Monthly Archives: November 2024

The new Bonhoeffer movie isn t just bad It s dangerous

Buried in the foreword to Project 2025’s “Mandate for Leadership,” the not-quite-disavowed blueprint for the incoming Trump administration, is a strange reference to Dietrich Bonhoeffer. “Open-borders activism,” the document declares, is “a classic example of what the German theologian Dietrich Bonhoeffer called ‘cheap grace.’” Bonhoeffer is then invoked to denounce other excesses of the left, such as environmental extremism and insufficient hostility to China.
It is obscene that an antifascist martyr’s memory is being used to legitimize a movement promising mass deportations, but the American right has long admired Bonhoeffer. Much of this admiration stems less from his theology than from his decision to join a conspiracy to assassinate Adolf Hitler—a decision that ultimately led to his execution in the Flossenbürg concentration camp. This has given rise to the dubious concept of the “Bonhoeffer moment,” a term some use to describe a historical situation in which nonviolence is no longer tenable for a Christian and something like his act of attempted tyrannicide becomes necessary. Bonhoeffer moments are imagined as moments of extraordinary moral clarity, when good and evil are laid bare and previously unjustifiable acts become justified.
It is this image of Bonhoeffer wielding righteous violence against a tyrannical state that has ignited the right’s imagination. In 2011, former VeggieTales writer and current far-right radio host Eric Metaxas’s Bonhoeffer: Pastor, Martyr, Prophet, Spy became a runaway hit and positioned him as a popular interpreter of Bonhoeffer’s legacy (see “Hijacking Bonhoeffer,” October 19, 2010). In 2020, he proclaimed that the allegedly stolen election marked a Bonhoeffer moment and that lethal force was now permissible to keep Donald Trump in power: “What’s right is right,” he said. “We need to fight to the death, to the last blood.”
But Bonhoeffer himself refused to see the plot to assassinate Hitler as morally justified. He insisted that what he was doing, while necessary, was at the same time a grave moral wrong for which he must repent and beg God’s forgiveness. In the hundreds of pages he wrote during his years in the conspiracy, Bonhoeffer adamantly warned that any sense of moral clarity we might feel is always an illusion. If we trick ourselves into thinking that we have full knowledge of good and evil, that we clearly see right and wrong, then we never have to question the moral purity of our actions. Because we are on the side of good against evil, we think that our actions—and our violence—must therefore be good.
This was the heart of Bonhoeffer’s theological critique of fascism: fascism seduces by promising knowledge of good and evil, shrouding its own violence in a fantasy of moral clarity. His greatest act of antifascist resistance is thus not some act of righteous violence but his own steadfast refusal to see even the most necessary and seemingly justifiable violence as a positive moral good.
The new movie Bonhoeffer adapts Metaxas’s biography for the big screen. It situates Bonhoeffer’s story in the familiar genre of the World War II thriller but erases the moral powerlessness and inescapable guilt that haunted him.
The real Bonhoeffer wrote that he felt lost in a “huge masquerade of evil” in which “evil appears in the form of light.” He lamented the uselessness of Christian ethics, which relies on “the abstract notion of an isolated individual who, wielding an absolute criterion of what is good in and of itself, chooses continually and exclusively between this clearly recognized good and an evil recognized with equal clarity.”
Bonhoeffer the movie, on the other hand, presents him as just this kind of moral agent who clearly recognizes good and evil, with the only real question being whether he has the stomach to do what he knows is right. By reducing moral deliberation to a question of will, the movie not only badly misreads Bonhoeffer. It also traffics in the dangerous idea of the Bonhoeffer moment, inviting its viewers to imagine that they, too, can clearly recognize evil tyrants in need of some justified violence.
Nearly every scene mangles and stretches both Bonhoeffer’s life and German history into a pat fable of good versus evil. The real Bonhoeffer’s bit part in the conspiracy to kill Hitler (using his church contacts in England to pass documents negotiating a possible peace treaty in the event the coup was successful, all of which were ignored) is transformed into a starring role, with Movie Bonhoeffer hunched over a table in the back of a bar, whispering about plans to construct a bomb. The real Bonhoeffer’s failure to radicalize German churches against Nazi antisemitism (a failure that informed his understanding of Christian ethics as a dead end) is in the movie a rousing success—the Confessing Church forms as an underground cell of Christian resistance under Bonhoeffer’s command, with one character gushing that “Bonhoeffer and his merry men” have “declared war on Hitler.”
The most egregious misreading of the real Bonhoeffer comes in a scene where he makes the fateful decision to join the conspiracy. His brother-in-law, Hans von Dohnanyi, has just told Bonhoeffer and his student Eberhard Bethge of the secret plan to kill Hitler. Bethge is shocked at the idea of committing murder and tries to talk Bonhoeffer out of it. He reminds Bonhoeffer that he once said Christians must defeat their enemies with the power of love. “That was before Hitler,” Bonhoeffer glowers. Bethge, despondent, asks, “Will God forgive us if we do this?” Bonhoeffer shouts him down: “Will he forgive us if we don’t?!”

The line gets Bonhoeffer’s thinking about the conspiracy exactly backwards. He was tortured by his decision to violate God’s clear and inviolable commandment not to kill. Everyone, without exception, is beloved of God, and killing is, in every situation, wrong. At the same time, it would be wrong to sit idly by as millions were murdered. No matter what he chose, whether he joined the conspiracy or not, he would be guilty. He had to act, he wrote, “in the sphere of relativity, completely shrouded in the twilight that the historical situation casts upon good and evil.” He joined the plot, but he refused to see his decision as morally justifiable. “Here the law is being broken, violated,” he deplored. It might be true that “the commandment is broken out of dire necessity,” but to say he broke the commandment of necessity is still to say he broke the commandment. Rather than pretend this was some positive moral good, Bonhoeffer instead threw himself at God’s feet and begged forgiveness for the sin he could not but commit. The movie has none of this squishy moral agony.
Bonhoeffer is clearly aware of the real Bonhoeffer’s writings on the impossibility of right moral action, but in the film any language of moral ambiguity is simply window dressing on a clear-cut case of good versus evil. Whenever Bonhoeffer does acknowledge the moral messiness of his actions, it’s always in tough-guy quips delivered like Clint Eastwood. When Dohnanyi tells him that the conspiracy will involve getting his hands dirty, Bonhoeffer snaps, “All I have are dirty hands.” And when he’s told he’ll have to swear an oath to Hitler so he can join the Abwehr and travel freely to England, he growls, “Sometimes you have to lie better than the Father of Lies.” Gone is the twilight of good and evil, gone is the diabolical masquerade in which evil appears as light.
This Bonhoeffer is exactly the kind of person the real Bonhoeffer skewered as an “ethical fanatic” who easily falls prey to fascism’s seductions. Ethical fanatics “believe they can face the power of evil with the purity of their will and their principles” but only end up “fall[ing] into the net of their more clever opponent” as their self-conception of being morally pure makes them blind to their own complicity.
I can’t help mentioning that Bonhoeffer not only is based on a far-right propagandist’s spurious biography but is produced by Angel Studios, which produced the QAnon-adjacent thriller Sound of Freedom in 2023. That film dramatizes the life of Tim Ballard, a self-styled crusader against child sex trafficking, whose bizarre claims that he led secret raids into African “baby factories” where children are harvested for Satanic rituals landed him on the first Trump administration’s anti-trafficking advisory board. (Ballard was removed from his organization after being accused by several women of sexual misconduct.) Ballard is played by Jim Caviezel, best known as Jesus in The Passion of the Christ and last seen at a Michael Flynn event at which the general endorsed the idea of a military dictatorship and Caviezel accused Hillary Clinton of consuming adrenochrome harvested from the blood of children.
Sound of Freedom and Bonhoeffer inhabit the same political and moral universe, in which the only moral dilemma is whether the good guys can set aside their squeamishness and start killing the bad guys. For the real Bonhoeffer, this was exactly the fantasy of moral purity that led so many into complicity with fascism’s escalating spiral of violence.
The final scene in Bonhoeffer, based on historically discredited accounts of the man’s death, explicitly invokes the idea of moral purity and extends it vicariously to the viewer. Bonhoeffer stoically marches to the gallows past his fellow prisoners (and the SS man whose heart, Grinch-like, grew three sizes after meeting the saintly pastor). He stands with the noose around his neck and recites the Beatitudes. When he gets to “Blessed are the pure in heart, for they will see God,” the camera cuts to the dappled sunlight shining through the clouds. As in every other scene, this is all text and no subtext: Bonhoeffer is pure of heart, and he has seen God.
But the real Bonhoeffer did not feel himself pure at heart. He felt himself an attempted murderer, wracked by shame and guilt, a moral failure whose only hope was in God’s boundless forgiveness. That his fellow conspirators saw themselves as heroes profoundly disturbed him. “We have been silent witnesses of evil deeds,” he wrote in a document circulated among the conspiracy. “Experience has rendered us suspicious of human beings, and often we have failed to speak to them a true and open word. Unbearable conflicts have worn us down or even made us cynical. Are we still of any use?” The film whitewashes the real Bonhoeffer’s crushing sense of uselessness, offering instead a Bonhoeffer who promises that violence can make us pure.
Project 2025’s invocation of Bonhoeffer to justify a regime of deportation and concentration camps is obviously absurd, but it illustrates the danger of remembering Bonhoeffer more for his decision to kill than for his insistence that no killing, even if absolutely necessary, can ever be justified. A truer way to think of a “Bonhoeffer moment,” instead of a moment when good and evil are laid bare and violence becomes permissible, would be a moment when we are so implicated in structures of evil and violence that right moral action becomes impossible and we cannot but choose wrongly.
In other words, every moment is this kind of Bonhoeffer moment.

Questions over Holyport Film Studios rage on as public inquiry continues

Questions over the impact of Holyport Film Studios have raged on this week as a public inquiry over the plans continued in York House, Windsor.Developer Greystoke Land Ltd insists its proposals will provide a much-needed boost for the film industry – and said it will be a ‘shot in the arm’ for the economy.
But the Royal Borough has continued to fight its corner and defend the decision to refuse planning permission over damage to greenbelt land and increased stress on nearby roads.

Holyport Film Studios is a sprawling plan for new film and TV sound stages and specialist production houses on a 20,900sqm area of land near Gays Lane.
At the inquiry on Wednesday, Stephen Nicol from Nicol Economics – a witness speaking on behalf of Greystoke’s plan – said: “The local plan does emphasise, as indeed you would expect it to, that a healthy economy needs a broad and diverse base with many different types of business sectors.”

He said, ‘if you join the dots logically the appeal proposal would contribute to making a broader and diverse economy in Berkshire’.
David Elvin KC, representing the developer, said the development would provide a boost to the UK film and the Berkshire economy worth around £250million
Mr Nichol considered this ‘a not insignificant shot in the arm’ for the industry.
He added that without investment, there was a risk UK film industry jobs could be lost to competitors.
But, under cross-examination by the Royal Borough’s barrister Richard Ground KC, he admitted lacking studio space was not a problem for the UK film and TV industry.

“You’ve referred to lots of economic statements and government statements,” Mr Ground said.
“And factually, not one of them has spoken of the lack of film studio space as being a hindrance on growth.”
Mr Nichol replied: “Not that I’m aware of.
“There’s obviously the things like the proposed revisions to NPPF (national planning policy framework) which talk about providing a supporting environment for business and also on shortages.
“But I’m not aware of anything specifically that says from the government we need more film space.”
On Thursday, Windsor and Maidenhead council’s principal planning officer Claire Pugh outlined the reasons why the borough is opposed to the development.
She told the inquiry that plans for buildings up to 21 metres on the film studios site would have a substantial impact on the openness of the greenbelt.

“The scale of the buildings are significantly larger than anything in the area,” Ms Pugh told the inquiry.
“You’ve got buildings that are 18 to 21 metres high which is completely out of keeping with the building heights in the area. In my experience, having worked in this borough for a number of years, and it is a rural borough, I’ve never seen a building that’s 18 or 21 metres tall.”
She described the proposals, which include plans for 1,000 car parking spaces, as being in an ‘unsustainable’ location.
The council’s principal planning officer also highlighted how the development and partial closure of some footpaths could impact residents’ enjoyment of the countryside.
“You’re going to get views of a large-scale development of an urban character in what is currently a rural area which has open views,” she said.
The inquiry is scheduled to finish next week, with Deputy Prime Minister Angela Rayner set to have the final say on the proposals.

Is Stars Hollow A Real Location? Here’s Where Gilmore Girls Was Filmed

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Warner Bros. Television

Nearly 25 years after it premiered in 2000, “Gilmore Girls” remains a beloved show with a massive fanbase. The series originally ran for seven seasons (mostly on The WB, with the final season airing on The CW) before Netflix brought it back for a revival season titled “Gilmore Girls: A Year in the Life” in 2016. The vast majority of those 150+ episodes take place in the fictional town of Stars Hollow, a small town in Connecticut where everybody knows everybody.

Now, not to break any hearts here, but Stars Hollow is not technically an actual town. It was the brainchild of series creator Amy Sherman-Palladino, but it’s also a setting that’s meant to evoke the feeling of a real small town in the Eastern, New England region of the U.S. Indeed, “Gilmore Girls” at large centers on Lorelai Gilmore (Laruen Graham) and her daughter Rory (Alexis Bledel), focusing on their relationship as a single mother and teen daughter living the charming, small town life.
So, where was “Gilmore Girls” filmed, exactly? If Stars Hollow isn’t a real place, then where did all of the drama (and comedy) unfold over those eight seasons of television? Not to spoil it but, unfortunately for fans of the show, it’s not like there is a “Gilmore Girls” tour of the town in Connecticut like there are “Lord of the Rings” tours in New Zealand. Still, Stars Hollow is, in a sense, a real place, and one with a lot of Hollywood history.

Gilmore Girls (mostly) wasn’t filmed in an actual town

Netflix

The “Gilmore Girls” pilot was the only episode of the series shot in an honest-to-goodness town, with filming take place in Unionville (a suburb of Toronto, Canada). There is even a self-guided tour available on Markham, Ontario’s website. The rest of the show, however, was filmed on the Warner Bros. lot in Burbank, California, all the way over on the other side of the country relative to the fictional town the series takes place in.

This famed lot was transformed into Stars Hollow for seven seasons. Warner Bros. has more than 100 years worth of history to its name, with near-countless classic movies and TV shows utilizing that lot over the years; “Gilmore Girls” is just one of them. Nevertheless, the show continues to be highlighted on the official WB Studio Tour.
So, in that sense, Stars Hollow is a real place one can visit — just don’t expect to be able to take a trip to Luke’s Diner or anything like that. Speaking with The Hartford Courant ahead of “Gilmore Girls” season 3 airing in 2002, creator Amy Sherman-Palladino explained how the show’s creatives changed the backlot to suit the needs of the series:

“We added brick, we changed some of the streets, added storefronts, extended stuff, put in streetlights. We basically turned it into Stars Hollow. I’m constantly filling in the town and adding small businesses. Last year we added a wonderful lake with a bridge […] The thing about Stars Hollow that hopefully appeals to people is that sense of community. It’s a sense of safety and warmth. You know the people.”

What inspired the town of Stars Hollow?

Robert Voets/Netflix

Like any show, “Gilmore Girls” had its highs and lows across its eight seasons. Still, fans continued to tune in because they loved its characters, and Stars Hollow is as much of a character as any of the actual humans in the show. It felt real. That’s at least partially because it was very much inspired by real places that the show’s creator visited.

In a 2005 interview with The AV Club, Amy Sherman-Palladino explained that real locations in Connecticut inspired the fictional town of Stars Hollow:

“I was going to put them in a city area, but then I went on vacation to Connecticut, because I wanted to see Mark Twain’s house. I stayed at an inn, and it was very charming, in a tiny town, and everybody seemed to know each other, and there was a pumpkin patch across the street. I went to a diner, and people kept getting up to get their own coffee. No one was there to be waited on. It seemed like a fun environment to put [the characters] in. It happened over a two-day period, as far as place and where they would live.”

So, even though Stars Hollow isn’t real, the inspiration behind it was genuine. That small town feel, which Sherman-Palladino experience first-hand, is what gave the fictional town that Lorelai and Rory Gilmore lived in its genuine feel (which resonated with audiences).

“Gilmore Girls” is streaming now on Netflix, or you can buy the complete series on DVD via Amazon.

The 30 Best Movies On Peacock Right Now

Static Media

There’s nothing better than curling up in front of the boob tube on a Friday night with a bucket full of popcorn to watch a classic piece of cinema. Luckily, in this day and age, movies are readily accessible on various streaming platforms. Peacock, in particular, carries a surprising amount of top-notch films to ensure that popcorn doesn’t go to waste.

While perusing their streaming library, there were roughly 60 movies on Peacock that I’d happily watch any day, ranging from blockbuster franchises like “Harry Potter” to quirky comedies like “Billy Madison” — not to mention the endless supply of Hallmark and original movies. Of course, we couldn’t include all our favorites, but we’ve narrowed it down to a Top 30, ranked from great to, well, greater. I wholeheartedly recommend every single movie on this list.
While some are ranked higher than others, we’d gladly kick back and watch any of these picks any day of the week. So here are the best movies streaming on Peacock right now.

Ambulance (2022)

Universal Studios

In Michael Bay’s “Pearl Harbor,” a character yells, “That’s bull****,” before calmly adding, “But it’s very, very good bull****.” That about sums up Bay’s “Ambulance,” a wild, often silly, action picture about adoptive brothers (Jake Gyllenhaal and Yahya Abdul-Mateen II) who rob a bank and wind up taking a paramedic (Eiza González) hostage aboard a speeding ambulance. 

As is customary, Bay infuses every action scene with plenty of technical razzle-dazzle — look, drones! — and keeps the picture moving along at a crisp pace. Unfortunately, the script is a jumbled mess that can’t decide whether it wants us to root for or against our two leads and builds toward a nonsensical climax that disregards the previous two hours.
In other words, it’s your typical Michael Bay film with ample amounts of Bayhem. At this juncture, you either trap in for the ride or take a U-turn toward safer terrain. Personally, I dig Bay, warts, and all. The man has verve to spare, often resulting in spectacular blockbusters like “Armageddon” and “The Rock.” While “Ambulance” may crash and burn from a critical perspective, as lightweight popcorn entertainment, it’s an enjoyable ride, provided you can handle Gyllenhaal screaming at the top of his lungs for 136 minutes. 

The Fall Guy (2024)

Universal Studios

“The Fall Guy” feels like a throwback to the days of yesteryear when films could get by on star power alone. Who cares about the plot when you’ve got Tom Hanks or Julia Roberts leading the charge? In this case, Ryan Gosling and Emily Blunt take top billing and almost save the picture … almost.

Directed by “John Wick” mastermind David Leitch, “The Fall Guy,” loosely based on a 1980s TV show, tells the tale of famed stuntman Colt Seavers (Gosling), who embarks on a mission to rescue a movie star (Aaron Taylor-Johnson) after he vanishes mid-production. Fueled by his love for camerawoman Jody Moreno (Blunt), Colt risks life and limb to stop the sinister forces behind the alleged kidnapping and prevent his movie career from going up in flames.
Gosling and Blunt ooze chemistry and make a fine onscreen couple, but the clunky script and assortment of zany set pieces too often prevent the pair from strutting their stuff. While the ode to stuntmen, the true warriors of the film business, is commendable, I wager most audiences would have preferred to see Gosling and Blunt trade barbs in a more traditional, less outlandish setting. But it’s still fun!

Twisters (2024)

Universal Studios

A sequel no one asked for, “Twisters” remarkably stands as a serviceable disaster epic, thanks in no small part to leads Glen Powell and Daisy Edgar-Jones. The flimsy story follows a pair of tornado chasers — one, a rebellious adrenaline junkie, the other, a traumatized scientist aiming to prevent future disasters — as they test out an advanced tracking system. Will this dynamic duo cast aside their differences and stop Mother Nature from inflicting more death and destruction? Will they find love along the way?

“Twisters” doesn’t earn points for originality, and it’s as predictable as a bowl of grapes. Yet, Powell and Edgar-Jones are so much delightful to watch that it hardly matters. Also, kudos to director Lee Isaac Chung for incorporating real science into his picture and producing a standalone sequel that charts its own course rather than a legacy sequel beholden to the classic original. Save for a few slight nods, “Twisters” feels less like a followup to Jan de Bont’s 1996 “Twister” than a new take on the same idea. Did the world need another tornado movie? That’s debatable, but “Twisters” is better than it has any right to be.  

The Bikeriders (2024)

Focus Features

Like most audiences, I skipped “The Bikeriders” during its brief theatrical run but luckily caught it later on the small screen. Based on Danny Lyon’s photo book, this Jeff Nichols-directed drama hones in on biker culture in the 1960s and follows the Vandals Motorcycle Club as they deal with love, friendship, and the ever-changing world around them. What begins as a relatively innocuous pastime morphs into a dark and brutal cacophony of violence as the biker movement spreads across the country, drawing more young men into its dangerous circle.

Nichols digs deep into this strange religion, pulling the curtain back to allow us to see the real men entangled in its grasp, as seen through the eyes of Kathy (Jodie Comer), a young woman who begins a romantic relationship with a key member (Austin Butler). It’s a fascinating, violent film with solid performances, particularly from Comer, Butler, and the always dependable Tom Hardy and Michael Shannon. I wouldn’t call “The Bikeriders” anything more than a solid effort, but I recommend it for those yearning to understand the appeal of donning black leather while cruising around town on a motorcycle.

How to Train Your Dragon 2 (2014)

DreamWorks

The original “How to Train Your Dragon” felt like an open-and-shut affair, not the beginning of a film trilogy. Alas, because Hollywood can never turn down an easy buck, Hiccup (Jay Baruchel) and the gang return for more misadventures alongside their reptilian pals. Surprisingly, Dean DeBois’ lavish sequel doesn’t settle for another simplistic adventure, aiming for a darker, more personable journey that pushes our heroes to the brink.

Years after joining forces with the dragons, the Viking village of Berk suddenly encounters a new force led by dragon hunter Drago Bludvist (Djimon Hounsou). Weighed down by even more responsibility, Hiccup must rally the troops, including his long-lost mother (Cate Blanchett), and fend off this ferocious foe or see the end of their dragon empire.
While not as good as its predecessor, “Dragon 2” nonetheless soars to powerful emotional heights and takes the franchise in a few daring directions. Gorgeous visuals and another incredible score from John Powell add to the enjoyment, as does an all-star voice cast featuring Gerard Butler, Craig Ferguson, America Ferrera, and Kit Harrington.    

Liar, Liar (1997)

Universal Studios

Few actors enjoyed the sudden astronomical success Jim Carrey experienced from 1994-97, culminating with Tom Shadyac’s “Liar, Liar.” The famous star would undoubtedly achieve greater box office heights, specifically with “Dr. Seuss’ The Grinch,” but “Liar, Liar” is the film that fully takes advantage of Carrey’s rubber-faced talents. 

The premise involves a lawyer named Fletcher Reed (Carrey) forced to tell the whole truth and nothing but the truth after a birthday wish from his son compels him to do so. A series of cleverly crafted set pieces follow, during which Carrey displays his impressive comedic timing and penchant for physical comedy. Naturally, the amusement devolves into a treacly third act full of hackneyed morals and forced emotion (an approach that likewise torpedoed Shadyac’s “Patch Adams” and “Bruce Almighty”). Still, the first two-thirds of “Liar, Liar” present Carrey at the peak of his comedy career before he got all artsy and became a serious actor.
Look for a blink-and-you’ll miss it cameo from Fire Marshal Bill!

Quigley Down Under (1990)

MGM

Oddly titled (are there other “Quigley” movies?), but a whole lotta fun, “Quigley Down Under” sees Tom Selleck’s rugged cowboy head Down Under to battle Alan Rickman’s scene-stealing Australian rancher. As I typed that, I realized how bizarre the plot sounds. A Wyoming cowboy fighting bad guys in Australia? Who even asked for this?

As it turns out, only a few people. “Quigley” was a box office dud when it swung into theaters in 1990 on the back of middling critical reviews. However, as this Reddit user notes, the Simon Wincer-directed tale might be an overlooked masterpiece. Rickman alone is worth the price of admission in the second of three memorable villain roles that began with 1988’s “Die Hard” and ended with 1991’s “Robin Hood: Prince of Thieves.” Here, he’s essentially playing another variation of Hans Gruber, but the man does it so well it’s a wonder Hollywood didn’t make better use of his talents throughout the decade before “Harry Potter.” Selleck, likewise, shows off the same down-to-earth likability that made him a star, while Laura San Giacomo adds an extra dose of spunk to the already spunky film.

Atomic Blonde (2017)

Universal Studios

“John Wick” director David Leitch returns with another rock ’em, sock ’em fight fest, “Atomic Blonde,” replacing Keanu Reeves’ sulking assassin for Charlize Theron’s enigmatic MI6 agent, Lorraine Broughton. The Oscar-winning star struts her stuff and handles the rough-and-ragged fight scenes with ferocity and grace. A banger sequence follows Lorraine as she uses every resource imaginable to battle a group of killers throughout an apartment complex. Shot to look like an uncut, 10-minute sequence, the impeccably choreographed — and extremely graphic — bit makes excellent use of Theron’s athletic abilities. She leaps across stairwells, throws herself into men twice her size, and kicks, punches, and stabs her way to victory — you believe every second of it.  

The plot concerns an MI6 agent who gets caught up in a deadly game of spies … blah, blah, blah. You get the gist. Theron and co-stars James McAvoy and John Goodman are the reason to tune in for this violent, rollicking ride. Now, can we talk about a possible “John Wick,” “Nobody,” Atomic Blonde” team up?

Billy Madison (1995)

Universal Studios

“Billy Madison” marked my introduction to Adam Sandler. My buddy and I picked up the VHS tape at the local video store primarily because there were no other options available, popped it in, and proceeded to laugh our a**** off for 90 solid minutes. This silly tale about a man’s quest to prove his worth to his dad by repeating grades one through twelve is shamelessly depraved, unabashedly weird, and casually inappropriate in all the right ways. Director Tamra Davis paints a colorful tapestry of sights and sounds but wisely steps back far enough to allow her star ample room to cook, and cook he does, often improvising many of the best scenes.

Sandler uncorks his weird, juvenile sense of humor, crafting a bizarre comedy that’ll strike some as too peculiar and others as downright hilarious. It helps to have everyone from the legendary Chris Farley to the great Norm MacDonald on hand, supplying their own quirky sense of humor. To say nothing of Bradley Whitford’s hilarious turn as the film’s eccentric villain.
“Billy Madison” marked a cinematic turning point, ushering in a new wave of comedy. Sandler would star in “Happy Gilmore” and “The Wedding Singer,” among numerous other well-received hits. Yet, he was never as raw or strange as in “Billy Madison” — for better or worse.

The American President (1995)

Universal Pictures

Those still laboring with a hangover from a prolonged presidential election process should do yourself a favor and flip on Rob Reiner’s charming “The American President,” a romantic comedy centered around a lonely POTUS (Michael Douglas) seeking newfound love via environmental lobbyist Sydney Ellen Wade (Annette Bening).

Written by Aaron Sorkin (of “West Wing” and “Social Network” fame), this laid-back tale takes a measured look at politics, viewing Washington DC and its residents with almost wistful admiration. Like Ivan Reitman’s equally enchanting “Dave,” “The American President” isn’t as concerned with politics as the people making the political decisions. In this fantastical universe, our leaders are decent people aspiring to be the best versions of themselves. They play pool, tell jokes, and suffer heartaches, making them relatable and almost Capra-esque in their humanistic qualities.
Sure, a subplot featuring a conniving senator (played by Richard Dreyfuss) adds some political intrigue. Still, “The American President” is primarily concerned with telling a sweet story about two lonely people finding love in the most unlikely places. Add a sweeping score by Mark Isham and a solid supporting cast led by Martin Sheen and Michael J. Fox, and you have the perfect entertainment for date night.

King Kong (2005)

Universal Pictures

Following his Academy Award-winning “Lord of the Rings” franchise, director Peter Jackson turned his attention to “King Kong,” a remake of the classic 1933 film about a massive ape who falls in love and dies battling planes atop the Empire State Building. Except, where Marion C. Cooper and Ernest B. Schoedsack’s black and white original ran a swift 100 minutes, Jackson’s update drags on for over three hours. Those capable of handling the excess will discover a heartfelt adventure jam-packed with incredible special effects (the Brontosaurus stampede notwithstanding), fine performances, and a stirring, even emotional finale.

Naomi Watts stars as Ann Darrow, a struggling actress living off scraps in New York City during the Great Depression. A chance encounter with ambitious filmmaker Carl Denham (Jack Black) whisks Ann away to Skull Island, where she falls for a writer (Adrien Brody) right before falling into the arms of the mighty Kong (brilliantly performed via motion capture by Andy Serkis). After a series of escapades involving everything from dinosaurs to grotesque bugs, Beauty and the Beast form an unlikely bond, leading to the aforementioned showdown in NYC.
Is “King Kong” too bloated for its own good? Sure, but there’s much to admire here particularly the handsome production design, Jackson’s energetic directing, and a handful of delectable set pieces. “Kong” may not reach the heights achieved by “Lord of the Rings,” but it’s still mighty entertaining and nearly as good as the original.

The Bourne Supremacy (2004)

Universal Studios

Jason Bourne (Matt Damon) may have fallen off the pop culture landscape in recent years, but in the early aughts, he was all the rage — heck, even James Bond copied his voracious style! Even so, “The Bourne Supremacy,” the second installment in the franchise is a hallmark in action filmmaking and practically redefined the genre with its gratuitous use of the now obsolete “shaky cam.”

Paul Greengrass takes the reigns from director Doug Liman and infuses the “Bourne” franchise with more urgency and a decidedly dour tone built around Jason Bourne’s quest to take out those responsible for killing the woman he loved (Franka Potente). Soon, every secret agency in the world is hot on his trail, attempting to get to the truth behind Treadstone, the government agency responsible for creating nigh-invincible super spies.
Don’t think about it too hard.
The plot exists so Greengrass can stage an endless barrage of fight sequences and exciting set pieces, such as the now famous, climactic car chase through Moscow that our own Jeremy Mathai dubbed “Best Action Scene Ever.”
Performances are solid, with Damon delivering another stoic, solemn turn as the titular Bourne, while Joan Allen and Brian Cox offer solid support on the side. It may feel a tad too old school for some, but “Bourne” still has it where it counts.

Erin Brockovich (2000)

Columbia Pictures

Julia Roberts won a well-deserved Oscar for her turn as the foul-mouthed, real-life paralegal Erin Brockovich, who took on Pacific Gas and Electric Company after discovering their complicity in contaminating the groundwater of a small town in California. Ostensibly a rags-to-riches story, “Erin Brockovich” sees the young, struggling, single mother finagle her way into a position at a small lawyer firm presided by Ed Masry (Albert Finney), where she is given the file to a case involving PG&E. Upon further investigation, Erin discovers that the company had indeed contaminated the water supply of Hinkley, an accident that left many citizens, including children, sick. 

Dutifully directed by Steven Soderbergh, “Erin Brockovich” hits plenty of dramatic highs and ends on a fittingly inspiring note. Still, this is Roberts’ show, and the charismatic actress doesn’t disappoint, delivering an enigmatic performance that ranks as the best of her career. In her hands, Erin becomes a complex, even flawed woman who capably rises to the occasion when given the opportunity. The film itself never deviates too far from the genre formula. Yet, Roberts’ star power is enough to warrant a watch.

Flight (2012)

Paramount Pictures

In a similar vein as “Erin Brockovich,” Robert Zemeckis’ “Flight” is a sturdy drama anchored by a sensational, Oscar-nominated performance by Denzel Washington. As an alcoholic airline pilot, Captain Whip Whitaker, Washington commands the screen and deftly captures the horrors of addiction and, ultimately, the vindication one feels when breaking free of one’s demons.

“Flight” sees Captain Whitaker commandeer an airline to safety following a mechanical failure, an incident that renders him a hero to the public. However, Whitaker was intoxicated on the flight, leading to an investigation by the National Transportation Safety Board (NTSB). The remaining film chronicles Whip’s efforts to stay sober long enough to handle the eventual legal hearing, all the while romancing a fellow addict (Kelly Reilly) and trying to reconcile with his ex-wife and son.
As directed by Zemeckis, “Flight” bites off a little more than it can chew and often gets bogged down by sluggish pacing. No matter. Washington is excellent, and the film’s overarching message about forgiveness and redemption rings true. Some may balk at the overt sentimentalism, but others will discover a powerful tale about overcoming obstacles, no matter how great.

Casino (1995)

Universal Studios

In many ways, “Casino” is superior to Martin Scorsese’s “Goodfellas,” particularly in handling its multifaceted characters and sprawling, ambitious plot. That said, “Casino” doesn’t upend the gangster genre in a similar vein as its predecessor, choosing instead to stick closely to the style and formula Scorsese perfected in his early days. Therefore, “Casino” unfairly resides on the lower end of the iconic director’s oeuvre when it deserves far more recognition.

Robert DeNiro stars as Sam “Ace” Rothstein, a low-level mobster put in charge of the Mob’s Las Vegas empire. Naturally, things go awry when his violent pal Nicky Santoro (Joe Pesci) arrives and proceeds to foul everything up with predictably violent results. Also on hand is Giner McKenna (a terrific Sharon Stone), a hustler with a gift for manipulation, whose cunning wit is matched only by her bombastic wardrobe.
“Casino” runs a lengthy 178 minutes, but don’t let that deter you — this is top-tier Scorsese, a splendid production with sharp directing, strong performances, and a gripping narrative. It’s also as violent as Hell and features quite possibly one of the most disturbing death scenes in movie history. You’ll never look at cornfields the same way again. 

Point Break (1991)

Largo Entertainment

Regarding testosterone-fueled entertainment, you don’t need to look much further than Kathryn Bigelow’s 1991 action classic “Point Break.” Starring (a very young) Keanu Reeves and an in-his-prime Patrick Swayze, this fast-and-furious tale about criminal surfers is campy and ridiculously nonsensical, but in a good way. Indeed, the half-baked plot about a federal agent named Johnny Utah (Reeves) infiltrating a surfing gang led by the bodacious Bodhi (Swayze) is simply part of the charm, as is the overt bromance between the two leads, the wild set pieces, and terrific stunts.

Co-starring Lori Petty and Gary Busey, “Point Break” may sometimes hurt your brain with silly plot contrivances. Still, it’s undeniably cool, endlessly quotable, and chock full of sensational action. Moreover, a certain degree of complexity exists, particularly in the way it views Bodhi as a thrill-seeking junkie Hell bent on living life by his own rules. He’s a uniquely drawn character, an antagonist who draws envy and ire equally. 
Vaya com Deus.

Meet the Parents (2000)

Universal Studios

I know what you’re thinking: how does this guy rank a comedy like “Meet the Parents” above the likes of “Casino?” From an artistic standpoint, Jay Roach’s 2000 comedy may not trump others on this list, but in terms of entertainment, “Meet the Parents” is about as close to perfection as one can expect from the genre.

Ben Stiller stars as put upon Greg Focker, a male nurse who travels to Long Island to meet his fiancee’s parents, Jack (Robert DeNiro) and Dina (Blythe Danner). Unfortunately for Focker, Jack is protective of his daughter and a former CIA operative, which is not ideal for the hopeful son-in-law. Of course, Focker doesn’t help; he gets into deeper water the harder he tries to impress Jack. He starts fires, engages in awkward conversations, plays aggressive water volleyball, and spray-paints a cat’s tail.
It’s often hard to watch, even though every situation results in big laughs.
We’ve seen this type of comedy before but rarely executed this well. I won’t call it high art, but it earns high marks for accomplishing everything it sets out to do.

Apocalypto (2006)

Touchstone Pictures

Mel Gibson’s mesmerizing historical epic presents a (mostly) realistic look at Mayan society in 1517, down to the Indigenous cast and Yucatec Mayan dialogue. Like “Passion of the Christ,” Gibson emphasizes intense violence and grotesque visuals more than creative storytelling. Yet, he spins a uniquely captivating yarn filled with gorgeous visuals captured by Dean Semier’s sublime cinematography.

Jaguar Paw (Rudy Youngblood) lives quietly with his tribe deep in the Mesoamerican rainforest. One fateful day, Maya raiders attack and take many of Jaguar Paw’s clan prisoners, dragging them in chains to a great city where many are brutally sacrificed atop a temple. Miraculously, Jaguar Paw escapes and races home to his stranded pregnant wife and daughter with ruthless Mayan warriors in pursuit. What follows is a pulse-pounding chase sequence during which our hero must use every resource available to survive.
“Apocalypto” is certainly not for the faint of heart. Gibson’s blood-soaked yarn pulls no punches and isn’t afraid to show the brutality in this ancient world. It’s a crazy popcorn flick — but ironically, one best enjoyed without a bucket of popcorn. I wholeheartedly recommend it.

As a bonus, keep your eyes peeled for Waldo.

Warrior (2011)

Lionsgate

Sports movies are a dime a dozen. Somehow, “Warrior” manages to overcome its atypical underdog story thanks to an emphasis on distinctively crafted characters worth rooting for. Here, we have a tale about two estranged brothers, Tommy (Tom Hardy) and Brendan (Joel Edgerton), competing against each other in a mixed martial arts tournament. Tommy, you see, ran away with his mother to escape his abusive father (Nick Nolte), while Brendan stayed behind, thus driving a wedge between them. Director Gavin Hood and screenwriters Anthony Tambakis and Cliff Dorfman ensure we see both brothers’ perspectives, making it hard to know exactly who to root for — the down-on-his-luck teacher looking out for his family or the disgruntled war veteran attempting to overcome past trauma?

To that end, “Warrior” is the perfect crowd-pleaser, an exceptional character study that produces cheers and plenty of tears. It also contains plenty of intense MMA combat and superbly uses real-life warriors Kurt Angle, Nate Marquardt, and Anthony Johnson, among others. I guarantee you’ll love this film, which earned an Academy Award nomination for Best Supporting Actor (Nolte). 

The Departed (2006)

Warner Bros.

“The Departed,” Martin Scorsese’s Oscar-winning crime drama, boasts an all-star cast, a snappy script by William Monohan, and enough twists and turns to give viewers whiplash. While it lingers a little longer than necessary and discards its fascinating character study for an unsatisfying blood-soaked gotcha! finale — explained here in greater detail — this remake of the 2002 Hong Kong thriller “Infernal Affairs” delivers the goods.

Starring Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, and Alec Baldwin, “The Departed,” tells the tale of Bill Costigan (DiCaprio), a young policeman who agrees to go undercover in the mob to bust Irish Mob boss Frank Costello (Nicholson). Unbeknownst to Costigan, Costello plants another recruit, Colin Sullivan (Damon), as a spy within the police force, resulting in an intense game of cat-and-mouse in which each mole seeks to identify the other for their respective bosses. Further complicating matters is Dr. Madolyn Madden (Farmiga), a psychiatrist who develops a relationship with both men.
“The Departed” lacks the prestige of Scorsese classics such as “Goodfellas” and “Raging Bull” but captivates with its exploration of guilt and its effects on the human psyche. Watch for Wahlberg’s scene-stealing performance — he’s never been better.

Walk the Line (2005)

20th Century Fox

I love “Walk the Line.” In terms of biopics, it’s one of the all-time greats. Too often, movies of this ilk get too caught up in the mythos surrounding their subject or try to cover too much territory and present a highlight reel of iconic moments that leave audiences starving for more information.

“Walk the Line” takes a more direct approach in its exploration of Johnny Cash (Joaquin Phoenix) and June Carter (Reese Witherspoon), focusing on a sliver of their early lives, allowing us to see the series of events that transformed them into pop icons. Even those who know nothing about Cash will walk away with a finer understanding of the man behind the myth, the story behind some of his most treasured songs.
It helps that Phoenix and Witherspoon, who sing their own songs, are in top form in their respective roles. Phoenix, in particular, becomes Johnny Cash, right down to his baritone voice and rugged appearance. He captures the darkness lingering beneath the calm demeanor and the pain stemming from the broken relationship with his father (Robert Patrick). Witherspoon, who won an Oscar for her effort, likewise relays Carter’s plucky on-stage charm and the constant uncertainty she feels around Cash, the man she loves.

Briskly paced and beautifully acted, “Walk the Line” is a banger.

Harry Potter and the Prisoner of Azkaban (2004)

Warner Bros.

The entire “Harry Potter” saga is available to watch on Peacock. While all the films are good, the third entry, “Harry Potter and the Prisoner of Azkaban,” is the only one that truly captures the mischievous spirit of J.K. Rowling’s incredible book series. It’s the only “Harry Potter” flick that feels like an actual movie rather than the latest episode in a sprawling franchise.

Picking up where the “Chamber of Secrets” left off, “Azkaban” digs deeper into the boy wizard’s mythos. Director Alfonso Curan explores the awkwardness, uncertainty, and exhilaration of youth. He completely transforms Hogwarts from a stuffy British boarding school into a believable locale brimming with life and darker, murkier secrets. His camera swoops through the halls and windows and finds heroes Harry (Daniel Radcliffe), Hermione (Emma Watson), and Ron (Rupert Grint) struggling with adolescence and dealing with darker elements beyond the usual Voldemort threat. Even Gandalf (Michael Gambon, taking over from the late Richard Harris) gets a cheeky makeover.
In short, this is where everything — the magic, the humor, the mystery, the teenage angst — comes together into a unique cinematic package. Pay attention to John Williams’ delightful score, which is a far more complex orchestration than his previous “Potter” scores. 

Black Hawk Down (2001)

Columbia Pictures

I’m a war movie junkie, and so I have no choice but to rank Ridley Scott’s phenomenal “Black Hawk Down” pretty high on this list. Critics were lukewarm with their praise for this 2001 tale about U.S. soldiers grappling with forces in Somalia, with only 76% offering positive reviews on RottenTomatoes.

Hogwash.
“Black Hawk Down,” while not as cinematic as Steve Spielberg’s “Saving Private Ryan” or deeply unsettling as Stanley Kubrick’s “Full Metal Jacket,” earns high marks for its technical prowess and no-holds-bard approach to its subject matter. Scott pulls out all the stops, presenting a raw and visceral look at modern combat as seen through the eyes of interchangeable troops played by a who’s who lineup of talented actors.
Count ’em off: Josh Hartnett, Ewan McGregor, Tom Sizemore, Eric Bana, William Fichtner, Sam Shepard, Orlando Bloom, and (in a bite-sized early role) Tom Hardy. Sure, many characters are thinly drawn stereotypes, but each actor makes the most of their limited screen time. Also, Scott’s approach serves the film’s overarching “Leave no man behind” theme. Every soldier matters, regardless of their status.

Personally, I think “Black Hawk Down” ranks among Scott’s best efforts. He earned an Oscar nomination for Best Director but lost to Ron Howard for “A Beautiful Mind.” In hindsight, Scott deserved the trophy for crafting an unflinching view of war that has yet to be surpassed.

Interstellar (2014)

Warner Bros.

Christopher Nolan’s “Interstellar” might be his most underrated masterpiece, a thought-provoking odyssey brimming with ideas. Granted, it doesn’t have the propulsive energy of, say, “The Dark Knight” or the mind-bending novelty of “Inception,” but this journey through space and time swings for the fences and nearly achieves cinematic perfection en route to an emotionally charged finale.

For those unaware, Matthew McConaughey stars as Cooper, a farmer living on a dying Earth. A chance encounter brings him face-to-face with remnants of NASA, who tap him for a daring space mission to locate a new home for humanity among the stars. Aided by Brand (Anne Hathaway) and Romilly (David Gyasi), and guided by an ailing college professor (Michael Caine), Cooper ventures to the stars where he experiences everything from black holes, fourth dimension time travel, and an up close and personal example of Albert Einstein’s theory of relativity. At one point, Cooper’s crew arrives on a planet where every passing minute represents seven years on Earth. Yeah, it’s that kind of picture.
Still, the film’s heart lies in Cooper’s relationship with his daughter, played by Mackenzie Foy and Jessica Chastain, respectively. Their indestructible bond supplies the emotional throughline to make Nolan’s science-based ideas stick. It may not be the smoothest journey, but “Interstellar” is well worth the trip.

Silver Linings Playbook (2012)

The Weinstein Company

An enormously entertaining romantic dramedy, David O. Russell’s sublime “Silver Linings Playbook” is the rare movie that delights no matter how many times you watch it. Based on Matthew Quick’s novel, this 2012 Oscar winner follows Pat Solitano Jr., a former teacher suffering from bipolar disorder, attempting to reintegrate into society. Despite a batch of obstacles standing in his way, notably his equally impaired father (Robert DeNiro), whose sports gambling addiction creates unnecessary stress for the family, and his fractured relationship with his unfaithful ex-wife (Brea Bee), Pat determinedly sets out to find personal happiness.

Enter Tiffany Maxwell (a sensational Jennifer Lawrence), a depressed widow reeling from the death of her husband, who forces herself into Pat’s life and eventually teams up with him for a local dance competition. Together, the pair set out to pick up the fractured pieces of their lives and slowly discover love.
“Silver Linings Playbook” eschews realism for Hollywood sentimentalism but remains a delightful, engaging, often hilarious love story and a wonderful sports flick to boot. Russell brings his usual free-wheeling directing style, presenting another family in complete disarray that manages to make everything work. I love this movie.   

Memento (2000)

Lionsgate

Dark, brooding, slickly directed, and undeniably original, “Memento” ushered in the Christopher Nolan era with aplomb, offering a mind-bending tale that requires at least a dozen views to comprehend fully — or an exceptional writeup by Joe Roberts.

The plot follows Leonard Shelby (Guy Pearce), an average fellow with short-term memory loss who spends his days investigating the murder of his wife. Uniquely, Nolan tells the story in reverse, beginning with the end and working backward so that we experience (to a certain degree) Leonard’s predicament. Scenes are presented without context, leaving us to discover the how and why of certain events along with our protagonist. At one point, a scene begins with Leonard running from a stranger, a bit only explained in the following sequence that eventually leads to the chase. Get it? Yeah, it hurts the brain.
Somehow, Nolan makes it all work. The talented writer/director squeezes the most from the premise and builds towards a shocking finale … er, opening. Carrie-Anne Moss and Joe Pantoliano co-stars.

The Silence of the Lambs (1991)

Orion Pictures

Forget the lifeless sequels featuring Hannibal Lecter; “The Silence of the Lambs” is the only chapter in Thomas Harris’ popular franchise that matters. An Academy Award winner for Best Picture, Best Director (Jonathan Demme), Best Actress (Jodie Foster), Best Actor (Anthony Hopkins), and Best Adapted Screenplay (Ted Tally), this intense psychological horror film took the world by storm when it premiered on February 14, 1991. “Lambs” grossed a massive $275.7M, spawned three sequels, and a TV series on its way to cinematic glory.

FBI trainee Clarice Starling (Foster) lands a case involving a serial killer named Buffalo Bill (Ted Levine), and she turns to brilliant psychopathic cannibal Hannibal Lecter (Hopkins) for guidance. However, the deeper Clarice digs, the more dangerous circumstances become, and it’s only a matter of time before Bill kills again.
Admittedly, that’s a pretty shoddy plot summation. Suffice it to say, it’s the type of film that must be experienced by everyone at least once. Everything from the pitch-perfect performances to Demme’s taut, atmospheric directing works together to form an incredible cinematic achievement that still gets under the skin 30-plus years later.

Die Hard (1988)

20th Century Fox

What better way to spend the holidays than with resourceful, wisecracking New York police officer John McClane (Bruce Willis)? Yes, “Die Hard” is a Christmas film. It might be the ultimate Christmas film, an action adventure filled with violence, thrills, laughs, and enough yuletide cheer to fill your stockings with glee.

You’ve probably seen this one. Who hasn’t? “Die Hard” is a got-darned classic of the highest order and one of the most re-watchable motion pictures ever made. Still, in case you lived under a rock for the last 40 years, the plot centers on McClane’s dealings with a group of terrorists after they crash a Christmas Eve party inside a Nakatomi Plaza. Using all his wits and aided by a big-hearted policeman (Reginald VelJohnson) camped outside, McClane must fight to save his wife (Bonnie Bedelia) and restore order one explosive confrontation at a time.
“Die Hard” holds up remarkably well for a decades-old action picture thanks to top-notch special effects, solid directing from action maestro John McTiernan, and iconic performances from Willis and scene-stealing co-star Alan Rickman. It is the perfect Christmas gift — yippee ki-yay, movie fans!

Back to the Future (1985)

Universal Studios

Full disclosure: I’ve seen “Back to the Future” at least 2,000 times. Like “Jaws” and “The Shawshank Redemption,” Robert Zemeckis’ time-traveling comedy is a classic stop-and-watch movie; as in, you have to stop and watch it if it’s on TV, no matter what point of the movie you arrive at. It’s that good.

Released in 1985, “Back to the Future” whisks Marty McFly (Michael J. Fox) back in time to 1955 via a souped-up time-traveling DeLorean, where he must ensure his parents (Lea Thompson and Crispin Glover) meet or cease to exist. With help from the eccentric mad genius Emmett “Doc” Brown (Christopher Lloyd), Marty must circumvent bullies like Biff Tannen (Thomas F. Wilson), lightning storms, and his mother’s affections, restore the space-time continuum and, well, get back to the future.
Bolstered by Zemeckis and Bob Gale’s masterfully crafted script and Alan Silvestri’s exhilarating score, “Back to the Future” continues to captivate with its sharp dialogue, clever premise, and thunderous action. Every element seamlessly comes together to deliver a spectacular blockbuster, the kind only Zemeckis — alongside producer Steven Spielberg — could bring to life.

Jurassic Park (1993)

Universal Studios

Speaking of Steven Spielberg, “Jurassic Park” continues to dazzle over three decades later. Filled with magic, adventure, and groundbreaking CGI special effects that look better than most modern films, this ginormous entertainment reigns supreme as the ultimate summer blockbuster.

When scientists crack the code to bring dinosaurs back to life, wealthy entrepreneur John Hammond (Richard Attenborough) wastes no time (or expense) setting up a theme park off the coast of Costa Rica for tourists to view the animals in their natural habitat. However, he must get a group of scientists to sign off on his prehistoric world before opening it to the public. Naturally, nature intervenes, and before long, the dinosaurs escape and proceed to devour the park guests. It’s up to Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), and Dr. Ian Malcolm (Jeff Goldblum) to get Jurassic Park back online before it’s too late.
Adapting Michael Crichton’s novel, Spielberg crafts a breathtaking masterpiece that deserves mention alongside his most outstanding achievements. Forget the onslaught of soulless sequels that followed, including the recent “Jurassic World” films, and stick with the original. “Jurassic Park” is T-Rex-sized entertainment of the highest order. Pop some popcorn and prepare for an adventure 65 million years in the making.