-loss record or docket label. Skilled enough to help as a good lawyer is one thing. Care enough to really help is another. That is the “mercy” matching the film’s title.

The converging dynamics between Jordan and Foxx are the empowering traits of Just Mercy.  Jordan’s stalwart composure performs with power next to the dire nerves of Foxx. Neither are aiming for Denzel Washington-like tirades of rank indignation. They don’t have to. Instead, they impress, again, with measured steadiness. The two offer excellent and award-worthy performances within this scope of patience. Larson is ample and game support, but this movie relies heavily and appropriately with Jordan and Foxx.  

Just Mercy, adapted from Stevenson’s bestselling 2014 nonfiction memoir by Cretton and his The Glass Castle writing partner Andrew Lanham, makes no bones about addressing racial inequality in the Alabama justice system, especially at the death-row level. There is a “guilty from birth” diatribe that is scathing and affecting. The McMillian case shocks and surprises where dramatization only accentuates the preposterousness we rightfully root against. Could the film be louder in the performance and commentary departments? Certainly, but then you lose some respectable authenticity and approachability.  

LESSON #3: ACHIEVING JUSTICE-- The verb choice that is most frequently paired with the core value of justice in this movie is a fascinating and positive selection.  The synonyms of “achieve” evoke the actions of “attain,” “realize,” “gain,” “win,” and, ultimately, “earn.” The goal is the equity, fairness, and uprightness that is justice.  Just Mercy is an unabashed crowd pleaser for this effort and one that earns appreciation all its own.  It is a worthy winner of the National Board of Review’s Freedom of Expression Award for 2019, join company such as Selma, The Insider, First They Killed My Father, Pariah, and Beasts of No Nation.

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