Best Score – 1982

Official Nominations: ET. Gandhi. An Officer And A Gentleman. Poltergeist. Sophie’s Choice. Victor/Victoria. Annie. One From The Heart.

Here we are ladies and gentlemen; the single greatest snub/error/mistake/catastrophic fuck up in the history of The Oscars, made worse by the fact that this is another year where the Original Score category was split into two awards, and they still didn’t nominate the best movie score of all time. Lets see what they did nominate, the fools.

ET was the winner this year, John Williams racking up another one, and you can’t complain that it won out of the nominations. Really, it’s the only choice here. How one man could create so many greats scores to so many great movies remains a mystery – there is truly no-one like him. I’m not the biggest fan of ET but in truth I haven’t watched it since I was a kid – it is of course on the list of movies to show my kids. The score starts out eerie and mysterious, but before long will have you reaching for the handkerchief.

The Gandhi soundtrack is not one I’m overly fond of – I like it, I like the merging of East and West, but still it never quite touched me. An Officer And A Gentlemen shouldn’t be here, existing solely because of the popularity of the hit song which accompanied the film – half the score is the chorus melody to that song played with different instruments and the other half is other songs. No way it gets nominated here. Poltergeist is okay… for such a stellar horror film it deserves a much better score, Jerry Goldsmith was capable of so much more. Sophie’s Choice is of course a soundtrack filled with beauty and sadness and if you’ve seen the film then hearing pieces of the music are sure to tug at your heart and soul.

On to the adaptation nominations and Victor/Victoria which won the award is… look, lets not even bother. All three choices don’t need to be here, don’t need their own category, and aren’t very good.

My Winner: ET

My Nominations: ET. Sophie’s Choice. Conan The Barbarian. Blade Runner. First Blood. Halloween III. The Wall.

Stop what you’re doing. Watch this clip. Go out and buy the Conan The Barbarian soundtrack. Thank me, and thank Crom. Look at the way the conductor gets his orchestra hyped up for playing in the first few seconds – he knows. If that video doesn’t make you want to go out and punch a camel, suplex a witch into a fire, and behead some roaming marauders then I don’t think I can be friends with you. That clip has a fraction of the power of the original. And that track is only a small piece of the greatest soundtrack ever written. There is no sense in arguing – if you aren’t agreeing with me, you are wrong. If you don’t listen, then to hell with you.

There are many many people who will turn their nose up at this, the mere notion that a Schwarzenegger movie could win a Best Score Oscar. There are many film fans who aren’t even aware that this exists. Once again, stop what you’re doing, and listen to this now. That second clip is Poledouris himself conducting, his only live performance, a few months before he died. The sound quality on it is crap, but still – I guarantee it’ll wipe the floor with anything else you’ll hear today. Never before or since has a movie soundtrack had so many integral pieces, so many memorable cues and melodies. Most movie scores have a main theme, maybe an additional love track, character track, or quirky track but Conan The Barbarian never lets up for a single second.  You can listen to this without ever seeing the film, but seeing it certainly raises the score to another level, just like the score raises the film. If I have one wish from writing these hundreds of Oscars posts, it’s that anyone reading listens to this soundtrack. Go. Now.

What competition was there this year? If you don’t care about Conan missing out on a nomination, surely you feel that Blade Runner deserved one? I guess they didn’t want Vangelis winning again. Jerry Goldsmith was nominated this year, but it should have been for First Blood. It’s unusual for action movies to receive good scores, classy scores, but as we saw with Conan, it’s not always the case – the 80s has a host of monumental scores for action movies.

Although I’m loathe to mention it at all, given that it’s one of the worst films ever made, Halloween III does have a great score, once again provided by the maestro John Carpenter. It’s much different from his previous efforts in the series, uses much more synth, but is filled with threat which the film itself doesn’t have. It’s another score you can stick on and enjoy without seeing the film – in this case that’s probably the best option.

Another travesty, especially when they added an extra category, is that The Wall did not receive a nomination. Pink Floyd’s album may be the best album ever and the film adds additional tracks as well as reworking some from the original. There’s so much wrong with this category this year. Also getting a nomination from me is Morricone’s score to John Carpenter’s The Thing. It’s interesting that Carpenter didn’t write it as it sounds exactly like something he would have written  – I wouldn’t be surprised if he wasn’t heavily involved with its composition.

My Winner: Conan The Barbarian

Feel free to leave a comment once you have listened to the Conan soundtrack, and tell me how it has changed your life!

Best Picture – 1982

Official Nominations: Gandhi. ET. The Verdict. Missing. Tootsie

Gandhi is your official winner this year, and it’s difficult to argue otherwise. It’s a masterwork on an impressive scale, reminiscent in colour and scope of Kurosawa’s later work, and with a brilliant lead performance. It’s not a film I ever feel the need to revisit, but it’s one everyone should see. I feel the same way about each of the official nominations – Tootsie is not my cup of tea but is held together by a level of charm, humour, and good performances, Missing is tense but Costas Garvas doesn’t go for the throat as much as I would have liked, while The Verdict is about as good a Courtroom Drama as you’ll ever see but is not a genre I care for, propped up by a stellar cast and script. My winner then, as much as I’m not the biggest fan of it, is ET as it remains a beautiful family friendly film and further showcased Spielberg’s ability to mix entertainment and art like few others can.

My Winner: ET

My Nominations: Poltergeist. Blade Runner. Conan The Barbarian. The Wall. The Thing.

While I’m not always a fan of simply including my personal favourites in this (or any) category, it just so happens that my personal picks are strong enough to warrant inclusion here. Of course, it would be difficult for me to avoid arguably my favourite Musical of all time, two of my favourite Sci-Fi movies ever, and my favourite Fantasy movie. Poltergeist is Tobe Hooper/Steven Spielberg and is more fun for me than ET. It’s family friendly-ish, and a wonderful introduction to Horror with a fair share of both gore, lore, and scares. The Wall is the film adaptation of one of my all time favourite albums, and as troubled an end product as it is, the fact that it exists and isn’t a complete mess is something of a miracle. Rather than being a mess, it’s a tortured trawl through the fictional and real minds of those involved.

Conan The Barbarian is severely underrated – or maybe it’s simply elevated beyond what anyone would expect from its genre. When you measure it against any Fantasy movie made till 1982, there is no comparison in terms of scope, invention, script, and beauty, and it wasn’t surpassed until LOTR. Blade Runner was sorely misunderstood upon release but is now rightly held up as a pinnacle – groundbreaking in its visuals and in pushing the genre forwards as a serious art form. Finally, The Thing is John Carpenter’s masterwork – horrible, tense, with breathtaking effects work, an ambiguous script, and a story which has echoed through the ages.

My Winner: The Thing

Let us know your winner in the comments!

The Highest Rated Movies I Don’t Like – Rotten Tomatoes Edition

Greetings, Glancers! If you follow any dedicated movie blog or fan page or podcast, forum, or website regularly, you’ve probably seen various posts and comments discussing the variance between what critics say is good (or bad) and what fans say is good (or bad). This is a time honoured disparity – critics and the general public have been disagreeing about what they should consume since time began – the general consensus being that critics are snobbish and elite and only like a film if it’s old/foreign/arty/low-budget, while the general public are a bunch of ignorant sheep who only enjoy whatever the largest corporations feed to them, generally new/Hollywood only/formulaic/high-budget films. It’s a load of balls of course, with a few pubes of truth pricking out. As I’ve pointed out before, each individual viewer can be broadly categorized, but we all have our own baggage of likes, dislikes, preferences which mean that – surprise surprise – movies, music, TV, books etc are subjective.

There are key differences between the critic and the general viewer, regardless of how voracious the general viewer is. Firstly, it is historically true that critics have had greater access to a wider array of films than anyone else. With the advent of the internet and streaming you would expect that distinction to disintegrate. I assumed it would have faded more by now, but it remains true that the general public is less adventurous than the critic and sticks to what they know, or what they like. Secondly, critics get paid to watch and critique movies – the general audience pays to watch and in most cases don’t get paid to talk about them. That relates to point 1 – the general public have to part with their hard earned cash to watch a movie, so why take the risk of forking over a handful of money if there’s a risky unknown quantity? We are more likely to spend our money on something there is a high likelihood we’ll enjoy.

Thirdly, film criticism is a discipline you are taught and learn. It isn’t the case that you can simply watch a bunch of movies and call yourself a critic – no, you’re a fan. A critic begins with watching movies, with the love of doing so, but takes it multiple steps further to learn about every aspect of film-making, but also film history, and criticism itself. You can’t be a critic without gaining the relevant knowledge and experience, whether that is through a University course or some other path of education. Even then, simply completing a BA in Film Studies may not be enough – you have to be good, you have to follow the rules, or be a master of the rules so that you know how and when to bend or break them. I admit I don’t know much about Rotten Tomatoes so I can’t say for sure how good, or how accurate the actual critics whose scores are used for the site are, but I can only assume they have the skills, knowledge, and experience which the general audience does not have.

I don’t consider myself a critic, in any way shape or form. I have a degree in English Literature, and within that degree I covered multiple film modules, multiple criticism modules, read endless texts on both subjects, but that doesn’t mean I’m anything more than a fan. A knowledgeable one, sure. Most of the movie blogs I follow, some of which are claimed to be run by critics, are not run by critics – they are fans like me. Some much more knowledgeable about films and about criticism than I am, others much less so. In each case the common denominator is that we all like what we like. That’s the way it should be. Don’t think that just because a film has a super high critical or audience score that you’ll automatically like it, or that there’s something wrong with you if you don’t. Likewise, we should never feel guilty about enjoying something which is critically and/or commercially panned – like what you like. Some of the highest rated movies of all time are musicals – generally speaking I can’t stand musicals. The critical part of me can detach personal preference and speak from a technical perspective, from a perspective of cultural significance, but that’s abandoning the most important part of consuming art and entertainment – how does it make you feel? How much do you enjoy it. It’s part of the reason I don’t do scores – scores are basically meaningless – and it’s part of the reason I came up with the Nightman Scoring System (c), as an attempt to replace personal bias with a more generic critical eye while not necessary having critical skills.

All of that leads to the purpose of this post – I’m going to look at some of the most popular websites and publications of the modern age, look at their mostly highly and lowly rated films, and select a few of the ones I disagree with. Namely, those in the top 100 which I didn’t enjoy, and those at the bottom which I did. As people we like to both bitch and moan when we encounter something we disagree with, and we like to indulge in confirmation bias by seeking our and finding those lists and people who pick the same movies we would pick. That proves you’re right, right!? No, it just proves that someone somewhere likes something you do. The purpose of these posts is neither to bitch and moan nor a search for affinity in this endless void we call home. It’s scratching an itch, it’s because I’m curious to see what others think and if I’m aligned to the zeitgeist. It’s allowing me to see that zeitgeist, because usually I don’t care about what is popular or what is not and I rarely if ever look at sites like Rotten Tomatoes. They are the subject of today’s post, and I’ll be looking at their Top 100 Highest Rated Movies – all Genres – as of April 8th 2019.

At first glance the list does seem a little silly – definitely catered towards the general public rather than the critic. In over 100 years of Cinema, 47 of ‘the most highly rated films of all time’ were released in the last nine years (seven of the top ten released in the last four years). Yes, 47 of the best 100 movies of all time came out since 2010. It’s objectively false and it says more about the people who use the site than the films themselves. If you’re a regular here, you likely know my viewing habits aren’t usual – I typically only catch up to most new movies when they’re 3, 4, 5 years old. What that means is that a large chunk of those 47 movies I haven’t seen – maybe they are some of the best movies of all time, as unlikely as that seems.

Remember, if I have my critical hat on then I am dividing up a film’s score into roughly 20 categories, ranging from commercial power to cultural influence to technical skill so it is difficult to gauge how ‘good’ a film is until a certain amount of time has passed. We’re not doing that today though, so lets just take the numbers and films as they are. There are movies here I enjoyed, or even loved, but I wouldn’t consider them to be the best or most highly rated movies of all time but lets start working my way through the list to find films I didn’t like. If I genuinely find none, then it’ll be films I found average.

At number 87, we have Finding Nemo. Did I like Finding Nemo? Sure – but I didn’t enjoy it any more than any number of straight to DVD animated fare. It looks fine, I imagine when it was first released the visuals had more of an impact, but the story, the characters, the voices – none of these things captured me in the same way as my favourite Disney movies. I understand I’m not the target audience for this film and by the time all of these CG animated movies were being made I had all but stepped away from watching any animation. Once my kids were of an age where they could actually watch a movie, I was excited as I had more than 10 years worth of apparently great animated movies to catch up on, from Disney, Dreamworks, Illumination, Pixar etc. Yet many of the most highly rated ones haven’t done anything for me, beyond being a simple, happy diversion. Finding Nemo is one of those – it’s little more than just okay. For me.

12 Years A Slave is a movie I did like, but wasn’t in any way wowed by. I think most of that is down to how much I love Roots and this seemed like Roots-lite. Strong performances, great direction, but again it didn’t knock me over like a film considered the 45th highest rated film of all time should. I’m mainly picking it because I’m over the halfway mark and haven’t found any others I don’t like – plenty I haven’t seen and assume I won’t like, but I can’t count those. Argo jumps in at number 44, and this one I really didn’t get. It’s not an overly interesting story, it’s embellished for dramatic purposes within an inch of its life without ever becoming dramatic or tense, and it feels like ‘one of those Oscar movies’ designed for no purpose beyond winning the Oscar. It’s not bad – it’s just boring, predictable, and hits every ‘seen it all before’ box I can think of.

Singin’ In The Rain. The first musical. One of the most famous and successful musicals of all time, from the Golden Age of Cinema. But it’s balls. It’s so iconic that no-one actually remembers what the film is about – just Gene Kelly splashing about in the gutter with an umbrella. It’s actually about the film business itself, and we know Hollywood loves movies about itself. But it’s a romantic comedy, it’s a musical, and those two things almost never work for me unless there’s something unique or personal to me. I understand why so many people love it of course, I’m not that obtuse, but there’s nothing here for me beyond saying I’ve seen it.

Casablanca is heralded as one of the best movies of all time. I’m the one idiot who goes against the grain. I just don’t like it very much. I like most of the cast, but I like their other films more. I don’t like the music, I don’t think much of the story, and I can’t stand the dialogue. ‘Here’s looking at you, kid?’ What the balls does that even mean? Why does Rick say it roughly four hundred times during the film? Shots fired, eh?

Dunkirk… I really should like it, right? I do, but it’s not as good as I hoped it would be. In the end it feels more like an experiment than a movie. I’ve seen it once, and unlike most of Nolan’s other work, it’s not one I feel the need to ever watch again. The performances, in most cases, don’t get room to breathe and while I understand that it’s an ensemble about soldiers and ordinary people being forced into extraordinary acts, it strangely didn’t move me. I liked it, but more as a critic than a fan, and I value fan preference more highly.

ET strangely endures over time. It’s the sentimentality and the music and the creature design all combined with that timeless 80s quality made at a time when Spielberg was at his best. Yet, I enjoy the pretty terrible Mac And Me more. Mac And Me is not a good film, ET is, but that doesn’t change how I feel. I don’t have anything bad to say about ET – it’s just one I feel was overrated at the time and has continued to be unnecessarily successful over time.

Get Out is the sixth most highly rated movie of all time. I liked Get Out, a lot actually, but not to this extent. That’s saying it’s better than The Exorcist, The Shining, Halloween, Dawn Of The Dead, A Nightmare On Elm Street, and that’s just within the horror genre. It’s not better than any of those films, and it’s still too recent to truly gauge how good it is. Then, bizarrely at number 2, is Lady Bird. The second best movie of all time? For me it probably wasn’t even the second best movie released that month. It’s one of the few movies on the list I have reviewed on the blog and while I think it is a nice, sweet, modern coming of age story, I don’t think it comes close to films like Stand By Me or Lucas, or The Kings Of Summer. 

There we go, quite a few surprises I would assume, especially for regular visitors to my blog who may assume I love all the classics. Don’t get me wrong, I don’t hate any of these – life’s too short to hate movies, but neither is there any I strongly dislike. Singin In The Rain is probably the closest to a strong dislike, mainly because of my misgivings about musicals, but as I mentioned above I understand why it is so beloved, versus something like Lady Bird which I liked, but don’t understand why it has so much love. What does any of this mean? Not a lot really – it tells me that most users and reviewers on Rotten Tomatoes are overly invested in new movies, which I kind of knew anyway, while reinforcing my belief that you should stretch your viewing net as far and wide as possible – backwards in time and across the globe – to find movies to enjoy.

Next time up, I’ll take a look at some of the lowest rated movies and find out if I enjoy any of those. For now, let us know in the comments which highly rated movies (according to RT or otherwise) you disagree with or don’t like!

TTT – Steven Spielberg

Arguably the most important figure in cinema of all time, surely of the later half of the 20th Century, Steven Spielberg has directed and produced some of the most successful movies of all time. The maestro of countless million childhoods, Spielberg’s output in undeniable with several films being inescapable parts of pop culture and of our lives. Love him or hate him, he is a storyteller and visionary of the highest order. Having said all that, when I was checking the list of films he has directed though, i was surprised though that I was actually struggling to find 10 films that i truly loved. I have enjoyed everything he has directed, but quite a few of his films have been good, just not the sort of thing I would tend to include on a top ten list. There are a lot of films that others may rightly include but as my lists tend towards personal taste rather than cultural impact or even how good a film actually is, this list may not be to everyone’s tastes.

10. Duel

Based on the Richard Matheson tale, this debut effort from Spielberg packs in a lot of taut action and early flair. Frequently voted as the best TV movie ever made, it is a simple tale of man versus the unknown, a chase film and road movie in one, and a story that shares many similarities with his later work. It’s proof of Spielberg’s ability to create timeless pieces of entertainment as the film still retains a power to shock and thrill today.

9. The Terminal

I’ll probably get some flack for this because it’s schmaltzy Spielberg at its most saccharine. But it works because we’re in the hands of a master and because Tom Hanks is always watchable when playing an offbeat character. You balk in the opening scenes and question why an American actor of his stature was used, but by the end it doesn’t matter as you’re won over by the charm of the performance and story. I skipped seeing this one until recently (last year I think) because it sounded like drivel. I think it’s a simple, heartwarming family film that won’t change anyone’s life but is a nice change of pace for what we have come to expect from the director.

8. ET

Spielberg’s premier family favourite is one that I hope to re-appreciate as my children get older. I haven’t seen it in many years and if I was to watch it now maybe If wouldn’t feel the same youthful delight as when I was a kid. But I know that my children, like many others when they first see Eliot and his family and his friend, will be enchanted and me along with them.

7. Schindler’s List

A grueling watch which lacks most of the sugar-coating you come to expect from Spielberg, not surprising given the subject matter. Although it is ultimately a story of hope, the film is drenched in the shadow of the Holocaust as we watch hundreds and thousands of innocents march to their deaths under the tyrannical gaze of Ralph Fiennes. Liam Neeson as Schindler is the man trying to make a difference, but we get superb support from Embeth Davidtz, Ben Kingsley and others. A timeless film of great importance it is one that should shake even the most apathetic into action.

6. Animaniacs

Unquestionably one of the greatest cartoons of all time, Spielberg’s touch is all over it. Meta before it was a thing, throwing a hell of a lot of adult humour in, references to past and current stars, movies, politicians, and more, with a massive cast of characters it’s the sketch show to end them all. Endlessly quotable, always hilarious, and with a range and scope unseen in kids cartoons before or since, and of course featuring a superb cast of writers, animators, and voice talent the show flies along at a breakneck speed, never apologizes, and it’s clear that everyone involved must have been having the time of their lives.

5. Saving Private Ryan

A more action packed, yet introspective partner to Schindler’s List, this takes the simple story of a group of soldiers undertaking a single basic mission as a template to discuss the War at length, humanity, senseless violence, futility, honour, duty, and the value of a life. It’s the stellar cast and gripping set pieces which set this apart as one of the great war movies, with the harrowing landing scenes at the start, the light discussions between the men as they march from disaster to disaster, and the sudden intrusion of violence and brutality, and unfairness which ensure that the film will haunt you. The film not only forces you to question the purpose of war and how you would react under certain circumstances, but whether it is possible to move on as a survivor, as a species. The question remains unanswered.

4. Raiders Of The Lost Ark

Maybe the best example of Spielberg’s ability to entertain, thrill, scare, to make you laugh all while telling a coherent engaging story with wonderful characters. If that wasn’t enough we get iconic scene after iconic scene, memorable one-liners, and those tiny Spielberg moments that few other directors would ever imagine. Add Harrison Ford, add Karen Allen, add a host of the most vile cartoon villains ever and you have yourself one of the best movies of the 80s.

3. Temple Of Doom

And yet I prefer Temple Of Doom. Obviously it isn’t the best of the series, but it’s the one I saw most growing up and the one I get most enjoyment from. I’d class most of the iconic scenes from this one as just as immense as those from Raiders – the minecart ride, the heart-ripping scene, the rope-bridge battle, and dinner scene – all have varying levels of obscenity, scares, laughs, and excitement and the cast hams it up to eleven. But where’s Dan Akroyd?

2. Jaws

The one which nailed Spielberg to the map, becoming the biggest grossing film of all time and effectively creating the notion of a summer blockbuster. Once again it’s that mixture of an extremely talented cast giving their best performances to honour a simple story, all while Spielberg pokes and prods the audience for reactions and tries things no other director would dare. The fact that even today the film works when the effects are so bad is a testament to everyone involved, and to the director for holding it together.

1. Jurassic Park

If the likes of Hook and Empire Of The Sun showed that the director was possibly past crafting another mega hit, this one brought him roaring back into the limelight as a director. Coming hot on the heels of T2 as a special effects extravaganza the film succeeds on all fronts – the effects are still superior to many we see today, the story is again simple, yet based on a wonderful concept, the performances are each wonderful, those iconic moments are so iconic that I don’t need to mention them, Williams provides another epic score, and perhaps most important is the sense of awe and childlike wonder which was, and still is evoked. It’s this combination that each of the sequels have failed to re-ignite and while they are each watchable and exciting in their own right, they don’t come close to matching the joy this one gives.

Have I missed any of your favourite Spielberg films? There are plenty that I have not covered so let us know in the comments what you think his best work is!