I know this list will probably have less wide appeal than my usual lists and reviews, but I am a Christian and wanted to do something in honor of Lent and Holy Week. At first, I thought I’d do a list of Christian movies, but the sad truth is that most Christian films just don’t compare with “regular” cinema as far as quality and are often written off as preachy. (For the record, that list would have been topped by The Passion of the Christ, The Nativity Story, and Sheffey.)
So, upon second thought, I decided to count down my favorites of the Christian music scene, which surpasses movies in actually matching its secular counterpart. While many Christian songs rely on inspiring lyrics over a rather bland sound, my choices below feature unique instrumentation and catchy rhythms that can stand toe to toe with much of what’s on the radio nowadays, IMO. In fact, if not for the religious lyrics, these songs would probably be much bigger hits, and some of the artists actually have enjoyed crossover appeal. These are songs that I would gladly listen to whether they’re Christian or not, but the fact that they feature uplifting lyrics is icing on the cake. I’m only including one placement per band, and I’m not counting superficially Christian songs like ”Spirit in the Sky” or songs from musicals like Jesus Christ Superstar, Godspell, or The Prince of Egypt(though I love those too). Whether you’re a Christian or not, I have no doubt that there’s a song here for everyone to enjoy.
“Hallelujah” from The Call (2016) – Joy Enriquez
Joy Enriquez jumped from a backup singer to a solo artist over a decade ago, and one of her most recent digital releases is now a personal favorite of mine. With some background violin courtesy of Lindsey Stirling, “Hallelujah” is an instant modern classic of praise, and the homey music video is just plain sweet.
“Beat the System” from Beat the System (1985) – Petra
Just as many recent Christian rock songs don’t appear much different from the usual radio fare, the Christian songs of the ‘80s had the same ‘80s sound. Petra was the shining example of a hit Christian band back then and a favorite of my mom’s. While their style has evolved over the years, my favorite is the Journey-like “Beat the System,” boasting a video replete with early MTV imagery. “The Battle Belongs to the Lord” is also another great song of theirs.
TIE:
“Believe” from One (2004) – Andy Chrisman
“Can’t Keep a Good Man Down” from Pictures on Mantles (2004) – Russ Lee
I got both of these albums as gifts around the same time and played them to death while doing my homework. These two songs (probably the most evangelical on the list) are the standouts. “Believe” is one of those uplifting professions of faith that gets people testifying and just barely edged out “Complete” from the same album.
Not to be confused with the Alabama hit, “Can’t Keep a Good Man Down” is also a Christian single from Russ Lee, who left the band Newsong to go solo. Before returning as their lead singer, his solo efforts delivered underrated beauties like “Pictures on Mantles” and “Living Life Upside Down.” “Can’t Keep a Good Man Down” is the best, though, with its blend of acoustic and electric guitar and country-ish beat. Sadly, I couldn’t find his solo version of the song, but the slightly altered version from when he rejoined Newsong is still great.
“Call My Name” from Revelation (2004) – Third Day
Third Day is one of the biggest bands in contemporary Christian music, thanks in part to the husky voice of lead singer Mac Powell. “Call My Name” is their masterpiece with an encouraging message second to none.
“My Last Amen” from Ending Is Beginning (2008) – downhere
Having a completely different, almost quirky vibe compared with most of these songs, “My Last Amen” from Canadian band downhere is just a fun song worth singing along to. It also has drawn some comparisons to the music of Queen.
“Beating My Heart” from OK Now (2008) – Jon McLaughlin
This energizing hit may not be an exclusively Christian song, since it climbed through both Christian and secular Billboard charts, but it’s a good example of how lyrics can be written to appeal to both audiences. The words might refer to God or to a romance, and McLaughlin’s high voice lends “Beating My Heart” a Coldplay-style quality.
“Give It All to You” from Yellow Cavalier (2009) – Yellow Cavalier (now Anthem Lights)
Why this song isn’t more well-known I don’t know, except that Yellow Cavalier promptly changed their name to Anthem Lights after this one EP. “Give It All to You” has a swelling, dance-worthy rhythm with some fantastic background trumpets at the end.
“Alive Again” from Alive Again (2009) – Matt Maher
As far as straight, rousing inspiration that could get hands raised in praise, few can compare with “Alive Again.” The Canadian Catholic Matt Maher won the Dove Award for Songwriter of the Year last year, and it’s clear that his musical talents are still going strong.
“Galaxies” from All Things Bright and Beautiful (2011) – Owl City
The best example of a Christian artist with crossover appeal would have to be Owl City, aka Adam Young. His electronic stylings have graced films like Wreck-It Ralph and Legend of the Guardians (I knew I could work in some movie references!), and songs like “Good Time” and “Fireflies” are still played semi-regularly on pop stations. One of his best songs looks upward to the galaxies and the glory of God, with Young’s uniquely offbeat lyrics and strong synthesizer at play.
“Dive” from Speechless (1999) – Steven Curtis Chapman
“Dive” is the kind of energetic earworm that gets a crowd excited, starting slow and then bopping along with increasing buoyancy. I remember being scared stiff on a high diving board at camp as a kid, but this song could have had me leaping for joy.
“Hard to Believe” from VOTA (2008) – VOTA
After changing their name from Casting Pearls, VOTA gave the world this awesome track along with one of my favorite music videos ever. This song is meant to be sung along with and deserves so much more air time than it’s gotten. The groovy syncopation matches the kaleidoscopic video, and I never get tired of it.
TIE:
“Way Beyond Myself” from Born Again (2010) and
“Stay Strong” from The Greatest Hits (2007) – Newsboys
I confidently assert that the Newsboys are the greatest Christian rock band. Since their formation in Australia in the 1980s, they’ve supplied so many hits that I could probably do a top twelve list of just their songs (“Shine,” “Take Me to Your Leader,” “The Way We Roll,” “In the Hands of God,” “In the Belly of the Whale,” and “Escape,” for example). Their style is so varied and distinctive that it’s too bad that their song “God’s Not Dead” got its own movie instead of their greater work. It’s a good song (and so-so movie) but far from their best.
My top spot is shared by two different but equally deserving tracks. “Stay Strong” has the best lyrics, inspiring and devout while its melody matches perfectly, especially the synthesizer bridge proclaiming “This race can be won!” On the other hand, “Way Beyond Myself” places the fast-paced beat as the star, the kind that gets a huge crowd undoubtedly pumped. One is a heart-winner, and the other’s a head-banger. Together, these two songs exemplify the greatest strengths of contemporary Christian music.
Runners-Up (quite a few, in alphabetical order by artist):
“My Savior My God” – Aaron Shust
“Breath of Heaven” – Amy Grant
“Kings and Queens” – Audio Adrenaline
“What Life Would Be Like” – Big Daddy Weave
“Give Me Your Eyes” – Brandon Heath
“Where I Belong” – Building 429
“Jesus, Take the Wheel” and “Something in the Water” – Carrie Underwood (another good example of crossover with country music)
“More of You” – Colton Dixon
“Shine” – David Crowder Band (really beautiful and unique stop-motion video)
“Dear X (You Don’t Own Me)” – Disciple (the hardest rock song in the list)
“Oh Happy Day” – Edwin Hawkins Singers
“It’s Not Over Yet” – for KING & COUNTRY
“Christmas with a Capital C” – Go Fish
“Alive” – Hillsong Young and Free
“The River” – Jordan Feliz
“He Is with You” – Mandisa
“The Motions” – Matthew West
“Move” and “You Reign” – MercyMe
“Lay ‘em Down” – NEEDTOBREATHE
“Remember” – Passion
“Be Still, My Soul” – The Imperials
“Therapy” – Relient K
“Forgiven” – Sanctus Real
“The Words I Would Say” and “Live Like That” – Sidewalk Prophets
“Something Holy” – Stellar Kart
“Stand in the Rain” – Superchick
“You Are More” – Tenth Avenue North
“City on Our Knees” – TobyMac
With Easter around the corner, I think the best way to end this post is with the ultimate uplifting Gospel song, “He’s Alive” by the Gaither Vocal Band with David Phelps. Hallelujah and Amen!
I’m not the first guy to compile favorite elevator scenes, but I do believe that this particular ranking is my own. I was surprised by just how many significant elevator scenes there have been over the decades, from comedies to action movies. This doesn’t count just any film that happens to have a random elevator in it, but films with elevator scenes that are actually memorable with special props to those with more than one elevator scene. This does only refer to movies, but I’ll give a shout-out to notable elevators in TV as well, such as the Star Trek turbolifts, the anime Death Parade, and that infamous death scene in L.A. Law. I’m also well aware of violent elevator scenes in films like Drive, Cabin in the Woods, and The Departed, but since I haven’t seen those, they don’t count.
It’s time then to elevate my top twelve movie scenes involving elevators.
I’ve never been trapped in an elevator, but this is probably what it would be like. When Tom Hanks’ Joe Fox is stranded with his girlfriend and two others in an elevator, his character has a turning point.
As I said before, most elevators take you where you want to go, but some do the opposite. When aspiring rocketeer Homer Hickam must take his father’s place in the West Virginia coal mine he’s been dreading, it is an elevator that drags him from the starry beauty above to the oppressive darkness below.
When the girl you’re trying to rescue is many levels below the flight deck with your one chance of escaping an exploding planet, there’s bound to be an elevator involved. Both Ripley and the Alien Queen make good use of the rising cages, and the tension is palpable. The scene that really gets me, though, is when Ripley and Hicks are waiting for an elevator door to close and an alien leaps from the darkness. Why won’t those doors close faster?!
Don’t you just love elevator music? I didn’t think so, but the Blues Brothers make it hilarious as they stoically ascend the floors while all hell is breaking loose outside. SWAT teams yell “Hut, hut, hut” like those “mine” seagulls in Finding Nemo and overkill is an understatement, but all is well within the blissful ignorance of the elevator.
Inception has two great elevator scenes, the coolest being Arthur’s zero-gravity wake-up call. The first, though, bears enough suspicious similarity to the surreal anime film Paprika that I had to include these two together. Both movies are about dreams, and an elevator serves as a vertical means of navigating various levels of the subconscious.
Two Jedi walk onto an elevator full of droids…. Okay, there’s no punchline, but it is cool. Not only does this scene give Anakin a neat move in the elevator shaft, it confirmed that R2-D2 is the coolest droid. Let’s see BB-8 do that!
When Woody is kidnapped, of course he has to be taken to the top of a huge apartment building, and since toys can’t very well ride an elevator like people can, his friends hitch a ride on top. The first elevator scene is funny enough, but later when Zurg shows up, it’s comedy gold as the climax begins.
Captain America: The Winter Soldier (2014) / Die Hard with a Vengeance (1995)
Both of these scenes have something in common: the lone protagonist is crowded in an elevator by bad guys just waiting to ambush him. Cap and John McClane are too formidable to be taken by surprise and gain the upper hand against all odds. McClane’s method is more violent, but Cap also has to worry about getting out of the elevator as more enemies approach.
Both adaptations of Roald Dahl’s classic children’s book include the Great Glass Elevator. Gene Wilder’s version of the button-filled box serves as the film’s finale, while the Johnny Depp version utilizes the elevator a little more. I’d love to ride in both of them. I wonder how it would have turned out if Dahl’s sequel Charlie and the Great Glass Elevator could have been filmed to make the elevator the star. Spoiler warning!
If disaster movies have taught us anything, it should be to NEVER get in an elevator during a disaster. Of course, when a glass high-rise is going up in flames, people panic and pay for it in the elevator. If that weren’t enough, the stakes are elevated higher (pun intended) when another elevator on the outside of the building dangles precariously. Its rescue is the highlight of the film.
James Cameron knew how to employ elevators. Instead of an Alien Queen, this time there’s a liquid metal cyborg on the loose, who’s not about to let an elevator door or roof stop him from completing his assassination mission. The effects and action are both scary and impressive.
No film captures the terror of an elevator’s worst case scenario like Speed. Before we even get to Sandra Bullock and the runaway bus, Keanu Reeves and his SWAT team must rescue an elevator’s passengers from a bomber (Dennis Hopper). When the elevator hangs from an unstable crane, the rescue keeps you literally on the edge of your seat, and the confrontation with the bomber just happens to take place on an elevator too. It’s a shame I couldn’t find a video for the scene, but trust me, not many elevator scenes can compare with this one.
Die Hard (1988) – “Now I have a machine gun. Ho, ho, ho.”
Earthquake (1974) – The first hint of a problem in this disaster flick involves a flooded elevator, and later more panickers prove why an elevator is a death trap in an earthquake.
Ghost (1990) – I like the little scene where Patrick Swayze and Tony Goldwin prank everyone in the crowded elevator.
Gremlins 2: The New Batch (1990) – When gremlins take control of your elevator, be afraid.
The Hunger Games(2012) and Catching Fire (2013) – The tributes are elevated into the arena as suspense builds. Plus, there’s that awkward stripping scene with Johanna in the elevator.
Kate and Leopold (2001) – Apparently if the inventor of the elevator never invented elevators, elevators would still exist but wouldn’t work? Yeah, time travel.
My Favorite Wife (1940) – A great little moment in this Cary Grant charmer takes place in an elevator when Grant sees his presumably dead wife alive again. (See the picture at the top.)
National Treasure (2004) – Not only does Nicholas Cage abscond with the Declaration of Independence in an elevator, but he uses an eighteenth-century equivalent to descend to the treasure.
Oh, God! (1977) – If you rise past the top floor, you may be on your way to talk to God.
Outland (1981) – Have you ever wondered what would happen if a spacesuit decompressed in an elevator? It ain’t pretty.
Panic Room (2002) – It’s more of a dumbwaiter, but Jodie Foster uses her mini-elevator to outsmart the home invaders.
Scrooged (1988) – Bill Murray’s reaction to the Ghost of Christmas Future is priceless.
The Shining (1980) – I didn’t even know that flood of blood was coming out of an elevator until I looked it up.
While I like quite a few bands, from recent groups like The Band Perry and Walk the Moon to classic acts like the Beatles, Genesis, and U2, I’d have to say that my favorite is Coldplay, made up of lead singer Chris Martin, guitarist Jonny Buckland, bassist Guy Berryman, and drummer Will Champion. This quartet has produced some of the most memorable alternative rock of the last two decades, and while I’d heard some of their songs before, I was truly introduced to their music ironically by a top ten list I found online.
Since they’ll be headlining Super Bowl 50 this Sunday, February 7, I thought it appropriate that things come full circle and I count down my own list of favorites. I normally just watch the Super Bowl for the commercials (or if there’s a favored team playing), but this is one of the few halftime shows I’m actually looking forward to. Here, therefore, are my all-time favorite songs by Coldplay.
“Atlas” from The Hunger Games: Catching Fire – Original Motion Picture Soundtrack (2013)
I like to make some movie connection even on my non-movie lists, and the end credits song for Catching Fire earned Grammy and Golden Globe nominations for Coldplay. Right on the heels of bad news for District 12 and that smoldering look from Katniss, this atmospheric number slowly builds with beauty and depth.
“Speed of Sound” from X&Y (2005)
This is one song that I keep noticing as background music in restaurants and such, and when I recognized it on that other top ten list, I said, “Oh, that’s who does that song!” It’s a good representation of Coldplay’s style, with some high notes and airy blend of piano, guitar, and drums; it just doesn’t quite stand out as much as their best songs.
“Life in Technicolor ii” from Prospekt’s March (2008)
Starting off with a tinny dulcimer called a yangqin (yes, I looked that up), the Grammy-nominated “Life in Technicolor ii” gradually adds layers of rock instrumentation to this base, which sort of parallels the music video. It’s just one of Coldplay’s many unique videos, with a small puppet show that jumps from Punch and Judy to pyrotechnics and helicopters. I should point out that the yangqin part was used at the end of Night at the Museum 2.
“A Sky Full of Stars” from Ghost Stories (2014)
A dreamy beginning yields to club-style headbanging in this hit, again nominated for a Grammy. It’s one of the few Coldplay songs still common on my local pop station, though it is more clubby than their usual style.
“The Scientist” from A Rush of Blood to the Head (2002)
Boasting probably their most fascinating music video, “The Scientist” is a simple but beautiful song from beginning to end. Repetitive but heartfelt, this song was also featured in the end credits of The Judge, performed by Willie Nelson of all people. Coldplay’s version is much better.
“Talk” from X&Y (2005)
Plagiarism is always a danger for artists, but isn’t it nice when a band actually gets permission to incorporate someone else’s work and expand on it? Kraftwerk’s “Computer Love” is an okay ‘80s techno song, but Coldplay’s “Talk” blows it away with its own melody. “Talk” also builds to an awesome rock crescendo that could get a giant robot’s attention.
“Violet Hill” from Viva la Vida or Death and All His Friends (2008)
With a bitter anti-war theme clearly felt in the lyrics, double-Grammy nominee “Violet Hill” rages as a brilliant rock ballad yet ends in sullen peace.
“Paradise” from Mylo Xyloto (2011)
How could anyone not love this song? While the music video seems to be trying to make a meme out of elephant costumes, “Paradise” is about a girl with dreams of an elusive home, and the wistful lyrics are among the band’s best. I’m always touched by the metaphor of “Life goes on; it gets so heavy. The wheel breaks the butterfly.”
“Every Teardrop Is a Waterfall” from Mylo Xyloto (2011)
Coldplay’s U2 influences are most felt in this phenomenal single with a breakneck Irish flavor that builds to a headbanging finale. Unfortunately, that drum solo at the end wraps up too soon. The video is also one of my favorites, with blended time-lapse images keeping time with the beat.
“Viva La Vida” from Viva la Vida or Death and All His Friends (2008)
This was the #1 song on that first list I discovered and with good reason. With an orchestral focus on strings and a medley of Biblical allusions, double-Grammy winner “Viva La Vida” is unlike anything else in Coldplay’s discography or in mainstream pop music. They played it during the closing ceremonies of the London Olympics, and Chris Martin once referred to it as “our best song.” It’s beautiful and bittersweet and utterly catchy.
“Clocks” from A Rush of Blood to the Head (2002)
One of the quintessential Coldplay tracks, Grammy winner “Clocks” is easily my VC’s favorite, and I’ve gotten into the habit of playing it for her whenever she’s stressed – I won’t say just how often that is. It’s a refreshing breeze of a song with an iconic piano melody. We both love everything about it, from the nonsensical yet deep and passionate lyrics to the way it builds and balances between relaxing and headbanging. It’s mesmerizing, layered, and perfect. “Home, home, where I wanted to go.”
“Charlie Brown” from Mylo Xyloto (2011)
It may be the unconventional choice, but “Charlie Brown” is my favorite Coldplay song. It begins with a celestial meowing that I’ve always thought of as the sound of midichlorians and then segues into a rocking riff just as iconic as that of “Clocks.” Even if the song itself has hardly any connection to its title, the upbeat buoyancy of this track is just infectious, the kind meant to get stuck in your head in the best way.
Runners-Up (in alphabetical order with links):
“Adventure of a Lifetime” – From their most recent album A Head Full of Dreams, this jammer has a great beat and a unique music video – Planet of the Apes: The Musical!
“Birds” (A Head Full of Dreams) – This ‘80s-ish track is brisk and immersive.
“Everglow” (A Head Full of Dreams) – A beautiful song sadly overshadowed by their catchier tunes.
“Fix You” (X&Y) – Slower than my favorites, but a beautiful crowd pleaser.
“Gravity” (B-side of “Talk”) – This more obscure song written for the band Embrace is slow but lovely and has a poignant unofficial video with animated ballet.
“The Hardest Part” (X&Y) – Like “Speed of Sound,” this is a solid track that just doesn’t stand out as much as it could.
“In My Place” (A Rush of Blood to the Head) – An excellent middle-of-the-road song that won a Grammy.
“Lost!” (Viva la Vida or Death and All His Friends) – Another great beat from the masters.
“Lovers in Japan” (Viva la Vida or Death and All His Friends) – This one starts out with a fantastic tempo that the rest of the song doesn’t quite live up to.
“Magic” (Ghost Stories) – Another good example of a strong central beat wonderfully and slowly building.
“Major Minus” (Mylo Xyloto) – Energetic and hard-edged, this song doesn’t get enough attention.
“Midnight” (Ghost Stories) – Atmospheric and haunting in a different way than Coldplay’s usual.
“Miracles” (Unbroken soundtrack) – Written for the end credits of 2014’s Unbroken, this song may be more inspiring than the movie itself.
“Strawberry Swing” (Viva la Vida or Death and All His Friends) – A light and breezy song with one of the most incredibly animated videos I’ve ever seen.
After enjoying lots of wonderful holiday food at the tail end of 2015, I thought I’d make my first list of the new year deliciously random: corn! If you were expecting corny movies, as in “tiresomely simple and sentimental” (according to Merriam-Webster), this isn’t it. I’m talking actual corn, one of the most versatile of all vegetables.
Think of all the things you can do with corn. I’ll use my Bubba voice: corn on the cob, creamed corn, corn fritters, cornbread, corn dogs, corn chips, corn pudding, hominy, grits, polenta, corn meal, corn flakes, corn chowder, corn starch, corn oil, corn syrup, corn tortillas, corn nuts, corn maze, and…that’s about it. Wait, let’s not forget the use that most applies to film, everyone’s favorite movie-watching snack, popcorn! Heck, there’s probably corn in your gas tank as ethanol. Based on my Southern roots, I for one prefer my corn creamed and served over fried okra; nothing corn-related is better.
With so much corn at our disposal, it’s no wonder that it has cropped up in countless films, whether as food or still on the stalk. Still, I’m honestly surprised I had enough to make up the top twelve, let alone any honorable mentions. So without further ado, here are my favorite cinematic uses of corn:
Wild Wild West (1999)
This movie has a lot of detractors, but I’ve always found its steampunk Western vibe to be goofy fun. One of the most memorable scenes involved Will Smith and Kevin Kline fleeing from giant flying blades through a corn field. Talk about mowin’ ‘em down.
Corn, or maize, is a uniquely American crop, and its origins in the New World explain how prevalent it was among Native American cultures. Disney’s Pocahontas uses corn harvesting as a backdrop for certain scenes, and when John Smith explains the concept of gold, Pocahontas offers the only shiny yellow thing around: a corn cob.
“You are about to be crushed by a giant corn.” Enough said.
Oklahoma! (1955)
What better way to start a Western musical than with a singing cowboy riding through a corn field? It’s always a beautiful morning where “the corn is as high as an elephant’s eye.”
Troll 2 (1990)
I haven’t seen much of this notoriously awful “best worst movie,” but the corn scene is, well, something else. When some troll witch in disguise seduces an unsuspecting moron who admits he likes popcorn, it leads to possibly the most bizarre and corniest kiss(?) I’ve ever seen.
There are several films that involve driving through a corn field, but these two scenes stick out the most for me. The big finale of Twister involves Bill and Jo driving toward and then running from a massive tornado as it rips through a defenseless field of corn. On the other hand, Interstellar’s corn chase is at the beginning, as Coop and his kids chase a solar-powered drone. It must be said that, despite all the corn Coop grows, Interstellar features one of the most nightmarish lines ever uttered: “They say it’s the last crop of okra…ever.” No! Corn without okra; now that is apocalyptic.
I love this underrated movie about a boy (Haley Joel Osment) staying with his two crotchety great-uncles on the Texas prairie. When he convinces them to buy from a traveling salesman, they plant various crops, only to find that it’s all “corn, corn, corn. Nothing but corn.”
Field of Dreams (1989)
While this film isn’t as dear to me as it is to many people, there’s no denying the presence of corn. Kevin Costner is a farmer called to build a baseball diamond out of his corn field. The corn itself also serves as a magical gateway for former baseball players and other significant people.
Death by corn! Who knew that one of the most dangerous weapons on an Amish farm is the corn silo? When Harrison Ford’s John Book lures a bad guy inside, we get a notorious example of grain engulfment.
M. Night Shyamalan was not the first to make a corn field scary, but he did throw in the idea of aliens and crop circles. Mel Gibson obviously didn’t know that when he wanders into his corn field to ward off supposed pranksters. Never enter a corn field at night!
How is such a small and insignificant scene so memorable? Buttering corn on the cob can be more trouble than it’s worth, but this movie offered the answer. First, Matthew Broderick’s dad butters his bread heavily and then proceeds to roll his corn on the cob against the bread. Genius! Can anyone else think of a better way? I’m all ears.
Again, it may seem weird to give the number one spot to such a small scene, but it was watching Tom Hanks in Big recently that gave me the idea for this list. The suddenly grown-up Josh Baskin isn’t familiar with adult party food, like dip and caviar, and he’s obviously never seen how to ingest those little baby corn. Hanks is so awkwardly cute here, it’s no wonder Elizabeth Perkins fell for him.
Before the honorable mentions, I should include that the most obvious choice for this list should have been Stephen King’s Children of the Corn, but I’ve never seen it and don’t really want to. But it’s in the title so how can I not include it? I’m sure there are lots of other films with corn or corn fields that I’m not familiar with, such as a 1975 film called Cornbread, Earl and Me and a 2004 film actually titled Corn.
Here are my honorable mentions, though:
Big Fish (2003) – Remember the scene in that Tim Burton movie where Ewan McGregor sees his sweetheart for the first time and time freezes and he walks through popcorn hanging in midair? I didn’t, but now I do.
Chicken Little (2005) – Many Disney fans would like to forget this film exists, but there is a corn field chase that recalls both Signs and Wild Wild West.
Foul Play(1978) – I could use any movie that features popcorn, but somehow the scene where blood drips in Goldie Hawn’s popcorn sticks out in my mind. “Beware the dwarf!”
The Green Mile(1999) – Tom Hanks’s wife’s cornbread means a lot to Michael Clarke Duncan in this Stephen King prison drama.
Gremlins (1984) – Any scene in a movie theater probably has popcorn, but let’s not forget that Stripe survived that scene because he wanted more popcorn.
Joseph: King of Dreams(2000) – This second DreamWorks Bible story interprets Pharaoh’s famine-predicting dream about grain as seven healthy corn stalks being devoured by seven sickly ones.
The Last Stand (2013) – The car chase through a corn field in this Arnold Schwarzenegger actioner actually has corn cobs hitting the windshield.
Life Stinks (1991) – This Mel Brooks dramedy flopped, but there’s a scene in which a guy can’t seem to wipe some corn off his face.
The Lovely Bones (2009) – This film actually has two significant scenes set in a corn field. There’s the creepy underground lair that Stanley Tucci builds beneath a harvested field, as well as the scene in which he lures Mark Wahlberg into a corn-concealed trap.
The Maze Runner (2014) – This may be a weak example, but the Gladers do hide in a corn field when the Grievers attack. Plus, I can’t help but think this should have been called The Maize Runner.
Sleepwalkers (1992) –Haven’t seen this one either, except a scene where someone actually gets stabbed in the back with a corn cob. What is it with Stephen King and corn?
True Grit(1969) – Throughout this Western, John Wayne munches on corn dodgers, whatever those are.
What about Bob? (1991) – In one dinner scene, Bill Murray really enjoys the heck out of some corn on the cob. “Is this hand-shucked?”
The Wizard of Oz(1939) – When one of your characters is a scarecrow, it’s likely there will be a corn field somewhere.
Well, I’ve officially been blogging for two years now! It all started on New Year’s Eve of 2013, after which I counted down my top 365 list of movies. It took longer than a year, but it gave me a sense of accomplishment. I’ve since been able to watch and review plenty more films and even take part in the occasional blogathon, and I believe my poems and reviews have improved with time and practice, especially since I don’t include so many spoilers like I did at first. While I’ve seen many movies (though not nearly as many as some people), the last year has introduced me to more new films than any other, some new releases and others I’ve just now caught up with.
For starters, this is not a best-of list for 2015 since I’ve only seen about seven movies from this year, and there are many more qualified bloggers reviewing all the Oscar-worthy stuff. (Heck, I just saw the Best Picture of 1991! I’m in no rush.) Throughout the year, I’ve been ranking each movie as List-Worthy, List Runner-Up, Honorable Mention, Dishonorable Mention, and the rare Bottom-Dweller. I’ve been liberal with the List-Worthies, and I think it doesn’t mean much if I don’t actually add these new favorites to my original list.
That’s what this post is all about. Before I post the updated list, this top twelve is dedicated to the movies that made it onto the list, based solely on my personal preferences. There were a lot of great films to choose from, including some close runners-up (Nebraska; Memento; Frozen River;Same Time, Next Year), but these are the best for me. While I have yet to review them all, I will get to each one eventually. I’ll start with the top twelve, then the fifty-five others that earned the rank of List-Worthy, followed by the original list-makers that were booted off this time (all of which I still love).
I’m struck especially by the diversity of the films that made it, including two horrors, six anime, three TV dramas, six superhero movies, and even a direct-to-video found-footage film. Any sequels, such as The Winter Soldier and Mockingjay: Part 1 and 2, will be grouped with their originals so they won’t actually have a separate place on the list. (There might be some additional grouping; Teachers, for example, will be listed with Won’t Back Down because of similar themes.) Most of these additions were new to me, though some I just needed a reminder of how good they were (such as Adventures in Babysitting and A View to a Kill).
A big thank-you to all who have followed and liked over the last two years. It’s been great fun, and I hope to see many more movies to add to my next list, while still working my way through college and writing my novel. So without further ado, here are my favorite additions to “THE LIST,” as of 2015.
Ant-Man (2015) – Just as everyone else seemed instantly in love with Guardians of the Galaxy (I’ve warmed up to it), Ant-Man became a hit in my house. Harking back to the beginning of the Marvel Cinematic Universe before the extinction of all mankind became a threat in practically every movie, the smaller and funnier tone of Ant-Man hit all the right notes for an origin story.
Children Who Chase Lost Voices(2011) – The best of the new anime films I’ve added to the list, this fantasy combines all the best elements of Studio Ghibli’s films to create something familiar yet unique, weird yet deeply poignant. Plus, the animation is second to none.
Source Code(2011) – Clearly combining the likes of Quantum Leap and Groundhog Day, this Jake Gyllenhaal time-bender puts a soldier on a repeating time loop of sorts as he tries to uncover the terrorist behind a train bombing.
United 93(2006) – A fitting tribute to the heroic victims of the fourth plane on September 11, Paul Greengrass’s taut drama builds suspense while keeping everything highly realistic.
The Hunger Games: Mockingjay – Part 2 (2015) – I know I’m in the minority here, but I felt Mockingjay’s second half was the best of the series, a heartbreaking but satisfying conclusion to Katniss Everdeen’s story.
X-Men: Days of Future Past(2014) – What can I say? I like superhero movies, and Bryan Singer’s return to the franchise redeemed the awful mistakes of The Last Stand while telling an entertaining time-travel tale of revenge and second chances.
Star Wars: The Force Awakens(2015) – I’m still on the fence about this one. I enjoyed the balance of nostalgia and reinvention, but I’m placing it this high with faith that future viewings will smooth over my criticisms. Still, at this point, I can’t say I like it better than the prequels. (Sorry to all the prequel-haters who just fainted.) J.J. Abrams did well, though, and I look forward to the rest of this new chapter of Star Wars.
Inside Out(2015) – Oh, Pixar, you did it again. The fittingly emotional tale of anthropomorphized emotions inside the head of a displaced young girl is a shoo-in for Best Animated Feature and a return to form for the celebrated studio.
Big Hero 6(2014) – Superheroes again, but this time paired with my other favorite genre, animation. Disney’s animation department has really improved over the last few years, and Big Hero 6 became an instant favorite with its lovable robot Baymax and the mix of vengeful action and heartfelt friendship.
Taking Chance (2009) – One more thank-you to MovieRob for introducing me to this powerful HBO drama of a real-life soldier accompanying the body of a fallen comrade back home. It offers touching character moments and genuine military honor for those who have fallen in the line of duty. Only this and the next two were able to crack my Top 100.
Serenity (2005) – Clever and fun yet dark and intelligent, Joss Whedon’s big-screen conclusion to his cancelled sci-fi TV show Firefly was everything I could have hoped in a series finale.
The Truman Show(1998) – Jim Carrey’s first dramatic film was actually supposed to be on the original list but was skipped for some reason. This story of a sheltered man whose entire life has been a popular reality show offers paranoia, ethical questions, a bit of Jim Carrey’s trademark goofiness, and some outstanding acting from Carrey and Ed Harris.
And here are all of the other additions, in alphabetical order:
(500) Days of Summer (2009)
A Beautiful Mind (2001)
Adventures in Babysitting (1987)
All Quiet on the Western Front (1930)
Almost Famous (2000)
Avengers: Age of Ultron (2015)
A View to a Kill (1985)
Being There (1979)
Cannery Row (1982)
Captain America: The Winter Soldier (2014)
The China Syndrome (1979)
Coma (1978)
The Conjuring (2013)
The Count of Monte Cristo (2002)
Cowboy Bebop: The Movie (2001)
Cross Creek (1983)
Die Hard 2 (1990)
Die Hard with a Vengeance (1995)
Ernest and Celestine (2012)
The Fault in Our Stars (2014)
Footloose (1984)
Guardians of the Galaxy (2014)
Harrison Bergeron (1995)
The Hobbit: The Battle of the Five Armies (2014)
The Hundred-Foot Journey (2014)
The Hunger Games: Mockingjay – Part 1 (2014)
Immediate Family (1989)
The Judge (2014)
La Bamba (1987)
Lunopolis (2011)
The Maze Runner (2014)
The Miracle Worker (1962)
Misery (1990)
My Name is Bill W. (1989)
The Naked Gun (1988)
Ordinary People (1980)
The Others (2001)
Patema Inverted (2013)
The Prestige (2006)
Princess Mononoke (1997)
Quiz Show (1994)
Roman Holiday (1953)
Separate But Equal (1991)
Seven Samurai (1954)
Soapdish (1991)
Song of the Sea (2014)
Soul Man (1986)
Teachers (1984)
Time after Time (1979)
The Towering Inferno (1974)
Vantage Point (2008)
Watership Down (1978)
The Way Back (2010)
The Wind Rises (2013)
Wolf Children (2012)
And here are a few unofficial “awards” to compliment the best aspects of these additions:
Best opening scene: Cowboy Bebop: The Movie
Best final scene: The Way Back
Coolest scene: Serenity
Biggest emotional impact: United 93
Oldest film: All Quiet on the Western Front
Most recent film: Star Wars: The Force Awakens
Best soundtrack: Almost Famous (followed by (500) Days of Summer)
Best score: The Truman Show (followed by A Beautiful Mind)
Best special effects: Guardians of the Galaxy
Most mind-bending: The Prestige
Most family-friendly: Ernest and Celestine
Most mature: Die Hard with a Vengeance
Scariest: The Conjuring
Funniest: The Naked Gun
Most controversial: Soul Man
Best VC Pick: Cannery Row
Best male performance: Peter Sellers in Being There
Best female performance: Kathy Bates in Misery
Most represented year: 2014, with eleven films
Farewell to these 57 films (in alphabetical order) that were part of the original list and have now been replaced. Most are from the very bottom of the original list, but they are still among my favorites. They shall not be forgotten.
Not sure what a Meet-‘Em-and-Move-On movie is? That’s not surprising since it’s a label I invented, but you’ve surely seen many such films. It’s an unofficial subgenre that I am always deeply moved by and includes many of my favorite movies. In fact, this list may mirror my top movie list overall due to my personal connection with many of these examples.
I call them Meet-‘Em-and-Move-On movies (MEAMOs) because they follow a single character or group throughout a journey of some kind, sometimes a quest, sometimes a personal mission, sometimes the key events of life itself. Throughout said journey, they meet various, often quirky characters who somehow affect them or vice versa and move on, sometimes meeting the same characters later. Usually (though not always) there is some climactic reunion or a look back at all those met along the way, and it is this element that especially tugs at my heartstrings with powerful themes of friendship, love, or forgiveness.
It took me a while to realize the commonalities among these movies and why I enjoy most of them so much. My earliest encounter with the Meet-‘Em-and-Move-On, which helped solidify my admiration for such stories, was Kate DiCamillo’s picture book The Miraculous Journey of Edward Tulane, one of my favorite children’s books since it brought me and my mom to tears. Stories like this especially rely on how well they are told, building character in the diverse travelers on the road of life and suffusing increasing meaning and interest into the trip and its destination. Most of these films I count among my favorites, though I’m ranking them on both my personal preference and on how well they fit the criteria of a Meet-‘Em-and-Move-On. I’m always on the lookout for new examples of this personal genre, so feel free to comment! On to the list!
Not to be confused with The Way or The Way, Way Back, The Way Back tells the supposedly true story of a group of prisoners, who escape from a Russian gulag in Siberia. They then proceed to walk all the way to India. The journey is incredibly harsh, ranging from frigid taigas to scorching deserts, yet they carry on, supporting each other along the dangerous road. Jim Sturgess, Ed Harris, Colin Farrell, and Saoirse Ronan are all in top form, and the reunion at the end touched me deeply.
When Thomas Avery (Martin Sheen) must travel to France to claim the body of his dead son (director and Sheen’s real son Emilio Estevez), he’s not planning a journey, but he decides to take up his son’s unfinished pilgrimage along the Camino de Santiago de Compostela in Spain. Carrying his son’s ashes, he encounters an overweight Dutchman (Yorick van Wageningen), a snide Canadian (Deborah Kara Unger), and an Irish writer (James Nesbitt), all walking for different reasons, along with various other travelers and locals. While Avery first sees the hike as a self-imposed obligation, he transforms over the journey from cynic to pilgrim, and everyone finds realistic catharsis, even if it’s not what they expected.
While this fantastical Brad Pitt opus is a prime example of a meet-‘em-and-move-on film, there are others that I just enjoy more. Adapted by Eric Roth (who also wrote #3 on this list) from an F. Scott Fitzgerald story, The Curious Case of Benjamin Button follows the titular character throughout a backwards life. Born as an old man, Benjamin grows younger over the years as he meets and learns from his adopted mother (Taraji P. Henson), a brief lover (Tilda Swinton), his first employer (Jared Harris), and of course his true love Daisy (Cate Blanchett). I love how some of the unique characters he meets pop up later in the story, and the final scenes add an epic and magical sweep to all those who touched Benjamin’s uncommon life.
While I was only recently introduced to this underappreciated modern classic from HBO (thanks again to MovieRob), I realized after seeing it that part of its power stems from its MEAMO trappings. Kevin Bacon won an Emmy playing Lt. Colonel Michael Strobl, who escorted the body of slain soldier Chance Phelps back home. During the trip, he briefly connects with fellow Americans, who render due reverence and small but meaningful offerings of respect to the deceased and his escort. As Strobl meets and moves on, he experiences the gratitude and grief of a nation.
A favorite of mine since childhood, Paulie is a film that I like to call a mix of Forrest Gump and Lassie but with a parrot. Many MEAMOs are actually recollections of a main character, and in this case the caged Paulie (voiced by Jay Mohr) recounts his life to a Russian janitor (Tony Shalhoub). Beginning with his first dear owner Marie, who taught him to speak, Paulie describes his separation from her and his ongoing quest to reunite. Gena Rowlands, Cheech Marin, and Mohr himself play his varied owners along the way, who teach him everything from manners to burglary, but Marie is always his goal. This was a personal tearjerker of mine for a long time.
Further proof that a MEAMO can also follow an animal, even one less anthropomorphized than Paulie, War Horse is modern Spielberg at his best. The bond between English farm boy Albert Narracott (Jeremy Irvine) and his horse Joey is established early, and when Joey is sent to serve as a steed in World War I, that bond serves as strength to sustain them through the horrors of war. As he survives where other don’t, Joey journeys between owners, from a British captain (Tom Hiddleston) to two German brothers to a French farmer and his granddaughter. While Joey himself may be seen as a blank slate, he acts as witness to the stresses, reliefs, and camaraderie of battle.
It may not seem like an obvious fit, but Shawshank is an example of how a Meet-‘Em-and-Move-On can focus on a static character as others drift through his life rather than the other way around. Tim Robbins is Andy Dufresne, a wrongfully convicted prisoner of Shawshank State Penitentiary. While his friendships are mainly with a small group of jailbirds, particularly Red (Morgan Freeman), he also endures cruel inmates, placates hostile guards, and connects with more sympathetic prisoners, whose moving on can be sharply tragic. It does end with a reunion too, so it counts.
Mitch Albom’s ingenious novel deserved a good adaptation, and this Hallmark film delivered it in a truly affecting style. After Eddie (Jon Voight), an aged amusement park maintenance man, dies from an accident, he meets five key people from his life, which is unveiled through flashbacks of his childhood, his service in World War II, and his seemingly worthless life afterward. These five people serve to emphasize the theme of many MEAMOs, that people leave unexpected influences on those they meet and one cannot fully know in life how they have affected others for good or ill. Seeing this made clear to Eddie is both heartwarming and heartbreaking, and the reunion at film’s end is one of the few things that can still bring me to tears.
While not the only animated MEAMO, Finding Nemo is the best, following the familiar but unparalleled formula of separation, journey, and reconciliation. Marlin the clownfish (Albert Brooks) loses his son to human divers and must brave the entire ocean to save him. Accompanied by lovable Dory (Ellen DeGeneres), he encounters a multitude of marine acquaintances, from sharks to sea turtles to jellyfish to whales. By the end, the journey has transformed his relationship with Nemo in all the best ways. I can only hope that next year’s Finding Dory can even come close to this Pixar classic.
The quintessential example of a Meet-‘Em-and-Move-On film, Oscar winner Forrest Gump follows Tom Hanks’s devoted dimwit from rural Alabama to the jungles of Vietnam to the shrimping waters of Louisiana. All the MEAMO elements are here: a key protagonist, quirky adventures, acquaintances who pop up again later on, and a longed-for reunion (though that part isn’t as prominent as in other films). In addition to the fictional characters Forrest meets and moves on from, he also bumps into various historical figures during his life, leaving an impact on them and vice versa. This is the film that helped me to define what it is I love about this kind of movie, and it’s one to which I keep returning time after time.
As much as I love Forrest Gump, Mr. Holland’s Opus still edges it out. Another example of a stationary protagonist, this is the story of a music teacher (Richard Dreyfuss), who inspires class after class of high school students while struggling with his deaf son and personal lack of fulfillment. The teacher-student relationship is a perfect example of how one’s actions can have a far-reaching influence on another’s life. When Mr. Holland’s full impact is revealed to him along with the culmination of his musical aspirations, it’s one of the most satisfying lump-in-the-throat scenes ever.
Imagine my delight when I realized that my favorite movie trilogy fits into my favorite genre. Since the MEAMO might simply be considered a quest movie, Frodo’s quest to destroy the one Ring definitely qualifies. He and fellow hobbit Sam meet dwarves, elves, men, monsters, Gollum, more men, a giant spider, and more orcs, and in true MEAMO fashion, these comrades and enemies tend to fall away and resurface as the quest continues. Once the Fellowship breaks up, there are actually three intertwining “quests,” and though there are separations and returns aplenty, the final reunion is nobly poignant, enhancing the sense of just how far these characters have come on their journey, which is what Meet-‘Em-and-Move-On movies are all about.
Here are some other examples of the MEAMO style, in alphabetical order. I don’t particularly like a few of these, and some barely qualify, but thanks to the power of the genre, they all have their potent moments.
A League of Their Own(1992) – This dramedy about women’s baseball is a rather tenuous example, but the reunion at the end seems to make it fit the mold.
The Color Purple(1985) – This adaptation of Alice Walker’s novel features one of the most touching reunions ever filmed.
Extremely Loud and Incredibly Close(2011) – This affecting drama follows a boy who scours New York City and interviews many citizens for any clue about a key left by his father, who died on 9/11.
The Killing Fields(1984) – This real-life drama about Communist Cambodia isn’t exclusively a MEAMO, but the latter half has elements of it.
Life of Pi(2012) – Again, the lifeboat scenes don’t quite fit the mold, but the colorful lead-up stories do.
Little Big Man (1970) – Something of a Western precursor to Forrest Gump, with an age-spanning performance from Dustin Hoffman.
The Odd Life of Timothy Green (2012) – A sentimental tale of a perfect son with leaves.
Over the Garden Wall (2014) – An Emmy-winning animated miniseries with a basis in fairy tales; overly weird in spots but with a unique style.
The Power of One (1992) – An occasionally cruel but touching drama set in South Africa.
Secondhand Lions(2003) – A sweet and quirky tale of a boy sent to live with his two grumpy great-uncles with colorful pasts.
Slumdog Millionaire (2008) – Best Picture winner with a feel-good ending, even if the rest doesn’t always feel good; another good example of minor interactions influencing the main character’s journey.
The Straight Story (1999) – A rather boring but pleasant tale of a man’s cross-country trek on a riding lawn mower.
Watership Down(1978) – Another animated example with rabbits in search of a new home.
The Wizard of Oz(1939) – Dorothy’s journey through Oz is as classic as classic can be.
I love good television, whether it be a comedy, a drama, science fiction, or even a cartoon, and any movie lover is bound to have numerous favorite shows. That being said, I will mention up front that I have not seen nearly as many as the pop culture experts, mainly because of how time-consuming catching up on a show can be. I’ve never seen Buffy or Breaking Bad or Bonanza, and my aversion to violence has prevented me from checking out acclaimed but notorious shows like Game of Thrones or The Walking Dead. Still, when I find a show I like, I enjoy watching and rewatching it and tend to know it inside and out. I can thank my parents for introducing me to many of the older shows on this list, while others I stumbled upon as a pleasant surprise. I may not be the most well-versed TV viewer, but I can say for a fact that all of these are great television.
TIE: Little House on the Prairie (1974-1983)/ The Waltons (1972-1981)
I’m probably one of the only guys my age who can see the merit in these two old-fashioned shows. I grew up with reruns of both of them on Hallmark Channel, and even as more modern and edgy shows have replaced them, I still carry a special fondness for rural family dramas.
Little House on the Prairie is based off of the book series by Laura Ingalls Wilder and similarly paints a lovable picture of frontier life from the viewpoint of young Laura (Melissa Gilbert). Michael Landon as her wise Pa is one of the quintessential TV fathers, and while the show grew stale in its later seasons, most of its run was deeply endearing, whether it be Laura’s quarrels with mean Nellie Oleson or the sad season where sister Mary went blind.
The Waltons is also based on the youth and work of an author, producer Earl Hamner, Jr., replaced by John-Boy Walton (Richard Thomas). Growing up in Depression-era Virginia with his parents, grandparents, and six siblings, John-Boy faces moral questions and personal challenges as he becomes a writer, goes to college, and also depends on the wisdom of his father (Ralph Waite). Again, later seasons degraded in quality, but The Waltons built an enduring family and community that faced financial difficulty and still came out happy. Both of these shows may seem boring and saccharine by today’s standards, but they serve as reminders to me of the simple comfort of the simple past. The first notes of both opening themes make me feel like I’m going home to visit old family and friends.
TIE: Phineas and Ferb (2007-2015) / Gravity Falls (2012-present)
Recent shows like these have confirmed that cartoons can be enjoyed by adults just as much as by kids. Both of these are Disney Channel shows (probably the best in its history), which take place over one very eventful summer. Both have attracted adult fan bases and many talented voice actors.
Phineas and Ferb is very formulaic. Stepbrothers Phineas (Vincent Martella) and Ferb (Thomas Sangster) and their friends go to crazily fun lengths to make the most of the summer, while their sister Candace (Ashley Tisdale) tries to “bust” them to their mother, while their pet platypus escapes to fight an evil scientist. First, it’s odd; then it’s utterly familiar. Yet the showrunners find every opportunity to alter expectations and make it fresh with consistent humor and surprisingly impressive songs in every single episode. You know what to expect, but you never know what will change. The show sadly ended just this year, but even in the final episode, they were toying with the space-time continuum and making one of the funniest spoon jokes ever. Am I a fan of this show? Yes, yes, I am. Here’s one of the best musical numbers:
Gravity Falls was another surprise, as it’s quickly surpassed my expectations with its addictive mystery. Twins Dipper (Jason Ritter) and Mabel (Kristen Schaal) are sent to Gravity Falls, Oregon, to stay for the summer with their con artist Great Uncle Stan (show creator Alex Hirsch). Small, silly mysteries give way to huge ones, with cleverly hidden clues and hints sprinkled throughout each episode via background details and encoded backwards messages. (That whispering at the end of the theme song below is a backwards message for how to decode another message during the end credits.) Gravity Falls has some of that modern cartoon weirdness (anyone who’s seen Cartoon Network’s current lineup knows what I mean), but it works, with spoofs of movies like The Thing, The Exorcist, or those horror anthologies. Think, childish antics one minute and possessed mounted heads bleeding from the mouth the next. Yeah, on a supposed kid’s show (not so much). The early episodes don’t fully prepare you for how epic Gravity Falls becomes. It’s also hilariously written, and recent cliffhanger episodes have left me craving more.
St. Elsewhere (1982-1988)
Predating the more recent hospital dramas like ER or Grey’s Anatomy, St. Elsewhere was one of the best dramas of the 1980s. Doctors and nurses at Boston’s unprestigious teaching hospital St. Eligius dealt with all kinds of current issues, from bombers and rapists and missing children to cancer and organ transplants. It also featured an amazingly talented ensemble cast, including many actors in before-they-were-famous roles, such as Denzel Washington, Howie Mandel, Ed Begley, Jr., David Morse, Alfre Woodard, Bruce Greenwood, and Helen Hunt, not to mention two-time Emmy winner and five-time nominee William Daniels as irascible Dr. Mark Craig. Full of memorable, often heartbreaking episodes, this show is one not to be forgotten.
Gilligan’s Island (1964-1967)
From an acclaimed drama to a silly favorite, I could not not put Gilligan’s Island on this list. Again, I grew up watching reruns, and the slapstick interactions of those seven people trapped on an island (without polar bears, hatches, or smoke monsters) never cease to be entertaining. Anyone who’s anyone has to know the easily singable theme song. From the odd couple antics of Gilligan and the Skipper to the pompous vanity of the Howells to the ridiculously inventive contraptions made by the Professor, Gilligan’s Island has a timeless quality, and I expect to be laughing at it with my grandchildren many years hence.
Sherlock (2010-present)
I hesitated to include Sherlock since it is essentially a series of TV movies, but it qualifies well enough. Benedict Cumberbatch and Martin Freeman are terrifically watchable actors on their own, but putting them together in a modern-day take on the famous detective was downright genius. The writing, humor, and editing are phenomenal, but it all comes down to their chemistry and delivery. Cumberbatch nails the self-assured, single-minded intensity of everyone’s favorite high-functioning sociopath, while Freeman’s down-to-earth Watson offers the perfect contrast with his quick wit and muted reactions. The show continues to deliver constant inventiveness and intrigue. Like Sherlock himself, it’s clever, and it knows it’s clever, and it relishes being clever in all the best ways. Can’t wait for the Christmas special!
TIE: Firefly (2002) / Cowboy Bebop (1998)
I’m not the first to compare these two shows, and I just couldn’t resist combining them here due to their many similarities. Both are about thirteen hours long and feature believable, occasionally violent, space-faring settings with a mixed Western vibe; the crew of a rundown spaceship seeking their next job; an awesome lead character who can shoot hostage takers in the head; a young girl genius who acts weird and adds little to individual episodes; and a spinoff movie to satisfy fans’ demands for more.
In truth, Firefly is the better of the two shows. Joss Whedon’s retroactively popular science fiction deserved a much longer lifespan than just half a season. With impressive special effects for the time and Whedon’s shrewd dialogue, which can only be described as “shiny,” Captain Mal Reynolds and the crew of the Serenity turned Firefly into more than just another canceled show. They became a ragtag family aboard that ship, while the combination of futuristic technology and old-fashioned shootouts clinched Firefly as something truly unique.
As unique as it is, though, there were forerunners. I’ve heard that another anime show called Outlaw Star had a frozen girl in a box a few years before Whedon did. Cowboy Bebop may not have directly influenced it, but it’s still an excellent show with fantastic music. Hailed as one of the best anime shows ever, Cowboy Bebop follows the small crew of the Bebop, bounty hunters (not the Jubal Early kind) who catch bad guys while coming to terms with their pasts. Spike Spiegel is as cool as they come, and his kick-butt adventures with ship owner Jet Black, amnesiac femme fatale Faye Valentine, and a girl named Edward typically start slow and build to an action-packed finale. Whereas Firefly has a more explicitly Western tone, Cowboy Bebop incorporates more crime drama, jazz, and film noir, with subtle characterization and artsy editing. Each episode is distinct (one episode is like space-age Midnight Run, while another is a serio-comic version of Alien), but major plot threads tie together (for the most part) for an exceptionally sad conclusion. The worst thing I can say about the show is that each 30-minute episode is so full of plot that it easily could have warranted an hour runtime to avoid feeling rushed. Still, Cowboy Bebop is concise storytelling at its best.
Quantum Leap (1989-1993)
Time travel is a concept full of possibility, and Quantum Leap was the first show to do it justice. Amnesiac Sam Beckett (Scott Bakula) “leaps” into other people’s bodies throughout modern history, solving problems and righting wrongs with the indirect aid of his friend Al (Dean Stockwell), who appears to him as a hologram. Sam gets to know the family or acquaintances of his host body and resolve the minor setbacks of history, and though he typically only bumps into famous people, sometimes he leaps right into them, whether for awkward humor (Dr. Ruth) or drama (Lee Harvey Oswald). Right when you think the writers have run out of ideas, they come up with some brilliant or silly variation of the main concept, and the result was always entertaining. Oh, boy.
M*A*S*H (1972-1983)
TV dramedy doesn’t get any better than M*A*S*H, a show that garnered eleven seasons, eight Golden Globes, fourteen Emmys, and more than one hundred Emmy nominations. Through the motley bunch of surgeons and soldiers at the 4077th Mobile Army Surgical Hospital, viewers got an eleven-year look at the three-year Korean War, which perhaps seemed just as long to those who fought in it. M*A*S*H was at the forefront of innovative television, whether it be an episode filmed in real time or one from the first-person view of a patient. For such a long-running show, it surprisingly got better with time. The first couple of seasons were more generally comedic, while later seasons cranked up the drama, even killing a main character offscreen. From Alan Alda’s likable joker Hawkeye to Harry Morgan’s stoic but soft-hearted Colonel Potter, viewers truly got to know and love these characters, making the historic finale a genuine tearjerker.
Avatar: The Last Airbender (2005-2008) / The Legend of Korra (2012-2014)
Predating James Cameron’s similarly named blockbuster, Avatar: The Last Airbender was quite a surprise. Nickelodeon up to that point was known for pure silliness like SpongeBob or The Fairly OddParents, yet Avatar mingled its comedy with a startlingly awesome world with elemental superpowers called bending and an ongoing storyline that became more serious with each season. The last surviving airbender is discovered as the lost peace-bringing Avatar, and with Katara and Sokka of the Water Tribe, he sets out to master Water, Earth, and Fire and defeat the evil, warmongering Fire Lord. I’ve heard Avatar compared with Star Wars, another franchise with a young protagonist learning to master mystical powers to topple a dark tyrant. The characters are lovable and surprisingly deep, while the action and elemental showdowns are all levels of cool. Despite some mysticism, I consider Avatar the best animated show ever. (I’m also including The Legend of Korra here since it continues the story and world of Avatar seventy years later. It’s not quite as good, but it has a similar blend of fantasy and excitement while tackling more mature themes.)
Star Trek: The Next Generation (1987-1994)
Star Trek is a staple in my house. From television to movies, it has been a consistent source of thought-provoking science fiction for nearly fifty years now. While I still very much enjoy the original Star Trek with Kirk and Spock and McCoy, it’s a bit dated, and The Next Generation helped to reinvigorate the Trek universe for yes, the next generation of fans. Next Gen started slow and had its cheesy moments too, but it’s a prime example of a show’s actors and writers finding their groove over time. As much as I like Kirk and Spock, I learned to love Captain Picard (Patrick Stewart), Data (Brent Spiner), Dr. Crusher (Gates McFadden), Geordi Laforge (LeVar Burton), and the rest of the new Enterprise crew even more. Now that another Star Trek show is in the works, I can only hope it will have a similar effect on another “next generation” of fans.
Star Trek: Voyager (1995-2001)
I may be in the minority (and I haven’t fully explored Deep Space Nine and Enterprise), but I am convinced that Voyager is the best Star Trek series of them all, breaking ground with its strong female captain and exploring questions of identity, truth, and principles. It follows something of the same exploration theme as the three Enterprise shows but hurls the titular ship to the Delta Quadrant, allowing the entire show to be a sci-fi Odyssey, a mission to get home. Again, the actors take time adjusting to their roles, but once they do, they become almost like family. From the contrast between logical Tuvok (Tim Russ) and gregarious Neelix (Ethan Phillips) to the warm rapport between Captain Janeway (Kate Mulgrew) and Chakotay (Robert Beltran) to the endearing ego of the holographic Doctor (Robert Picardo), the characters grow on their journey, amid all manner of alien attacks and ethical quandaries. Science fiction provides an opportunity to ask moral questions that aren’t as feasible in real-life scenarios, and Voyager (and Star Trek in general) excels at just that. This is probably the show I’ve seen the most frequently since I never get tired of it.
Lost (2004-2010)
J.J. Abrams, you’re my hero. This ranking should come as no surprise to anyone who’s read more than a few of my posts. I’m grateful for the words “in my opinion,” because with them I can gush to my heart’s content. In my opinion, Lost is the greatest show ever made. IMO, no other show can compare with the level of character development reached through all the flashbacks and flash-forwards. IMO, Lost is an addictive drug of a show right from the explosive opening, with ongoing mysteries and intense emergencies and character deaths both unexpected and heart-rending. I know J.J. Abrams and the writers did not preplan Lost in its entirety, but that only makes the end product an even more incredible feat of storytelling. Characters pop up in others’ flashbacks, details nearly forgotten reassert their importance, and no other show has made me and my family cry because we became so attached to this diverse ensemble of beloved characters. Even if many did not like or understand the final season, it wrapped everything up well enough to leave the perfect bittersweet glow that the end of a great show should. Now I have to go rewatch it. J
Runners-Up
Arrow (2012-present) – Further proof that Marvel rules the box office, but DC excels with TV.
The Bugs Bunny Show (1960-2000) – My VC insisted I included her favorite cartoon, even if it was a collection of shorts rather than a typical TV show.
The Cosby Show (1984-1992) – Despite all the Bill Cosby scandals, I still enjoy the original show that made him a household name.
Everybody Loves Raymond (1996-2005) – Ray Romano’s dysfunctional family still puts a smile on my face.
Full House (1987-1995) – It seems overly sweet now, but it was one of my favorite sitcoms growing up.
Good Eats (1999-2012) – Alton Brown’s quirky cooking show with many movie references. I’ll never make coq au vin, but it’s fun watching him do it.
Hey, Arnold! (1996-2004) – A likable and down-to-earth cartoon with admirable morals.
Jeopardy! (1964-present) – Everyone’s favorite game show is mine too. I’m still insisting I’ll be a contestant one of these days.
Marvel’s Agents of S.H.I.E.L.D. (2013-present) – Proof that Marvel can excel at TV too, especially with Joss Whedon’s involvement.
The Mary Tyler Moore Show (1970-1977) – There’s something about Mary and her TV station coworkers that still wins hearts all these years later.
Star Trek: The Original Series (1966-1969) – Dated yet classic, this is the Trek show that started it all.
Star Wars: Clone Wars (2003) – Not to be confused with the less appealing CGI show, this short-form series added just the right action and background information in between Episodes II and III.
Taxi (1978-1983) – A classic comedy with Judd Hirsch and Danny DeVito.
Teen Titans (2003-2006) – A fun anime-influenced superhero show that could get surprisingly dark.
The Twilight Zone (1959-1964) – Rod Serling’s classic anthology series ranged from chilling horror to memorable what-if science fiction.
I’ve made no secret about the fact that I don’t really enjoy horror movies, and this is why I simply haven’t seen very many. I’m a stranger to zombies and body horror and slashers, and I don’t have much desire to change that. I suppose my aversion to the genre has three main reasons behind it.
First of all, though horror is among the most prolific of film categories, much of it is of low quality. I’ve read many more reviews of horror films than I’ve actually seen, and so many are described as stupid, boring, ridiculous, exploitative, and other less-than-appealing descriptors. I try to avoid bad films as a rule, so these kinds of reviews haven’t made me eager to broaden my horror palate. Secondly, the majority of horror focuses on evil and violence, often existing for no other reason than to dream up new ways of killing people (Saw, Final Destination, etc.). I believe that demons and dark forces are real, and I want to give depictions of them as little of my time as possible, particularly since the latest trend seems to be allowing evil to prevail in the end.
The third and final reason is the simple fact that I am a wuss. I can’t stand gore in regular movies, let alone scary ones, and I tend to have an active and easily troubled imagination. I mean, I remember being almost traumatized by an episode of the cartoon Courage the Cowardly Dog, which had this creepy mummy just standing there in the distance.
I just don’t think I can handle most of the disturbing content out there.
I can’t say that I don’t like all horror movies, since I have enough to make a list like this, but all this is to say that I’m very picky about my scary movies. I don’t mind being scared as long as it doesn’t cross my personal threshold and as long as there is some redeeming factor, such as artistry, great acting, or overall entertainment. For this list, I’m also avoiding any genre debates about what constitutes “horror” by making this a list of scary films, films that scared me but that I still found to be worthwhile. One good thing I can say for horror is that it can be educational, often showing viewers what not to do in a dangerous situation, so I’ll include lessons I learned along the way. If anyone knows of films like the ones below that I may enjoy, feel free to recommend others!
Twilight Zone: The Movie (1983)
One of the most obviously chilling aspects of this movie is that three people died during its production, actor Vic Morrow and two children, who were killed in an accident during the “Time Out” segment of this anthology. Oddly, this one and “Kick the Can” are the least scary, but there are plenty of unsettling moments, from the hitchhiker prologue (“You wanna see something really scary?”) to the remake of the classic episode “Nightmare at 20,000 Feet,” where John Lithgow really comes unhinged. It was the third segment, though, that frightened me the first time, in which Kathleen Quinlan witnesses the cartoonish yet hellish imagination of a reality-warping child. Cartoons aren’t supposed to be scary, right?
Worst scares: The TV demon, and Lithgow opening the plane window
Lesson learned: Don’t pick up hitchhikers that look like Dan Aykroyd.
This may not seem like an obvious choice, but the abandoned New York in this Will Smith zombie-ish thriller is certainly unnerving, empty yet full of anticipation that something is out there. When Robert Neville is forced to follow his dog Sam into a dark building full of “Darkseeker” mutants, his first-person-shooter exploration is among the most intense scenes I’ve encountered. The final cut would have benefited from the happier alternate ending, but I Am Legend manages to be unexpectedly emotional in addition to tense. I might also include the only zombie film I’ve seen, World War Z, which is more action-oriented (and not gory) yet still manages some taut moments.
Worst scare: Exploring the pitch-black building
Lesson learned: If someone creates a cure for cancer, test it first! (Also, don’t yell at mannequins.)
This is the main reason I went with “scary” movies instead of “horror” movies. I’m fully aware that this isn’t horror, but who wasn’t scared by those raptors? My VC has mentioned how she was practically kicking the seat in front of her when Lex almost falls out of the air vent. Sometimes a thriller like Jurassic Park can keep you more on the edge of your seat than genuine horror and keep it a lot more fun. This also happens to be one of only two films at which I’ve caught myself nearly hyperventilating (the other was Oliver! Weird, I know, but I was a kid.)
Worst scare: Raptors in the kitchen
Lesson learned: Don’t spend millions to bring ancient predators back from the dead and then put ultimate power in an unreliable slob that looks like Wayne Knight!
Based on the book by horror-meister Stephen King, the miniseries It features one of the most frightening characters around. Tim Curry as Pennywise the Dancing Clown has a vicious zeal that contrasts with his jolly appearance as he toys with and preys on the children of Derry, Maine. It isn’t as scary as a lot of other movies (and the ending may leave something to be desired), but after seeing It, it’s hard to look at clowns and storm drains the same way.
Worst scare: Holding hands in the sewer
Lesson learned: If you’re lucky enough to survive a child-eating monster and move away from it, don’t move back!
The Amityville Horror (1979)
One of the original famed haunted house movies, The Amityville Horror became popular largely due to its status as a “true story.” With so many uncomfortable events coinciding, it’s a convincingly eerie tale, with Josh Brolin and Margot Kidder playing a happily married couple threatened by a malicious house. The instances of horror are almost like a checklist of warning signs to watch out for when dealing with a haunted property, and the sinister finale goes all out, though I don’t typically like films where evil seems stronger than religion.
Worst scares: Babysitter in the closet, and “Get out!”
Lesson learned: If your new house attracts swarms of flies and if you discover a secret evil room and if your daughter befriends a pig demon, maybe you ought to MOVE before the walls start bleeding!
Despite M. Night Shyamalan’s declining reputation, I still consider his first three films outstanding. Signs is his take on the alien invasion but stays on a much more intimate level, focusing only on Mel Gibson’s rural family rather than the world at large. Despite light touches of humor, Signs has its fair share of frightening moments, both before and after Gibson’s Graham Hess tries to rationalize the strange events afoot. It’s an instance of what you don’t see being scarier than what you do, which happens to be what I prefer.
Worst scares: The corn field, and the TV reflection
Lesson learned: I don’t care if you are convinced it’s vandals; don’t go out in a corn field at night!
Poltergeist (1982)
Poltergeist was one of the first horror films I saw, and I still consider it somewhat of the gold standard of classic scares. It might have been higher on the list if I had fonder memories of it. I think I saw it too young, and that clown scene especially scared the you-know-what out of me. At the time, I was already nervous about what may be under the bed, and that jump scare was too much for me. Oh, and the rest, of course, was terrifying too: closets that suck you in, trees that suck you in, corpse-filled swimming pools that suck you in, ceilings that do the opposite. Not to mention, there’s the whole curse of actors dying afterward because the filmmakers used real skeletons. *Shiver* I’m so glad they did away with that snowy TV screen after midnight.
Everything seems creepier when it’s dark, and this Nicole Kidman ghost story has plenty of darkness. Kidman plays a mid-19th century mother with two photosensitive children (the light can kill them), whom she shuts away in her large mansion for their own safety. The arrival of new servants brings much to light, so to speak, and the ultimate twist seems like something Shyamalan would have come up with. I often keep my doors shut to keep the cat out of certain rooms, and I’d be lying if I said those closed doors didn’t make me a tad nervous after seeing The Others.
Worst scare: The room of covered furniture
Lesson learned: Don’t get too isolated; the dead may be your only visitors. (Also, keep a shotgun handy. It’s comforting, if not effective.)
The Conjuring (2013)
One of the few modern horror films I’ve seen, The Conjuring lured me in thanks to positive reviews that mentioned potent scares and little gore. That’s exactly what it delivered, but I was also impressed at the level of director James Wan’s technical finesse and the Christian strength in the battle against a malevolent spirit infesting a Connecticut family’s house. There are many callbacks to films like Amityville and Poltergeist, but the chilling atmosphere surpasses them, making this possibly the scariest film I’ve seen. (I just like others more.) Nevertheless, the film ended with the right balance of dread and satisfaction and proved the profitability of well-done horror.
Worst scares: Anytime someone falls into the basement
Lesson learned: Never ever teach your children hide-and-clap!
Not being a fan of Dr. Strangelove or 2001, I wasn’t convinced of Stanley Kubrick’s status as a master filmmaker until I saw his stab at horror. The Shining may have displeased Stephen King with all the changes to his book, but never has a hotel been scarier. Emptiness seems to be inherently frightening, especially when it drives Jack Nicholson psychotic as he works on his novel with only his wife and psychic son as company. Intriguingly ambiguous about whether there are ghosts or time travel at work, The Shining is technically and terrifyingly superb.
Worst scare: “Heeere’s Johnny!”
Lesson learned: “All work and no play makes Jack a dull boy.”
I realize there is a debate over whether science fiction can truly constitute horror, but Alien seems like the perfect affirmation that yes, it can. Described as a “haunted house in space,” Ridley Scott’s first film in the variable franchise has more frights than many straight-up horrors, from the approaching beeps when tracking the creature to its unforgettable first appearance. Aliens is arguably even better, shifting to a more shoot-‘em-up style that amps up the action without sacrificing the shocks. Both films also cemented Sigourney Weaver’s standing as a leading heroine, and even if they’re probably the most violent films on this list, I find both watchably suspenseful in the best way.
Worst scares: Dallas in the tunnels, and Newt in the sewer
Is The Sixth Sense the scariest film ever? No, but it’s a prime example of horror surpassing its own genre to become something thought-provoking, bittersweet, and still nail-biting. As M. Night Shyamalan’s first mainstream film, it also made him a household name. While it may be easy to dismiss it as a one-time twist film, the twist alone begs additional viewings, which then reveal the layers of emotion under the surface. The paranormal aspect impedes the human connections, between Bruce Willis and his wife and Cole and his mother, yet as both are resolved, a supernatural thriller becomes unusually satisfying. I hope Willis’s next collaboration with Shyamalan will be a return to this kind of film for both of them.
Worst scare: The tent ripping open
Lesson learned: Touch someone every now and then, just to be sure. (Also, keep your thermostat up.)
Runners-Up:
The Birds (1963) – Alfred Hitchcock’s avian revolution is a little too dated to be scary overall, but there is the jungle gym scene and the house siege that anticipated other home invasion movies.
Gremlins (1984) – This unconventional Christmas movie trades cute for scary with some dark comedy thrown in for good measure.
The Lost Boys(1987) – More violent than the other films here, yet I still enjoy it, mainly because this vampire flick doesn’t take itself too seriously.
Monster House (2006) – One of the few animated horrors, this somewhat intense film about a haunted house come to life becomes scarier when not even the grown-ups can stop it.
The Mummy(1999) and The Mummy Returns (2001) – I love these films, but the action has always superseded the horror aspect in my eyes, though the first especially has its alarming moments.
Prometheus (2012) – It may have disappointed a lot of people, but Prometheus served as a sufficiently taut prequel to the Alien franchise.
Psycho (1960) – The original and only slasher film I’ve seen, Psycho is buoyed by Hitchcock’s disorienting camerawork and Anthony Perkins’ sincere fiendishness.
Wait until Dark(1967) – Though most of this movie is more boring than thrilling, the ending really picks up, with one scare that even made my VC scream.
War of the Worlds(2005) – Another sci-fi film, Spielberg-style, with both action and some horrific sequences of mass murder.
Like I said, these films may seem pretty tame to the hard-core horror fans out there, but they take me to the edge of my comfort zone while allowing me to still enjoy the genre, which is exactly what scary films are supposed to do.
If anyone hasn’t realized it yet, I really enjoy lists, whether I agree with them or not, and I’ve found a lot of entertaining lists from Miss Mutant of Cinema Parrot Disco. While she focuses on “mainly movies,” she also has plenty of musical posts and song lists. Well, I like music too, so why can’t I join in? Movies and poetry will still be first and foremost for me, but favorite songs may pop up now and then. I’ll still try to find some way to tie it in with movies.
For my first such list, I went with that easiest and perhaps laziest of song lyrics, the “Na na na.” If you don’t know the lyrics, it’s natural to just follow along with this syllabic stand-in, but sometimes songwriters just dispense with further choruses and let the na nas roll. Not only is this easy to remember, it often fits the tune splendidly and makes it stick in the mind…endlessly. Good luck getting these songs out of your head.
Whether the na nas be short or whether the na nas be long,
I’m singing these na nas and bringing these na nas, song by indelible song.
“What Makes You Beautiful” by One Direction
As their debut single, “What Makes You Beautiful” put One Direction on the map of pop music. It’s modern; it’s catchy; it’s got that boy-band glossiness; and as far as mainstream teen music goes, I like it more than most. The actual “na na na” portion is much too short, but it underscores the catchiness of the hook.
“F Games” from the Phineas and Ferb episode “Got Game?”, written by Dan Povenmire, Jeff “Swampy” Marsh, Martin Olson, and Michael Culross
Almost every episode of Disney Channel’s Phineas and Ferb had an original song, many of which are outstanding. This one, from the obligatory boys-vs.-girls episode, has all the intensity of a major sporting event, and I can easily picture fans epically chanting this from the stands.
“I’ll Be Your Shelter” by Diane Warren, sung by Taylor Dayne
Soulful and with some distinctively Tina Turner-ish vocals, this Taylor Dayne single creates an aura of romantic strength, and the na nas bridging each chorus only heighten its appeal. I wonder if this would sound much different if Tina Turner did a cover?
“We Are Young” by fun.
I like fun. That being said, I love “Some Nights” way more than this song, and I don’t think “We Are Young” is all that great until the na na part. Then, as with most na na lyrics, it becomes a rousing earworm worthy of a swaying singalong. I wonder how lead singer Nate Ruess will feel singing this in forty years.
“All the Small Things” by Blink-182
Surprisingly pop-ish for a punk band, “All the Small Things” is utterly catchy, and the more I hear it, the more I like it. The “na na na” portion is upbeat and repetitive enough to leave one out of breath by the end.
I knew I could make a movie connection. High School Musical 2 is easily the best of the HSM films, and this duet is just one among many great songs. This one is also unique in that it has two versions, a sincere love song between Troy and Gabriella and a forced but faster rock version between Sharpay and a hilariously intimidated Troy. I prefer the sincere first one, but my VC actually likes the second version better. Which one do you like?
“Na Na Hey Hey Kiss Him Goodbye” by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to the band “Steam”
Dripping with 1960s/70s-ness, this head-bopper was a number-one hit and is a natural favorite for “in-your-face” rivalries at sporting events. Plus (another movie mention!), it was used to tear-jerking effect in Remember the Titans.
“Lovin’, Touchin’, Squeezin’” by Journey
This song used to act as an introduction to Journey’s “City of the Angels,” but it’s still tender and romantic (if a little less rocking) by itself. During the “na na na” part, I always picture a huge stadium of fans all waving their lighters in the air.
“Hush,” written by Joe South for Billy Joe Royal, better known version by Deep Purple
There are many covers of this song, but I’m personally only familiar with Deep Purple’s version. This early hit was groovy enough for 1968, while setting the stage for heavier rock to come. The instruments go all over the place, but the na nas are there from the very beginning. Plus, it has apparently been in several movies, including Apollo 13.
“Hey, Jude,” by the Beatles
“Hey, Jude” is one of the biggest songs ever produced by the Beatles and a special favorite of my dad’s. A more gentle form of rock, its strength still builds and lingers in the memory, thanks especially to the extended “na na” fadeout. This particular video show the universal appeal of both this song and the “na na,” both easily understood in any language.
“The Look” by Roxette
What do you do if you want to break your music out of Sweden and introduce it to the world? You write a song as awesome as “The Look.” That’s what the duo Roxette did, and the “na na na” section alone bumps it this high on the list. Not enough na nas for you? It has la las too!
“Centerfold” by The J. Geils Band
I’m the last person to be checking out centerfolds, but I looooooove this song! IMO, this is easily the catchiest song on the list and the one to which I most enjoy rocking out in the car. Na nas don’t get much better than this.
Runners-Up:
“12lb Toothbrush” – Madder Lake
“A Horse with No Name” – America
“Comeback Kid (That’s My Dog)” – Brett Dennen
“Come Back Song” – Darius Rucker
“Crash” – The Primitives
“Gettin’ Jiggy wit It” – Will Smith
“How Do You Do” – Mouth & MacNeal
“Kick in the Teeth” – Papa Roach
“Na Na Na (Na Na Na Na Na Na Na Na Na)” – My Chemical Romance
“Na Na” – Superchick
“P.Y.T. (Pretty Young Thing)” – Michael Jackso
“So What?” – Pink
“Tell the World” – Eric Hutchinson
“Tonight, Tonight” – Hot Chelle Rae
“Undo It” – Carrie Underwood
“Welcome to the Jungle” – Guns N’ Roses (I barely remember the na na part, but my VC insisted on mentioning this one.)
I’m sure there are plenty of other good na na songs out there, but these are the ones I’ve heard and liked. Feel free to recommend other potential favorites!
In centuries past, people memorized poetry, but sadly that practice has fallen by the wayside. So how do we nowadays express our knowledge of entertainment and culture? Movie quotes, that’s how. Everyone has a favorite, and there is no shortage of lists and rankings for the great ones. For people like me who enjoy film quotes enough to read this post, there are many that have wormed their way into our everyday dialogue. I can’t remember how many times I’ve heard or said things like “Game over, man. Game over!” or “What we have here is failure to communicate” or “I’ll be back” or “As you wish” or “I love the smell of bacon in the morning.” Yeah.
Yet there are just as many great quotes that don’t get as much recognition. They often come from specific personal favorites or might just be underrated gems hidden among a film’s more famous lines. Either way, these are quotes that usually serve as inside jokes among the few who know them. Typically, when I employ them outside the family circle, people have no idea what I’m quoting, and I think it’s about time these lines get the attention they deserve. Many of these I remembered offhand, but others only came to mind after several days of waiting for someone to spit them out subconsciously.
To test just how unknown these lines are, I’ve set this list up as somewhat of a game. You can scroll down to read each quote and try to identify its source before going down a little further for the answer.
Something tells me these aren’t all obscure, but I never see them on other lists and I do get a kick out of using them. What are your favorites?
“And we’re walking, and we’re walking…”
Dave – I’ve always enjoyed this political romantic comedy, in which Kevin Kline must take the place of his doppelganger President and falls in love with the First Lady (Sigourney Weaver). For some reason, though, the scene that always sticks in my mind is Bonnie Hunt’s cameo, in which she leads a tourist group through the White House. The perfect line for leading someone or just, you know, walking.
“It is time. Oooooh!”
Heart and Souls– A childhood favorite of mine, Heart and Souls followed four dead souls completing their unfinished business through their human friend/vessel (Robert Downey, Jr.). What else would you expect a ghostly bus driver (David Paymer) to say when he drives through a wall to reclaim the wayward souls? His own personal sound effect adds to this line’s appeal. Perfect for announcing the time.
“You swear?”
“Every damn day.”
The Mummy– I love Brendan Fraser’s heroic Rick O’Connell in this action horror remake. This particular line is so quick that most viewers probably didn’t even notice it, but when Evie (Rachel Weisz) demands reassurance with the question above, he delivers the perfect answer. I’m not a fan of swearing, but I always laugh at that line. Perfect for whenever someone asks you to swear.
“This is a very interesting situation!”
It’s a Wonderful Life– Properly said in your best Jimmy Stewart impression, this quote is ideal for when your sweetheart is naked in a bush and you’re holding the only robe in sight. The look on his face is priceless too. Perfect for just about any remotely interesting situation.
“I like that boulder. That’s a nice boulder.”
Shrek – When Donkey has to come up with something nice to say about Shrek’s swamp, a boulder is the best thing he can praise. This line may be referencing something else, but I have no idea what it is. Just replace the word “boulder,” and this line is perfect for complimenting anything.
“It was real, and it was great, and it was really great.”
Elizabethtown – When Drew (Orlando Bloom) tries to reconnect with sort-of girlfriend Ellen (Jessica Biel), she lets him down easy with this should-be classic line. Other memorable quotes from this Cameron Crowe favorite of mine include “You failed, you failed, you failed” and “I’m going to miss your lips and everything attached to them.” This #7 pick, though, is perfect for breaking up or generally taking your leave of someone.
“You’re right. You’re right. I know you’re right.”
When Harry Met Sally…– This classic rom com has a preponderance of quotable material, from “I’ll have what she’s having” to Billy Crystal’s “pepper in my paprikash” spiel. Honestly, this one flew under my radar for a long time until my VC pointed it out and employed it regularly, just like Carrie Fisher every time Meg Ryan points out that her lover will never leave his wife. Perfect for admitting you’re wrong with no intention of changing.
“Aye, I could do that.” (with Scottish accent)
The Lord of the Rings: The Return of the King– As my favorite movie (series?) ever, Peter Jackson’s Lord of the Rings has had a subconscious effect on my speech patterns. Instead of “Not today,” I say “Not this day!” Instead of “cook potatoes,” I say “Boil ‘em, mash ‘em, stick ‘em in a stew.” Not to mention, “What say you” and “You will suffer me!” Yet I’ve noticed this final film quote from Gimli (John Rhys-Davies) creeping into my conversations a lot lately. Perfect for agreeing to die with a friend or agreeing to anything really.
“Three hours later…” (with fake French accent)
SpongeBob SquarePants – Okay, so this is from a TV show, but I never said this list was just movies. Used as a running gag on Nickelodeon’s overly long-running kids show (which stretched back to my childhood), this line is utilized by the French narrator whenever a period of time passes. It might be “Three hours later” or “One eternity later” or “So much later that the old narrator got tired of waiting and they had to hire a new one.” Perfect for waiting or practicing fake French accents.
“Helloooooo!” (as high and drunk-sounding as possible)
Miracle on 34th Street– My mom and I especially love this scene of the original Christmas classic, in which Mr. Shellhammer (Philip Tonge) gets his wife drunk enough to let Santa Claus move in with them. She’s so snockered that she can’t hold the phone right and answers it hilariously. My mom also likes to use her follow-up line “I think that would be simply charming!” This is one inside joke that insiders will love swapping, but everyone else will think you’re nuts. Perfect for answering the phone and maybe scaring off telemarketers.
“How dare he!” (with fake Scottish accent)
Indiana Jones and the Last Crusade– This is one I use a lot, and not even those who know about it recognize it every time. Surely, you remember the scene where Jones enters the Nazis’ castle in disguise, only for the butler to insist, “If you are a Scottish lord, then I am Mickey Mouse!” Indy’s next line doesn’t get enough credit, though, as he utters “How dare he!” before punching the guy out. It’s a great scene and a perfect line for even the slightest offense.
TIE
“There are many moods of Ben.” and
“He has an empty space.” and
“Look, it’s mouse on a stick. I love mouse on a stick!”
Stuart Little– I haven’t seen this kids’ film in a while, but it’s easy to forget how quotable it is. The “many moods of Ben” gets the most use at my house, where it can apply to anyone who has varied tastes or is just moody. “There are many moods of Joe or Sarah or me, etc.” The second is great for overly emotional acknowledgements that something is wrong, and the third just makes me laugh every time. That “mouse on a stick” line is uttered by a random hungry cat when Stuart is hanging from a tree branch and is perfect whenever I see or eat anything on a stick (which isn’t as often as I would like).
Below are a bunch of other film quotes that my family uses or that we just enjoy more than most:
“Keep your pantyhose on!” – The Abyss(My mom uses this line a lot more than I do.)
“Lord, I’d just like to thank You for that waitress in South Bend. You know who she is – she kept calling Your name.” – A League of Their Own(Yeah, no comment.)
“We’re talking…big.” – Baby Boom(Best used with an accompanying expanding hand gesture and perfect for any big event.)
“Last night, Darth Vader came down from Planet Vulcan and told me that if I didn’t take Lorraine out, that he’d melt my brain.” – Back to the Future(I love it.)
“Never trust a man who puts his hands in your mouth.” – Doc Hollywood(I haven’t yet found the right situation to use this line effectively.)
“You want it. You got it. Toyota.” – Forget Paris(Perfect for saying over and over to annoy someone.)
“You’ve attacked an innocent dwarf.” – Foul Play(Perfect for…I have no idea, but it’s funny.)
“Sometimes there just aren’t enough rocks.” – Forrest Gump(Just one bit of wisdom among many more famous ones, and very true.)
“Everything else was lost in the explosion.” – Funny Farm(Perfect for scaring people into thinking there was an explosion.)
“Is it safe?” – Good Eats/Marathon Man (I know this is a famous line from Marathon Man, but I heard it first on Good Eats, a funny cooking show with lots of movie references.)
“Hold onto your butts.” – Jurassic Park(Perfect for preparing yourself for the worst.)
“Shall we?” – Monsters, Inc. (Sure, this line was in Sleepless in Seattletoo, but I always say it like Mike does after they catch Waternoose in the act.)
“Well, that didn’t work.” – Phineas and Ferb, the pilot episode (Another TV cartoon, but I use this line more often than I care to admit. Perfect “oops” line instead of cussing and screaming when you mess up, or maybe just to sound calm after the screaming.)
Miguel: “Well, don’t blame me.” Tulio: “I BLAME you!” – The Road to El Dorado(A great exchange between Kenneth Branagh and Kevin Kline.)
“Have you tried staples?” – Scrooged (Perfect for attaching antlers to a mouse.)
“Arizona, maybe” and “Little bit jumpy” and “Terrific!” with an OK gesture – Starman (My favorite John Carpenter movie has lots of great quotes.)
“Red light stop, green light go, yellow light go very fast.” – Starman again (Told you; perfect for explaining why you run through yellow lights.)
“Wesa going home!” – Star Wars Episode I: The Phantom Menace(Say what you will about Jar Jar Binks, but he did give me this line, perfect for whenever you’re headed home.)
“I am a lone reed.” – You’ve Got Mail(A great confidence builder from a perfect rom com.)
