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The 55 Best Romantic Comedies of All Time

There is no “best” romantic comedy. Something is funny when someone laughs, or romantic when their heart swells, for better or for worse, and we have no right to say why one of these should top another. Your uncle, or cube-mate might say, “That’s stupid. Breakfast at Tiffany’s is obviously the best rom-com of all time.” And they may not be wrong. But maybe you have some reservations about the horrifyingly racist overtones in some of that movie’s scenes, even though you can’t help loving Audrey Hepburn. Maybe it’s the best for a certain time period. It’s tough. Comedy is subjective. So is romance.

It’s for this reason that we had such a good time making this list, at least initially. And lots of help. People keep a special place in their heart for romantic comedies. They talk about them differently than other movies, and they like to talk about them a lot. When the call went out, we heard from writers, editors, friends, moms, therapists, bartenders, people we hadn’t talked to since high school; the list goes on. The initial gathering of candidates was great fun; the subsequent reaping less so.

First, we had to limit the category. We love Dazed and Confused and it contains plenty of romance, and comedy, but we can’t be sure it’s a romantic comedy per se. Same with Secretary, McCabe & Mrs. Miller, My Girl, Hedwig and the Angry Inch, and about 500 other films. We don’t have enough space here to get into exactly what makes a romantic comedy, but let’s agree that the fact it is not a tragedy or a history is not enough. Somewhere we have to draw the line between the actual rom-coms and the coming of age movies, or mysteries, or adventures.

It’s for this reason we need to apologize in advance: A number of your favorite romantic comedies will not be on this list. Some of them didn’t fit the mold. Others—and this part got a little heated—we just couldn’t get on board with. Decisions had to be made. Hopefully, as a benefit to any disappointment of missing favorites, you’ll find some new ones you didn’t yet know you liked. After all, that’s the message from Pretty Woman, right? It’s important to keep an open mind. Otherwise, you could be making a big mistake, big, huge.

These are the best 55 rom-coms for every situation. We hope you love them.

The Best Rom-Com . . .

. . . to put your one-night stand in perspective:

Obvious Child (2014)

Photo: Everett Collection

The hardest you’ll ever laugh about abortion. That’s right, abortion. Talk about playing with fire, but this tender, deeply human comedy from director Gillian Robespierre finds entirely new ways into the story of losing Mr. Wrong, then Finding Mr. Right (by having our hero, a struggling comedian—played by the irrepressibly honest and infinitely endearing Jenny Slate—get drunk with Mr. Right, sleep with Mr. Right, get pregnant by Mr. Right, and then deal with the consequences). While riotously funny, Obvious Child set a new standard for intimacy, and Robespierre’s ribbed, tone-perfect writing and Slate’s raw but intelligent performance managed to shape a millennial mirror more reflective than anything Girls could put forward in six seasons. And give us the abortion comedy we didn’t know we needed.

. . . to deal with your workplace crush(es):

Broadcast News (1987)

Photo: Everett Collection

In the mid to late ’80s, there was nothing bigger than TV news and James L. Brooks, and Broadcast News was their meeting ground. After the slaphappy, very silly, and very male comedies of the late ’70s and early ’80s (think Animal House, Porky’s, and Revenge of the Nerds), and alongside the epic big-budget projects like Ghostbusters and the original Indiana Jones, James L. Brooks continued to redefine what rom-coms could be with this sprawling, occasionally dramatic but never self-serious, workplace comedy. We root for Albert Brooks’s Aaron Altman, the brainy, nervous, serious journalist who competes for the affections of neurotic producer Jane Craig (Holly Hunter) against the impossibly polished (and intellectually inferior) Tom Grunick (William Hurt). Brooks is the producer behind films like Bottle Rocket, Say Anything . . ., and Big, and TV series like Mary Tyler Moore, Taxi, and The Simpsons. No one knows how to get at our hearts—thoughtfully, gracefully, and with humor—like James L. Brooks. And this is him at his peak.

. . . to see past a gruff exterior:

Beauty and the Beast (1991)

©Buena Vista Pictures/Courtesy Everett Collection

“Tale as old as time . . .” It really is. Lonely, powerful dudes have been making off with damsels and then hiding them away since at least Greek mythology and probably before. Where Disney scored with its animated musical was in—pardon the pun—reanimating that classic story line in a way that was appealing to our eyes and ears, and that of our kids’, while maintaining some real danger in the narrative. It’s a triumph they repeated with Aladdin and The Lion King, but is especially notable with a romance—making the stakes high enough—and real, even when accompanied by singing teapot—that we root for these characters to end up together.

..for when you’re in the mood for first love, Wes Anderson-style.

Moonrise Kingdom (2012)

“I will meet you in the meadow,” writes bespectacled Sam (Jared Gilman) to serious Suzy (Kara Heyward) as they prepare to run away together. Wes Anderson’s Moonrise Kingdom, a whimsical tale of a romance betwixt a pair of wise-beyond-their-years 12-year-olds (beautifully art-directed and accessorized as always), is a tonic to the jaded palate. The children, with their barely sexual, pure-hearted affection for each other, could teach the misbehaving adults around them a thing or two about love. Who wouldn’t want to dance on the beach in their underwear to Françoise Hardy?

. . . to get you over getting over your ex:

The Philadelphia Story (1940)

Courtesy Everett Collection

The credits of The Philadelphia Story read like something out of a dream: Cary Grant and Jimmy Stewart vying for the love of Katharine Hepburn. It’s produced by Joseph L. Mankiewicz (writer of All About Eve and Cleopatra), and directed by George Cukor (who made 1954’s A Star Is Born, Justine, and My Fair Lady, and once told Marilyn Monroe, “That will be just fine, darling” when, about to film a skinny-dipping scene for Something’s Got To Give, she expressed her concern that she only knew how to dog-paddle). The Philadelphia Story relies on some dependable tropes—lovers who’ve fallen out; will-they-or-won’t-they-get-back-together—that have provided romantic tension from A Midsummer Night’s Dream to Crazy, Stupid, Love. But it’s Hepburn, aiming for a comeback following some serious bombs, and her witty repartee with her two love interests, Grant (her yacht-designing reformed bad boy of an ex-husband) and Stewart (a tabloid reporter), that is the movie’s bread and butter. The Main Line has never been so well represented.

. . . to take on a trip:

Lost in Translation (2003)

©Focus Films/Courtesy Everett Collection

There was never any doubt that Scarlett Johansson was going to be a mega star, but Sofia Coppola’s movie—about the lonely wife of a photographer who befriends an over-the-hill movie star (Bill Murray) while visiting Tokyo—is what made the world stand up and realize we were dealing with a serious actor. Like many of the films on this list,��Lost in Translation takes place in a bourgeois universe, where the greatest thing at risk is someone’s heart, or future emotional happiness, but few films have so effectively crystalized the alienation of both travel and marriage, as well as the difficulties of postcollegiate, and then midlife, malaise. The older man and the younger woman don’t so much meet-cute as crash into each other, picking up each other’s pieces, redeeming each other’s lives as they navigate their surreal setting. It’s a match made in heaven—and without spoiling anything, their goodbye scene is among the best in Hollywood history.

. . . to reevaluate your checklist:

Clueless (1995)

©Paramount/Courtesy Everett Collection

The motherless daughter, caring for her father and looking for her prince, is a trope that goes back to the fairy tales, but how Alicia Silverstone (who plays our hero, Cher) and writer-director Amy Heckerling contemporized that narrative is what made what could have been a silly teen flick into an instant classic. They imported a Jane Austen story line of a meddling would-be matchmaker (Emma) into a bright pink, plastic, kids-are-adults world of Beverly Hills privilege populated by overly dramatic in-talk (“Whatever!”; “As if!”), lunatic high fashion, and decidedly un-relatable problems. At the same time, they maintained a storybook sensibility, and somehow kept our sympathies with the lovelorn Cher, whose insipidness is overshadowed by her charity, loyalty, and genuine goodwill. We believe she deserves love, and if she gets smart enough to stop looking for it in the “right” places, we want her to find it.

. . . to help you sort out what to do with the rest of your life:

The Graduate (1967)

Courtesy Everett Collection

This is the film on this list that is least certainly a rom-com; it caused a bit of a row, in fact. Some of us believe that this movie is ultimately too sad to give the viewer the warm fuzzies they depend on this genre for. Others argue that this line of thinking may confuse what’s depressing with what’s complicated. The story of the listless Benjamin Braddock, recent graduate of Williams College, who begins an affair with his father’s partner’s wife, and ends up falling for her daughter, did more to advance the critical value of comedy than perhaps any other film. (Not to mention the sexual viability of Williams grads.) There may be no more iconic line than Dustin Hoffman’s “Mrs. Robinson, you’re trying to seduce” but this movie is so much more than dialogue. (Note: Hoffman might have been playing 21 when he said this line, but the actor was 29; Anne Bancroft, the supposedly senior Mrs. Robinson, was all of 35.) Oft-quoted, ripped off, referenced, and discussed, Mike Nichols’s 1967 romp through Braddock’s postcollegiate uncertainties was released a few months after the Summer of Love, as the counterculture had peaked and what Hunter S. Thompson called the “high and beautiful wave” was getting ready to roll back. Young America was, and to some extent still is, Benjamin Braddock, which reveals the power of this film.

. . . to ask for assistance in the ol’ love department:

Sleepless in Seattle (1993)

©TriStar Pictures/Courtesy Everett Collection

Tom Hanks had been responsible for some ’80s hits—Splash and Big—but with Nora Ephron’s 1993 film about a widower whose son calls in to a radio show in an attempt to find him a new wife, he cemented himself as America’s favorite, well, person. Meg Ryan, his competition for that title (at least in the ’90s), plays an unhappily engaged Baltimore Sun reporter who writes Hanks’s character on a whim, asking him to meet her at the top of the Empire State Building (cue: An Affair to Remember) on Valentine’s Day. Utterly contrived, but utterly charming, this quick, silly, funny film is pabulum superfood for anyone who believes in second chances and true love.

. . . to leave the past behind you:

Breakfast at Tiffany’s (1961)

Courtesy Everett Collection

No one has stolen more hearts than Holly Golightly (Audrey Hepburn). Based on Truman Capote’s 1958 (harsher) novella of the same name, Breakfast at Tiffany’s—the story of a friendship struck between a rarely employed writer, Paul Varjak, and his neighbor, the naïvely beautiful Golightly, a freewheeling party girl whose lifestyle is paid for by the rich suitors who surround her—is a building block of our Hollywood romantic fantasies. It has the unclassifiable, magnetic object of affection, the reliable underdog who pursues her, expectations dashed, new friendships formed, true selves discovered, and an undeniably racist portrayal of an Asian landlord (by Mickey Rooney). Yes, it was a different era, but this detail can be difficult to ignore. That said, there are generations of viewers who consider this the greatest rom-com of all time.

. . . to get past that one little (or gigantic) flaw:

Moonstruck (1987)

©MGM/Courtesy Everett Collection

Cher plays a widowed bookkeeper in Brooklyn Heights confronting her parents’ infidelity (and fallibility) who—whoops!—falls for her fiancé’s younger brother (Nicolas Cage), who sports a prosthetic wooden hand after an accident with a bread slicer. Their first night together produces one of the great moments in the annals of rom-coms: When Cage tells Cher he loves her, she slaps him, saying “Snap out of it!” The film portrays a New York that doesn’t really exist anymore—for one thing, Brooklyn Heights is full of bankers now. It’s a window to another time, when marriage meant something different in male-dominated second-generation immigrant families and the challenges Cher’s character places against the social order are both important and revelatory (she won an Oscar for her efforts). You end up cheering not just for her romance, but also for an entire insurgency.

. . . to put the fuckboys behind you:

Bridget Jones’s Diary (2001)

Courtesy Everett Collection

Hollywood does this silly, shitty thing when they want to make it clear that a woman is “funny”: They make her clumsy. “Did you see that? She fell down in front of the boss she has a crush on while carrying many things! What a wit!” Thankfully, this film is actually funny, and so is Renée Zellweger, the titular Bridget Jones, who is 32 and a bit clumsy, and believes herself to be both a tad overweight and running short of romantic options. She confesses to her diary her feelings about the men in her life: her caddish colleague, Daniel (Hugh Grant), and her pill of a childhood friend, Mark Darcy (if that surname sounds familiar from one of your favorite literary comedies, that’s not by coincidence), who begin vying for her hesitant affections in their respectively charmless ways. Who will win—the nice guy or the jerk? The clumsy, funny, openhearted girl, of course! The story has a classic but important lesson to share: First impressions aren’t everything (and a fashion-related takeaway—never judge a man by his Christmas sweater).

. . . to make you even more neurotic about your love life:

Annie Hall (1977)

Courtesy Everett Collection

Like Breakfast at Tiffany’s, this is one of those movies that any list of top rom-coms would be remiss without. Yes, Alvy Singer’s (Woody Allen) story about how he met, and then lost, and then maybe regained, the love of his life, Annie Hall (Diane Keaton), is a wonderfully funny underdog-meets-girl story. But Allen’s uniquely observational humor also introduced some pioneering tropes and storytelling devices to the annals of rom-coms. The moment his grade school classmates stand up and give short peaks into their future (“I used to be a heroin addict; now I’m a methadone addict”). Or when Alvy interrupts a pedantic professor in a movie line—lecturing his date on Marshall McLuhan—by bringing the actual Marshall McLuhan out from behind a sign to set the man straight. These established entirely new directions for comedy. Moreover, Allen’s confessional style and the monologue with which he begins telling his warts-and-all fictional tale established a new paradigm for romantic storytelling, one that continues to influence rom-coms today (same for Diane Keaton’s outfits, but that’s a topic for another list).

. . . to get you pumped up:

Bring It On (2000)

©Universal/Courtesy Everett Collection

This is the pregame of romantic comedies. It’s a love story—between millennial hotties Kirsten Dunst and Jesse Bradford—packed into 98 minutes of jokes, rivalries, teen romance, and ridiculous cheers. (“Hate us ’cause we’re beautiful—well, we don’t like you either. We’re cheerleaders. We. Are. Cheerleaders!”) Some of us have defended this movie since it bowed (and then cartwheeled into an aerial walkover) in 2000 as a sharp appreciation of teen culture and teen cinema, both devoid of cynicism and long on wordplay. If you agree, welcome to the squad. If not, please keep in mind, “This is not a democracy; it’s a cheer-ocracy.”

. . . to take an break from yourself:

Roman Holiday (1953)

Courtesy Everett Collection

There’s a wonderful moment in Roman Holiday—the story of a European princess, played by Audrey Hepburn, who tires of her duties and runs away from her handlers while visiting Rome—when Joe (Gregory Peck), a reporter showing her the city, puts his arm in the Mouth of Truth (a statue that supposedly bites off the hand of liars) and removes it with his hand missing. The princess screams—Hepburn was apparently not acting here—and then recovers. It’s a metaphoric yawp for all that a romantic comedy should be. It’s being taken by surprise, taken by a stranger, the discovery a new side of oneself while falling for someone else. And that’s just one moment!

. . . to get him into rom-coms:

The Princess Bride (1987)

“Is this a kissing book?” Fred Savage’s little boy asks his grandfather, at his bedside to read him The Princess Bride when he’s home sick from school. Sure is, but it’s also a tale of swashbuckling, cruel kings, giants, swordsmen, poison, monsters, rebels, and knights—without a dull or unfunny moment. The kid, and the viewer, is quickly on board. More than anything, it’s a tale of true love, and fantastic as it might be, the adventure that leads the stable boy, Westley, back to his mistress, Buttercup (played by an impossibly beautiful Robin Wright), has left few hearts unmoved, and few faces without with smiles.

. . . to consider what you could have done differently:

Groundhog Day (1993)

©Columbia Pictures/Courtesy Everett Collection

One of the few rom-coms that comes with both a stamp of approval from your philosophy professor and the Tony reaches of Broadway. A cynical Pittsburgh weatherman (Bill Murray) is sent to Punxsutawney, Pennsylvania, with his producer, Rita (Andie MacDowell) on a dead-end assignment: to cover Groundhog Day. And boy, is it a dead end. Murray gets stuck there, not just in a snowstorm, mind you, but in a continuous loop where no matter what he does—including suicide—he wakes up in the same hotel, on the same day. At first, the weatherman is predictably bummed, but eventually he uses all the information he’s picked up living the same day over and over to better himself and the lives of those around him, eventually impressing Rita with his change of personality. Watching Bill Murray is fun, watching Bill Murray struggle is really fun, and watching Bill Murray caught in a space-time logjam, wrestling with moral philosophy while pursuing Andie MacDowell is the most fun.

. . . to find “our song”:

Nick and Norah’s Infinite Playlist (2008)

Entertainment Pictures / Alamy Stock Photo

There’s something almost quaint about Norah’s search for her orgasm. The high schooler, played by Kat Dennings, is demeaned by her fellow classmates for having yet to experience the big O. It may sound tawdry, yet this plot point harkens back to a sweeter, John Hughes–era teen comedy (with a few switches flipped) wherein the search for a simple sex act was enough motivation for a number of scenes, if not an entire film. Norah’s lack of fulfillment isn’t what moves the action here; instead we’re on a search for her best friend and an oh-so-cool band’s secret show, with Nick’s (Michael Cera) hapless band, in his hapless car (a Yugo), through downtown New York City’s music scene. It’s a good-time flick, with cheerful performances and the kind of supporting cast (Ari Graynor as the beyond-drunk best friend) that make 90 minutes seem like a brisk 30. One of these is Alexis Dziena, who plays Nick’s very recent ex-girlfriend: She toyed with him and never appreciated the music mixes he made for her (spoiler: Norah loves them). Her “sexy” dance, in the glaring light of Nick’s high beams, to Hot Chocolate’s “You Sexy Thing” is one of the great falls from grace, and worth the price of admission.

. . . to inspire some big changes:

Pretty Woman (1990)

©Buena Vista Pictures/Courtesy Everett Collection

Is there a rom-com list that doesn’t include this movie? What’s left to say about the 1990 tale of the beautiful, charming prostitute and the Wall Street corporate raider who meet and fall in love? Here’s director Garry Marshall’s (and Julia Roberts and Richard Gere’s) genius with this film: They make us forget about the various horrors of sex work and instead convince us the whole thing is kind of a lark. This film takes place in the late 1980s; a high-water mark in terms of the HIV crisis. Those things aren’t on our minds when we watch this movie (barring an early scene discussing methods of birth control); we think about stomping divots and Richard Gere conquering his fear of heights. So what? The Great Escape doesn’t exactly feature the horrors of World War II. That’s not the story they’re telling. Exactly our point. That’s how delightful this movie is.

. . . to make your arguments a little sweeter:

Bringing Up Baby (1938)

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Here’s how cute rom-coms were in the 1930s: The entire plot rests on a dog burying a bone of a brontosaurus. Katharine Hepburn, whom the movie was written for, plays a whimsical, adorable socialite who has become besotted with an otherwise engaged (literally and figuratively) paleontologist, played by Cary Grant, and is trying to keep him around so he won’t go marry some pill. Her strategy for doing this is to invite him to her house so that he can help her bring a baby leopard to the city. (Later, the dog and the leopard wrestle.) This is what we call a screwball comedy. It’s also priceless, with Hepburn peppering Grant in her sweet, Gatling gun style, and Grant, playing stiff, as if any man, never mind a mild-mannered paleontologist, could ever resist such wiles.

. . . to make it a girls night:

10 Things I Hate About You (1999)

©Buena Vista Pictures/Courtesy Everett Collection

Why is there no actual Shakespeare on this list? Because often a three-hour production: (1) is rarely funny, and (2) doesn’t really fit into a modern romantic comedy structure. Instead, we have movies that are actually fun to watch, like Shakespeare in Love, and this one, a teen-ready take on The Taming of the Shrew. There are some cute turns from youngsters Joseph Gordon-Levitt, Julia Stiles, and Larisa Oleynik, but ask most women and the performance that sticks out is Heath Ledger’s, whose thuggish Patrick Verona made many of us weak in the knees. Like Bring It On, and unlike most films, especially teen films, this one is female focused. They’re the moral centers. The heroes we cheer for. And they are active in as much as the narrative as they are subject to it (rare!).

. . . to better understand your parents:

Beginners (2011)

©Focus Features/Courtesy Everett Collection

“The History of Sadness” is a sketchbook drawn by Ewan McGregor’s Oliver, a graphic designer who is dealing with the recent coming out of his septuagenarian father, Hal (Christopher Plummer—who won an Oscar for his performance). Hal’s new openness about his own life inspires Oliver to reevaluate his own sadness and pursue a lovely French actress, Anna. It’s an incredibly touching, difficult story, told mostly in flashback, that involves Oliver coming to grips with his father’s past, his parents’ relationship, his own choices, and his art. But it’s ultimately a love story. A story about how our parents love us, and each other—despite the difficulties imposed society, time, and work—and how in turn, we learn to love, or not. We’re all beginners, in all our loves, and to think otherwise is foolhardy.

. . . to freeze some already cold feet:

The Wedding Singer (1998)

©New Line Cinema/Courtesy Everett Collection

Millennials might not realize from Adam Sandler’s recent descent into perennial schlock (some of it racist and sexist)—like The Ridiculous 6, Blended, Jack and Jill, and Grown Ups—that his movies were, at one point, very funny. Billy Madisonand Happy Gilmore are ’90s classics, and The Wedding Singer, his only rom-com from that era (there’s some debate over whether P. T. Anderson’s Punch-Drunk Love, released in 2002, qualifies as such), is a hilarious, touching ode to traditional values. Set in the ’80s, Sandler’s Robbie Hart is a wedding singer (and hopeless romantic) recently left at the altar who helps Drew Barrymore’s Julia plan her wedding to the wrong man. Sandler and Barrymore’s chemistry is off the charts, and this film—not Mad Love, sorry—established the actress as rom-com gold (see Never Been Kissed, 50 First Dates, and Fever Pitch). The romance is great, the jokes are great, the costumes are great, and not to ruin anything, but Billy Idol is pretty great too.

. . . to get you singing and dancing (and maybe moving to L.A.):

La La Land (2016)

©Lions Gate/Courtesy Everett Collection

The highway scene. Ryan Gosling hunkered over the piano. Emma Stone embodying “irrepressible.” His dance on the boardwalk. Her spins. The way she pulls at her dress. The way he grins while he smolders. Their love. It’s a panacea for the reasons we go to the movies. At no point do we believe they won’t end up together, but we stay transfixed, in fact we tap along. For younger viewers—those of us who might not have drank down the moving magic of Singin’ in the Rain, West Side Story, or Gigi—Damien Chazelle’s La La Land forgives those lapses. It embraces their greatness as it embraces us in its giant, vibrant arms. We lean closer to the screen, not to learn but to feel for the whole experience of youth and performance: all that hope, drive, sweat, and love. Can’t forget love.

. . . to kick-start your career goals:

Singin’ in the Rain (1952)

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Here’s the thing: You’re not really allowed to like La La Land if you don’t like Singin’ in the Rain. Or, you at least have to watch it; it’s the original musical about making it in Hollywood. The story of a sellout leading man (Gene Kelly) who falls for the chorus girl (Debbie Reynolds) who might just change his life (and he hers), this 1950s romp through 1920s Hollywood really has it all: singing, dancing, and bedrock songs like “Make ’Em Laugh,” “Good Morning,” and of course, “Singin’ in the Rain.” It’s cute as hell and tap-happy to the extreme.

. . . to unplug from the office (and get your due):

How Stella Got Her Groove Back (1998)

The movie that inspired 90 percent of vacation hookup jokes since 1998 (but seriously, we need to talk about Taye Diggs in a puka shell necklace; the man can make anything look good). Workaholic executive and single mom Stella (Angela Bassett) finds more than she bargains for when her best friend, played by Whoopi Goldberg, convinces her to take a much-deserved Caribbean vacation. Cheeky, subversive, and sexy as hell, this movie turned the tables on so many male-dominated rom-coms (courtesy of one very hot and heavy matchup between Bassett and Diggs, playing some 20 years her junior)—and passes the Bechdel test with flying colors. One of the very few rom-coms to do so.

. . . to get dressed up for:

Tootsie (1982)

©Columbia Pictures/Courtesy Everett Collection

Michael Dorsey (Dustin Hoffman) is a New York actor who is such a perfectionist, no one wants to work with him. So he does what any rational man would do: He dresses as an entirely different person—an older woman who goes by then name of Tootsie—and lands a role on a soap opera where he becomes a sensation. Problems arise when he falls in love with his costar (Jessica Lange) and a fellow castmate, an older man, falls in love with him. It’s madcap and zany but also profoundly funny, with insights aplenty—it sends up television, sexism, and New York society—and performances that were Oscar-worthy (Lange’s in particular—of Tootsie’s 10 Oscar nominations, she’s the only one who walked away with a statue).

. . . to reevaluate the nice guy (and the bad boy):

Something Wild (1986)

©Orion Pictures Corp/Courtesy Everett Collection

Before Johnathan Demme decided to win an Oscar and scare the pants off an entire generation with The Silence of the Lambs, he was an ’80s funnyman. And this is his best work. It’s the story of a mild-mannered exec (played by Jeff Daniels), whose sedentary life is turned upside down by the wildly adventurous, somewhat grifting Lulu (Melanie Griffith)—whose checkered past includes a roustabout, criminal ex-boyfriend played by Ray Liotta. The idea of a “crazy” girl coming in and turning a straight man’s existence topsy-turvy is repeated countless times in this genre, from Bringing Up Baby to The Girl Next Door. Demme’s alchemy here is to infuse the trope with unpredictability. The comedy keeps us on the edge of our seats by compounding the will-they-won’t-they question with sudden breaks into violence, threats, or chase. Rom-coms don’t get more exciting than this.

. . . to escape it all:

Midnight in Paris (2011)

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The love story here is as much between writer-flaneur Gil Pender and Paris as it is between Gil and any of the women in this film. While visiting the French capital with his uptight fiancée, Inez (a sublime Rachel McAdams), and her parents, each night Gil goes walking and finds himself in the City of Light of the 1920s, complete with Hemingway, Gertrude Stein, the Fitzgeralds, Man Ray, Josephine Baker, Cole Porter . . . and a beautiful woman named Adriana (Marion Cotillard). It’s a writer’s fantasy made real (Stein volunteers to read his novel), but it’s also Woody Allen at his most effective: taking the vicissitudes of relationships and turning them into a mirthful, if neurotic, journey. This one just happens to also navigate through another time and place as well. And a beautiful one, at that. There’s a reason this is Allen’s highest-grossing film of all time.

. . . to escape the friend zone:

When Harry Met Sally. . . (1989)

©Columbia Pictures/Courtesy Everett Collection

If this list were a top 20 instead, this film would still be on it. Same with top 10—and five. It’s in the running for the best rom-com of all time because it is sassy, sultry, snappy, cinematic perfection, thanks to words from Nora Ephron and direction from Rob Reiner. It’s something of an epic of the genre, spanning over 10 years of the kind of friendship (between Meg Ryan and Billy Crystal’s characters) where no one can help but ask, “Why aren’t those two together?” Should friends ever sleep together? If they do, what happens next? This movie should be watched by every college student on the planet. Bonus: Watch this movie with a boyfriend, and pay attention to what happens to his face during Meg Ryan’s most famous scene, in which she illustrates just how easy it is for a woman to fake an orgasm.

. . . to unite with your crew:

Bridesmaids (2011)

©Universal/Courtesy Everett Collection

Who ever thought getting food poisoning in a wedding dress could be so funny? Bridesmaids is as much a buddy comedy (think Old School or Twins) as it is a rom-com, proving that female actors can be just as bawdy and into gross-out humor as their male counterparts in The Hangover. This is about the love between friends, yes, and the agony that comes with maturing at different paces, but what ultimately drives the film is the desire of Annie (Kristen Wiig, who also wrote the script, with Annie Mumolo) to catch up. This movie isn’t as much about what we have as about what we’re missing, and how a wedding can bring that to the fore. Along with nonstop laughs, we get a powerhouse performance from Wiig—even as Melissa McCarthy steals the show.

. . . to remind you that guys will try anything:

There’s Something About Mary (1998)

Before we had a president who bragged openly about grabbing women “by the pussy”, this is what qualified as a gross-out film. Amid scenes of semen being used as hair gel and testicles jammed in zippers, the Farrelly Brothers managed to concoct an amiable story about a nerdy Ted (Ben Stiller) hiring a private detective to find Mary (Cameron Diaz), the object of his unrequited love in high school. Despite the over-the-top locker-room gags, the movie has virtually no sex, and manages to emerge as hilarious, sweet, and satisfying.

. . . to make up your mind, dammit:

Manhattan (1979)

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Elephant in the room: Yes, this is Woody Allen pursuing a high school student (a luminous Mariel Hemingway). It was also made in 1979, and that didn’t carry quite the same connotations as it does now. The year is important, because as the film’s title suggests, this movie is as much about New York as it is about the lovers who collide inside of it (Allen’s character, Isaac, begins the film dating the high schooler, but leaves her for his friend’s mistress, played by Diane Keaton). In the mid-to-late 1970s, New York was a bit of a cesspool: Crime was out of control, repeated requests for federal aid were denied, and the city was on the edge of bankruptcy. It’s in the wake of this tumult that Allen pens his black-and-white love note to his fair city. The film opens with a montage of New York’s skyline and street scenes, revealed to “Rhapsody in Blue,” and Allen’s voice-over as Isaac, writing about his romantic love for the city. That’s where he gets us with this film; Allen crystalizes the outsize feelings that can swell with romance, despite any and all evidence that should temper them. It’s a movie about indecision, bad choices, and falling for the wrong people, but it celebrates the impetus for all of these. We love the things we shouldn’t. That’s life. That’s Manhattan.

. . . to know if he’s worth the trouble:

Say Anything. . . (1989)

Photo: Courtesy of © 20th Century Fox Film Corp./Everett Collection

If for no other reason, you need to see this movie so you’ll understand what it means when someone holds a ghetto blaster over his head outside the window of the woman he loves. Like most of the teen romance flicks on this list, Say Anything. . . doesn’t end at the Big Dance. This movie, from director Cameron Crowe (and produced by James L. Brooks) is far too sophisticated for such a middling finale. It’s too busy diving into the angsty, all-consuming, awkward challenge that is young love, as embodied by consummate underdog Lloyd Dobler and his attempts to woo the beautiful valedictorian Diane Court.

. . . to get him back:

Crazy, Stupid, Love. (2011)

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If The 40-Year-Old Virgin was evidence that Steve Carell could be a romantic lead, this was the proof. Alongside Julianne Moore, as the cheating wife he wants to win back, and with Ryan Gosling, who plays his cad coach, as well with a terrific performance from a teenage son who loves his babysitter, who in turn loves his nice-guy dad, Carell is well matched. Throw in Kevin Bacon as a romantic rival and Emma Stone as a law student just out of Gosling’s reach, and we’re ready to go. It’s a comedy that’s as much about accepting the facts of life—be they middle age, the people we can’t have, or the people we don’t want others involved with—as much as it is about a pursuit, or any one relationship. It’s about how love really is, sometimes, which can be romantic in its own right.

. . . to fall in love with literature:

Shakespeare in Love (1998)

©Miramax/Courtesy Everett Collection

People forget about the competition Shakespeare faced, and we don’t mean the other plays. In the late 1500s, one could go to the theater, or one could go watch some people be executed or a bear be torn apart by dogs. That’s how entertaining Shakespeare’s work had to be! In 1998, this film competed with Saving Private Ryan, Elizabeth, and Life Is Beautiful for Best Picture and managed to come out with the Oscar. What drew the academy to the fast-paced mash-up of Romeo and Juliet with a very loosely interpreted history of William Shakespeare’s life was the film’s ability to capture exactly what Shakespeare did back in his day: the urgency of love and the power of its expression—its ability to consume us and change lives.

. . . to tell your real friends from the sham ones:

Muriel’s Wedding (1994)

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Muriel (Toni Collette), a daydreamer and the target of the bitchy girls she considers her friends, wants nothing more than to get out of her small town and away from her awful father, move to Sydney, and get married. When she makes off with her parents’ savings, reunites with a fellow outcast from her town, and is offered the chance to marry a gorgeous South African swimmer who needs a visa, she can make her dreams come true. As much of a coming-of-age story as a rom-com (Muriel may be in her 20s, but she has much growing up to do), this film does a brilliant job of cutting the legs out from underneath our expectations by giving us exactly what we’ve always wanted, and tying us up in the strings attached.

. . . to relive high school (or what you wish high school was like):

To All the Boys I’ve Loved Before (2018)

Netflix’s most popular entry into the rom-com genre (based on the novel by Jenny Han) was for many an instant classic—not least for blessing the world with Peter Kavinsky (Noah Centineo), the Jake Ryan of the Internet era. Lana Condor stars as Lara Jean, a quiet high school kid who relieves her romantic pressures by writing never-to-be-mailed love letters to the objects of her affection—including her older sister’s ex-boyfriend. Until, of course, one night they get sent out. Hijinks—and a fake turned not-so-fake relationship—ensue.

. . . to remind you how much better it gets after high school:

American Pie (1999)

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A teen sex comedy with a heart of gold, this story of four high school friends determined to have sex before they graduate was the surprise hit of 1999. But underneath all the masturbating with pastry and accidentally ingested semen cocktails, there’s real sentiment to the adolescent boys trying to find their way with women, and vice versa. The reason we can safely call this a rom-com is that, while it doesn’t exactly pass the Bechdel test with flying colors, the objects of the guys’ affections are far from just objects. They have goals of their own we’re brought on board with. The girls aren’t just out for the boys, they’re out for themselves—as disappointingly rare in a rom-com as it is in a teen comedy, and the reason we love this one.

. . . to learn how far to take it:

Rushmore (1927)

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This is Wes Anderson’s most completely stylish movie, and perhaps his best, made before stylized fuckery got in the way of things like writing (like all his best work, this was cowritten with Owen Wilson). Max Fischer (Jason Schwartzman) is a scholarship student at a private school. His academics are dismal, but he’s game for any and all extracurriculars, especially the over-the-top plays he produces and directs. He gets into a contest for the affections of a widowed first grade teacher with local industrialist, and his newfound mentor, Herman Blume (Bill Murray). Several phenomenal executions come together in this film, including the ensemble cast, the just-on-this-side of believable production design, and an absolutely killer classic rock soundtrack. But what pushes it above the rest is the utter drive of both Max and Herman, as love and competition gains primacy over every aspect of their lives. They’re both willing to burn the village to save it, which is simultaneously hilarious to watch and cathartic to anyone who’s ever had a crush.

. . . to locate your other half:

Jerry Maguire (1996)

©TriStar Pictures/Courtesy Everett Collection

Cameron Crowe has a couple of films on this list (Almost Famous was close, but ultimately more coming-of-age than comedy) with good reason: He understands people and how they tick. Despite its memorably demonstrative, over-the-top lines, like “You complete me,” and “Show me the money,” this is ultimately a movie about how people really fall in love. Sure, Renée Zellweger loves Tom Cruise from the beginning—it’s a movie after all, and he is Tom Cruise—but what Jerry Maguire gets to is what happens after that first kiss, after the honeymoon period, when we have to learn about the other person as a person, and not just see them and their adorable puppy (or in this case, an adorable son, played by Jonathan Lipnicki) as an escape or alternative from our own lives.

. . . for a dose of realism (and Paris!)

Two Days in Paris (2007)

For sheer hilarious, messy, complicated realism, Two Days in Paris takes the prize. The brilliant and surprising Julie Delpy writes, directs, and stars as Marion, a young Frenchwoman who has brought her American boyfriend Jack (Adam Goldberg) to her hometown en route from a trip to Venice. They struggle through misunderstandings, language barriers, cultural clashes, encounters with Marion’s many ex-boyfriends, and her unruly parents (played by Delpy’s real-life mother and father, actors Marie Pillet and Albert Delpy,) and barely come out the other side. The moral, as Marion paraphrases Jack: “It’s not easy being in a relationship, much less to truly know the other one and accept them as they are with all their flaws and baggage.” It may not be easy, but it’s highly entertaining to watch them try.

. . . to get you through the holidays:

Love Actually (2003)

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Is this? Not really. But that’s not why we go to the movies. Love Actually is, actually, a rather clichéd Christmas rom-com, but jeez, we love it anyway. How can we not, with this ensemble cast of British romance all-stars (Hugh Grant, Emma Thompson, Liam Neeson, Colin Firth, and Keira Knightley, among others)? The prime minister (Grant) falling for a junior staff member? A quiet suitor in love with the new bride (Knightley) of his best bud (Chiwetel Ejiofor), who is apparently one of three people of color in London? A cuckolded boyfriend (Firth) rebuilding his shattered life with the help of his shy housekeeper? Balderdash. All of it. But it’s irresistible. Come on, what are you, made of stone?

. . . to fall for his funny bone:

Top Five (2014)

©Paramount/Courtesy Everett Collection

Think of it as Before Sunset meets Funny People, with New York taking the place of Paris. If that notion produces a little eye roll, get those peepers back down, and then on to the screen before you miss some laughs. Rosario Dawson plays a New York Times journalist tasked with interviewing a hugely famous comedian, played by Chris Rock, who is attempting to take his career in a new direction (courtesy of an ill-advised serious film about a Haitian revolutionary). Like Roman Holidaybefore it, this is a film rooted in our society’s placement of, and expectations for, certain figures (a celebrity and a princess, respectively). In both cases, the journalist finds the human being inside of their famous subject, falling for them while trying not to fall for their shtick, or what they represent. As the pair make their way through Manhattan—with visits from Jerry Seinfeld, radio hosts Opie and Anthony, Whoopi Goldberg, and a fantastic supporting job from the ageless Gabrielle Union, playing a reality TV starlet—we can’t help but get on board with their journey.

. . . to look past his neurotic, potentially mentally ill exterior:

As Good as It Gets (1997)

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There are few actors who can go toe-to-toe with Jack Nicholson. Director James L. Brooks found a suitable sparring partner with Shirley MacLaine in Terms of Endearment and struck gold again nearly 15 years later with Helen Hunt. Hunt plays a waitress with a sick child for whom Nicholson—a mean, racist, homophobic, obsessive-compulsive writer and her regular customer in the restaurant where she waits tables—has some affection. Bring in Nicholson’s neighbor, a gay artist (played by Greg Kinnear) who has to lean on the Nicholson’s character for help (beginning with care for his adorable dog), add a road trip, and you’ve got yourself one of the most delightful, well-thought-out comedies of the ’90s. The movie takes it time, but it’s to our benefit—Brooks allows us to get to know each of these people, and them each other, intimately, which means when the jokes, and the romance, land, they land hard, and then stay around. (Plus, who among us could resist Nicholson growling, “You make me wanna be a better man”?)

. . . to confirm that, yeah, he’s probably cheating:

Shampoo (1975)

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There’s a lot going on in Shampoo—the story of an L.A. hairdresser (Warren Beatty) who is sleeping with, well, everyone (including Julie Christie, who plays a prime target of his affections)—which, at first glance, could just be another ’70s sex comedy. Keep in mind, it’s directed by Hal Ashby, the king of thoughtful, offbeat romances, and was both written by and featured, Warren Beatty, a major voice of the Hollywood Left in the 1970s. The film, released a year after Nixon’s downfall, takes place during on the eve of Nixon’s election in 1968, so there’s a good deal of interplay between the politics and the sexual politics that were in the air as the counterculture died, the pill became mainstream, and the country saw itself in a whole new, darker light. That said, Beatty’s portrayal of the harried, discursive, libidinous George is irresistible even without context, as is the performance given by a young Goldie Hawn, who illuminates every frame—and perfectly counteracts Beatty—with blonde California light, and a heart-melting, downy innocence.

. . . to get you on board with AI:

WALL-E (2008)

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There are more epic Disney romances (one of them is on this list), but none more thoughtful. What we love about this futuristic tale of a little trash compactor, WALL-E, who falls in love with his technological better, EVE, is the considered environmental, anti-consumerist message that suffuses the dystopian love story. With barely a word, only whirrs, between them, EVE and WALL-E convincingly fall in love. His efforts to save her, once the megacorporation Buy-n-Large (their maker) comes for her, is as authentic as Hawkeye’s return for Cora, or Jack’s sacrifice for Rose. Forget Finding Nemo, this is writer-director Andrew Stanton’s Pixar masterpiece.

. . . to justify your May-December romance:

Harold and Maude (1971)

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There’s a question that lingers throughout most of Harold and Maude—the story of a death-obsessed young man (he enjoys driving a hearse, attending funerals, and faking his suicide) who falls for a much, much older woman—are these two going to get it on? It sounds sophomoric, but it’s actually essential. Harold and Maude are separated by approximately 60 years; for the movie to hit home, for us to believe that love is truly about what we share, not what we look like or other aesthetic values, we have to believe a genuine attraction has formed. No one prodded existentialism (especially in films deemed “romantic”) like director Hal Ashby, and Harold and Maude is no exception. The darkly funny tale will leave you questioning just what is important to you in your own conception of love—and, moreover, in your life.

. . . to give comic books their due:

Chasing Amy (1997)

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A comic book artist (Ben Affleck) with an inseparable best friend (Jason Lee) falls for a beautiful gay girl (Joey Lauren Adams)—who then falls for him—only to discover he can’t handle it. Comic books? Lesbian conversion? Best buds? Sounds like a romantic comedy made by men, for men. And it is! But Kevin Smith also managed a somewhat nuanced exploration of friendship and art, as well as of contemporary romantic standards in his rejiggering of the love triangle. Simultaneously, at a time when every other joke on Friends involved gay panic, he was portraying three-dimensional concepts of lesbian identity. What could be identified as a typical male-driven fantasy could also be seen as a ’90s Torrents of Spring.

. . . to make you fall in love with your friends:

Reality Bites (1994)

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In what was then a cult hit and is now a piece of ’90s nostalgia catnip, a post–Edward Scissorhands (and post–Johnny Depp) Winona Ryder plays Lelaina, an aspiring documentarian assisting an obnoxious TV host in Houston. She and grungy, Generation X friends—played by Steve Zahn, Janeane Garofolo, and a simmering Ethan Hawke (who may be more than just a friend)—are just trying to figure out who they are, and what they want in life. In Ben Stiller’s feature directorial debut, he also plays a TV executive whose budding romance with Lelaina and interest in her work brings the real world crashing into their postcollegiate hipster existence. Aside from a nonstop ’90s fashion buffet that is Winona’s wardrobe (mom jeans, crop tops, baby doll dresses, cardigans, men’s shirts, blazers), there’s also love and heartbreak, sex, betrayal, Lisa Loeb, Dickies, pizza, and lines like “He’s so cheesy, I can’t watch him without crackers.” What else do we want, really?

. . . to dance your troubles away:

Grease (1978)

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The ’50s nostalgia of the 1970s culminated with this unreal musical about the return to high school for summer lovers Danny Zuko (John Travolta) and Sandy Olsson (Olivia Newton-John). It’s hard for current viewers to understand just how big John Travolta was at the time; the year this film bowed, 1978, the two top-selling albums were the soundtracks to Saturday Night Fever (another Travolta film) and this one. And that was in a year when the Rolling Stones released Some Girls and Bruce Springsteen dropped Darkness on the Edge of Town. In this irresistibly playful film, Travolta embodies the bursting sexuality of the newly emerged teen culture, but at the same time, he’s a tampered-down throwback—we buy him drag racing cars and singing with his gang, the T-Birds, whose rivals are the Scorpions, and making clumsy moves at the drive-in. Similarly, the Pink Ladies, a popular clique headed by Rizzo (Stockard Channing), deliver their wiseacre lines with a fair dose of irony. These skirts know what’s up, and that’s what makes us interested, and invested, in their outcomes. We’re locked in from the first frame: There may be better musicals, but none more fun.

. . . to get you through wedding season:

Four Weddings and a Funeral (1994)

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For anyone who’s ever been encumbered by the beautiful, annoying, expensive ordeal that is a wedding, how can we not love a wedding movie whose first pages of dialogue are just the word Fuck? As much as we commiserate, this is ultimately Hugh Grant’s movie. And a little Andie MacDowell’s movie. But mostly Hugh Grant’s. It’s the film that introduced us to his stumbling, bumbling, yet confident Etonian charms and wit, which we’d witness again and again in Nine Months, Notting Hill, Music and Lyrics, About a Boy, and more). The story of Grant and his friends attending their friends’ weddings—and one funeral—perfectly captured the romance of nuptials as well as all the stress, commitment, and emotional . . . what do the British call it? . . . oh yes, bother that comes with that period in your life where your friends are tying the knot. The question this rom-com dares ask is this: In all this wedding madness, can you be the odd man out and still be happy?

. . . to find your prince:

Coming to America (1988)

©Paramount/Courtesy Everett Collection

It’s unfair that Eddie Murphy only has one entry on this list. The guy ruled the ’80s and made some of the era’s great comedies—Trading Places, Beverly Hills Cop, 48 Hrs.—but this is really the only one where the romance narrative rules supreme. In short: Murphy plays the prince of a fictional African nation who is unsure about his arranged marriage, and so heads to what he suspects will be greener pastures in search of his queen. So where better to start that Queens, New York? Essentially slumming it with his best friend (a terrific Arsenio Hall), Murphy’s character finds work at a McDonald’s-type restaurant where he falls in love with the owner’s daughter, a woman who just might fit the bill. It’s a super simple story that elicits big laughs in every scene, but it’s also a clever send-up of class and race that simultaneously owns itself as perhaps the ultimate Reaganite comedy: If you are rich and follow your heart, you can be even richer!

…remind you that life doesn’t always go as planned, but sometimes that’s okay.

Juno (2007)

Life’s not perfect, but it can be most endearing— that’s the takeaway, anyway, from Jason Reitman’s nuanced teen comedy, Juno. Ellen Page gives her breakout performance as the titular pregnant-by-accident teen who soldiers on through high school while preparing to give her baby up for adoption to a painfully needy rich couple (or “baby-starved wingnuts,” as her father calls them.) Juno’s honesty and her backward love story with the adorably nerdy Paulie (Micheal Cera) reminds us of the true meaning of being cool, and that heartache can resolve itself into a tender, resilient future.

. . . to get your boss’s job:

Working Girl (1988)

First, consider the cast: Melanie Griffith, Harrison Ford—who owned the ’80s in Hollywood and made this his only rom-com—Sigourney Weaver, Joan Cusack, Oliver Platt, Alec Baldwin (at his douchiest), and Kevin Spacey. Next, look at the director: Mike Nichols—if there is a pantheon for romantic films, he probably has Zeus’s seat. Finally, the shoulder pads; my god, the shoulder pads. Were doorways made wider in the 1980s? Adventures in Babysitting aside, this movie is really as feminist as mainstream movies got in the ’80s. Melanie Griffith plays Tess McGill, a wily business school graduate working as a secretary at an investment bank with such memorable one-liners as “I have a head for business and a bod for sin.” When her boss (Weaver) steals her idea for a merger and then ends up out of commission (temporarily bedridden after a ski accident), Tess rises to the occasion: scheming with the support of her friends and maybe-lover (Ford), conniving, flirting, and using some good old-fashioned elbow grease to outwit her superiors, beat the boys, and claim the position she’s rightfully earned. Griffith is miraculous (one critic compared her to Marilyn Monroe; younger viewers might see a mold for Alicia Silverstone’s Cher), taking a role that could have just been “cute” and elevating it to nuanced and beguiling. That’s what this film is—so much so, we’ll forgive you if, after watching it, you suddenly have a soft spot for shoulder pads.

(C)

#Lifestyle #Movie #romantic comedies #the best #top list #tv

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gazzhowie · 8 years ago

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My Top 25 Movies of 2016.

Yes, indeed. It’s that time of year again - This year is going to be a lot like last year unfortunately. I’m going to do another blast through a few films that deserve ‘special mention’, then just lay my Top 25 of 2016 out.

No long introduction. No 50 – 26 countdown like previous years. Let’s just bang straight on. Every film mentioned in the preceding paragraphs is well worth seeking out and experiencing whether it be a comedy, documentary, horror, drama, animation or blockbuster. The Top 25 that follows them though is obviously the one’s I regard as absolute must-see’s!

In terms of comedy I seemed to get a great deal more out of Hail, Caesar than most and was genuinely surprised by how hard a ‘cash-in’ sequel like Bad Neighbours 2 actually tried instead of going down the usual route of phoning it beat-by-beat. I liked Sleeping With Other People a great deal and thought Alison Brie gave easily one of the Top Ten best performances of the year. I thought both Goosebumps and Lazer Team were a great deal more fun than they had any right to be, and I thoroughly enjoyed the mixed-tone of The Mermaid though it was a long way off from the majesty of Kung Fu Hustle.

Unlike a lot of people, I seemed to think it was a strong year for documentaries. Two hit my Top 25 in joint position and then there was the horrifying depiction of college rape cover-up in The Hunting Ground which demands to be watched as part of a double-bill with Netflix’s jaw-dropping Audrie & Daisy. Netflix also had a great year in getting Amanda Knox out there which was an engrossing watch but couldn’t help but feel slight. Both The Barkley Marathon: The Race That Eats Its Young and Man VS. Snake (a sort-of sequel to The King of Kong) both finally landed on UK shores and were more than worth the wait. As did Welcome to Leith which was a staggeringly uncomfortable watch that plays out like a found footage horror film – until you remind yourself that it is 100% real. Finally there was Marathon: The Patriot’s Day Bombing which is every bit as moving and upsetting as you would imagine it to be.

Drama-wise, I was very impressed with Lamb and the performances in it. It skirted a line so deftly you don’t know quite whether to slap the label “paedophile drama” on it or whether that is missing the film’s point altogether. Disorder was an extremely solid if unexceptional home invasion type thriller but excels by proving to be one of the most accurate depictions of PTSD captured on film. I liked Room a great deal and was delighted to see the talents of Brie Larson were finally knocked into the stratosphere. As much as it lost its way towards the end, I had a lot of time for John Hillcoat’s Triple 9 which is filled to the brim with talented actors (and Kate Winslet!) doing strong work amidst some truly tense and well-executed set pieces. Ben Wheatley may make uneven movies here and there but he never makes a boring one and High Rise holds true to that. As chase thrillers go, the indie thriller River is well worth a watch just for its unrelenting sense of pace. The heavily maligned and (production) troubled Jane’s Got A Gun turned out not to be the turkey many envisaged and was in fact enormously watchable thanks to strong work from its cast. Norway took on the disaster movie to great B-movie effect with The Wave, Money Monster was a watchable and fun siege-style movie that shouldn’t be taken as importantly as it wants you to. And finally Goat is well worth seeking out. It’s horribly uncomfortable stuff but needs to be seen just for the double-whammy of an excellent Jonas Brothers’ performance AND a tolerable appearance from James Franco.

On the horror front, I was genuinely impressed with both Under the Shadows and The Witch, the final third of both films are ones that still linger and leave me feeling uncomfortable even now, months on. In a year quite barren for old-fashioned ‘creature features’, I sought comfort in and had a great time with the Aussie killer-dog exploitation-er, The Pack. Mike Flanagan absolutely knocked it out of the park with the Netflix exclusive, Hush, and I look forward to seeing it again. I’m normally no fan of the ‘anthology’ movie and there’s certainly a lot of awful ones out there but I was really taken with Southbound and, unlike a lot of those movies, didn’t find a weak link within it. On that note, I’m no fan of the ‘found footage’ movies nowadays but The Good Neighbour proved to be an effective gem that kept me guessing in terms of where it was going and has a typically strong, stoic performance from James Caan. For its first two thirds I was a genuine fan of Lights Out and thought it was on point to secure its place as my favourite horror of the year. Then it floundered into crassness in its final denouement and the film sadly come undone for me.

Animation wise, I liked both Kung Fu Panda 3 and Finding Dory way more than I thought I would given their purpose as ‘cash-grab lazy sequels’. Both found new ways or ideas to light up what should be tired concepts (the former taking a Seven Samurai style ‘train a village to defend a village’ approach and the latter utilising Ed O’Neill’s octopus character to break up the monotony of a beat by beat re-tread). Finally there was Kubo and the Two Strings whose structural issues in its final third were the only things keeping it from an appearance on my final Top 25. It’s a stunningly beautiful piece of work with some tremendously inventive moments (the face-off with the giant skeleton is one of the year’s best sequences!) and I’ll probably become more forgiving of its flaws with further re-watches.

Finally, on the ‘big’ blockbuster-esque front, I enjoyed Jon Faverau’s The Jungle Book a great deal on a technical level but felt flattened by the young lead actor’s VERY ‘stage school-y’ performance. I also thoroughly enjoyed the return of Jason Bourne and feel churlish for grumbling that it is only ‘very good’ instead of an ‘instant classic’ like the first three. It’s all very same-old, same-old in places but it brings out the big pay-off with its Vegas-set car-meggedon finale. I thought Doctor Strange was a tremendous accomplishment in bringing that particular character to the screen and for the most part I got a lot of entertainment from it, but for me Benedict Cumberbatch and that god-awful accent just didn’t work for me. One of the blockbuster surprises of the year was Star Trek Beyond which – bad writing aside (Simon Pegg tends to write very cloth-eared dialogue) – turned out to be relentlessly entertaining and full of gusto in all the ways the inert second movie was not. Possibly the biggest surprise even over that movie though was The Shallows, which was considerably better than it had any right to be. A big, high concept, one location, survival movie with a transfixing performance from Blake Lively, this plummets into the realms of stupidity in its final confrontation but all that goes before it is an absolute B-movie joy! Deadpool was a delight that hopefully blasted the cobwebs off of the comic book movie subgenre with a lead performance from Ryan Reynolds that finally cements his years of being underrated. Rogue One: A Star Wars Story most definitely came good midway into its second act and slowly evolved into one of the best blockbusters of the year, but what went before it was so unnecessarily choppy and uneven that it took a bit too long to settle in for the ride. Netflix’s Siege of Jadotville was a terrifically enthralling Zulu-type true life war movie that far too few seem to have taken the time to check out and far too little are bestowing praise upon. It’s well worth a look. Finally there’s Kill Zone 2, an – in name only – sequel to the Donnie Yen / Sammo Hung martial arts classic. This time Tony Jaa heads up the cast for a head-spinning action extravaganza involving prison kick-offs, organ trafficking, shoot-outs and so much more. It’s a genuinely brilliant blast of action cinema. You don’t have to have seen the first Kill Zone either by the way. They just slapped that sequel title on this unrelated movie.

And now, without further ado, here’s my Top 25 movies of 2016 that - thanks to some blatant cheating on my part - is clearly a Top 27 as I just could not be drawn to pick between the best documentary and the best horror...

25) The Invitation

I went into this sniffily, half paying attention, just so I could rip the terrible guy from Prometheus a new bum-hole and... boy did it start to slowly grip me. Anyone who says they saw the final act coming is a liar. And that final image? One of they year’s most haunting!

24) Victoria

An entire film made up of one take - no cuts - ends up being one of the most enthralling and technically captivating films of the year. It’s lazy to just call it a ‘heist movie’ when it is offering so much more.

23) Keanu

Utterly disrespected on its UK release, this is a must not just for Key & Peele fans but for fans of legitimately funny, laugh-out-loud comedies. This is the sort of film that you see and start passing around amongst your friends as a sort of “You’ve GOT to see this!” secret gift. It’s all the more a must-see in light of George Michael’s death. You’ll see.

22) Tickled / Weiner

I genuinely could not call it between these two documentaries. Both are astounding pieces of work. Tickled takes you from a place of “I ain’t watching no documentary about competitive tickling!” to “Ok, whah! Hold up! What’s going on?” to actual “What. The. Fuck.” And Weiner? Well Weiner is all the more a must-watch in light of revelations that Anthony Weiner could well have inadvertently taken down Hillary Clinton’s campaign for president. It is a total jaw-dropper of a documentary in the sense that you continually question not just how the makers got this level of access but how they were allowed to carry on filming during some of the scenes presented. The McDonald’s scene could well be both the most degrading scene of the year and one of the year’s best action sequences.

21) The Wailing

One part ‘possession’ movie. One part Korean police procedural. Two parts horror movie. And finally one part ‘mystical battle of good and evil’ epic. This is an absolute blast of a film that grabs you extremely early on and holds you tight for its lengthy running time. You never know what’s coming next and that makes the scares - when they drop - all the more strong. Go in knowing as little as possible, and give yourself over to it completely.

20) Zootopia

There was absolutely nothing about this movie (entitled Zootropolis everywhere but the UK, bizarrely) in its marketing that made me think it was something I a) needed to see and b) had not seen done a hundred times before: Cute Disney animals riffing on some well-worn subgenre of cinema to uneven effect. But this was REALLY something different; playing with the police procedural and the beats of the standard buddy movie, this ends up being an excellent lesson in tolerance, racism and persecution. It’s a joy from start to finish.

19) Everybody Wants Some!!

I went into this under a swell of hype because everything Richard Linklater puts his name to seems to get an immediate seal of high quality nowadays. I was really reluctant towards it because I just thought “M’eh. He’s done Dazed & Confused. How good can this actually be?” And you know what? Believe what you hear. It’s a real delight.

18) Arrival

Ignore the trailers that try to sell you this as some sort of Independence Day type movie. Read up on as little about it as you can. Go in completely cold. Give yourself over to it and pay close attention. This movie will get deep into your headspace, warm your heart and change your perception of how the human mind sees and comprehends structure and storytelling for a long time to come.

17) The Revenant

We seem to have thrown the Oscar at Leonardo DiCaprio and pushed this film to the side but in doing so we forget what an absolute tremendous piece of work it is on a visual and technical level. You cannot conceivably discuss the best cinema had to offer this year and not involve this epic revenge ‘poem’ in the conversation.

16) Sausage Party

I really wanted to dislike this. I did. I saw all the reviews and high word-of-mouth and I absolutely thought half the western world was off their fucking rockers, so to speak. But this really is THAT much fun and it absolutely is that hilarious. Not every joke works and when they clunk they thud. Yet there’s more hits than misses - and you’ll not see a better talking food movie about religion and existentialism this year!

15) Hell or High Water

They’ll sell you on this being an ‘all guns blazing’ heist thriller just to get you through the door. But, in reality, this is a thoughtful spin on the ‘greedy banking crisis’ told as a surprisingly elegant modern western. Chris Pine, Ben Foster and Jeff Bridges are all universally excellent. And the final scene is a slow burning, mature reward for your investment.

14) 13 Hours: The Secret Soldiers of Benghazi

Written off as political propaganda upon its release, this is actually one of Michael Bay’s best movies with a remarkable performance from John Krasinski. It’s a bombastic, relentless, gory, engaging and exhilarating piece of work and I think time is going to be kind to this movie, more than people realise. It’s the best war movie of the year but I think it could go on to be considered one of the best modern war movies of the decade.

13) Bone Tomahawk

Quite possibly the best ever bait-and-switch since Robert Rodriguez took his crime thriller to the ‘Titty Twister’, this is a fabulous assured old-school western with superb turns from Kurt Russell, Richard Jenkins, Patrick Wilson and (yes) Matthew Fox. If you know nothing about this already, go in that way and... well... try to survive! Good luck!

12) Spotlight

A good old fashioned procedural movie that plays out like the true life dramas of the 1970s - Pull together a great cast, have them go off a great script based on an enthralling real incident, keep the direction clean and unshowy and just sit back and let the results come together as they should. One of the best dramas of the year. Totally deserved of its Oscar, in my opinion.

11) Eddie The Eagle

Absolutely NOTHING about this movie should work in the least. It’s a true life sporting underdog tale where pretty much 95% of the ‘facts’ are unashamedly fictionalised. It’s got a lead performance that you have to warm to because it takes a while to get past the gurning. It’s apparent Hugh Jackman is only there to help the budget... and yet, within the first few beats of the film’s epically retro soundtrack, you are hooked into one of the loveliest and warmest films of the years. It’s very much an explosion of feel-good cinematic hugs.

10) Midnight Special

A father kidnaps his son from the religious cult he’s been held at the centre of and takes him on an obsessive quest to get to a very specific place at a very specific time. That’s all you need to know right there. Seek out nothing else. Head on into a viewing of this with just that information and lie back in the warm embrace of masterful storytelling.

9) The Hateful Eight

Tarantino’s playful homage to both John Carpenter’s The Thing and Agatha Christie’s storytelling of old is a thoroughly impressive piece of work, lauding over its love of its own dialogue, brazen performances and showy directorial flourishes. It’s a ‘guess who’ that - whilst not as clever as it thinks it is - will certainly have you absolutely captivated. The thankfully short appearance from the painful Zoe Bell is the only flaw this otherwise exceptional chamber-piece offers.

8) The Big Short

The true story of the 2008 banking crisis as told by an all-star cast - in the style of a comedic heist movie? With celebrity cameos used as a glossary index? As told by the guy who directed Anchorman? Come on. This should never have worked. This should never have even been considered seriously. And yet, here it is and here it is as one of the best movies of the year. Don’t worry if you leave your first experience of it angry. You’re meant to.

7) Captain America: Civil War

Quite simply, the best blockbuster of the year by a large margin. In amongst the fast-becoming-impenetrable size of the Marvel Cinematic Universe, the Captain America movies have emerged (especially because of the double whammy of this and The Winter Soldier) as the franchise’s lynch-pin and high bastion of quality. This all-star beatdown should have, by rights, been the clusterfuck that snapped the wheels of the MCU. Instead it is one of the most insanely enjoyable blockbusters of the year and - with that airport sequence - the owner of the best action set-piece of the year!

6) Hunt For The Wilderpeople

I was desperate to see this because of my adoration for What We Do In The Shadows and it genuinely did not disappoint. It’s funny, moving and really rather lovely with a very subtle but warm performance from Sam Neill that, by rights, should see him nominated for some awards come that particular season.

5) Don’t Breathe / Train to Busan

I couldn’t call it between these two as the best horrors of the year no more than I could between the documentaries. Train to Busan takes the (frankly exhausted) zombie genre, puts it on the tracks and sends it speeding off through a cavalcade of carnage, scares and truly brilliant action sequences. You’ll rip the arms of your chair and scream out loud watching this one. And Don’t Breathe is a truly exceptional reinvention of the home invasion movie in all the ways Busan reinvigorates the zombie movie. Jane Levy and Stephen Lang do work here that should, by rights, get them nominated for a boatload of awards - but sadly won’t because awards councils very rarely respect horror. Yes, it gets a little daft the higher up the dial they turn the tension but that doesn’t undo the fantastic work done here in setting up one of the geographically cleanest and leanest horror films of the year.

4) Green Room

I love a good siege movie and Jeremy Saulnier most definitely delivers a great one. I was ‘in’ from the outset as I was a huge, huge, huge fan of Saulnier’s Blue Ruin but this more than lives up to expectations. It’s bigger than the ‘punks versus neo-nazis’ longline it hides behind. It is gruelling and gory and exceptionally tense. It is also driven steadfastly by another effortlessly brilliant performance from Anton Yelchin, who died far too young in 2016.

3) Creed

A SEVENTH Rocky movie after the stretch - a lovely stretch, but a stretch none the less - that was Rocky Balboa (aka Rocky VI)? A spin-off about Apollo Creed’s illegitimate son being coached by an aged Rocky? Oh come on! This sounds utterly awful! No better than that dire Rocky VI ‘spec’ script that appeared online in the late 90s with Rocky Jr taking on the son of Ivan Drago. But... But.. BUT, hold up! This film is the real deal. A movie made by die hard Rocky fans for die hard Rocky fans with the actual Rocky up, front and centre giving it his blessing every step of the way. It’s not just a thematic modernisation of the franchise but it is also a pitch perfect spiritual return to the raw, indie-style, rough-and-ready feel of the first classic. Stallone’s Best Supporting Actor nomination was truly deserved. His campaign might have been a little classless but the nomination was earned - if for nothing else that heart-breaking scene in the doctor’s office!

2) Sing Street

NINE separate people recommended this film to me and I ignored every single one of them. I am not a fan of musicals. I’ve not seen Once. I lasted exactly 10 minutes into Begin Again. I watched the trailer for this, saw the lad from Transformers 4 in a bad wig and just thought “Eurgh! No!” Then a lad who’s opinion I legitimately respect pushed hard for me to give it a go and I threw it on as a 99p iTunes rental one rainy Sunday afternoon and... I was left in tears! It resonated hard with me in a lot of ways from my own childhood, growing up in the 80s. It’s really lovely and special and you can clearly tell that the people behind it are coming from a place of honesty and passion about that era and the music. It’s a fabulous little film and I have no qualms in admitting that I was wrong to pre-judge it.

1) The Nice Guys

I am an obsessive fan of all things Shane Black anyway but this truly was the absolute gift of the year for me. Not only was it a truly fabulous return to the well Black has played around in as director with Kiss Kiss Bang Bang and writer with The Last Boy Scout and The Long Kiss Goodnight, it’s a film that will transform your opinion of what Russell Crowe is capable of. Featuring some of the strongest gags of the year, this is a deliberately convoluted shaggy-dog PI tale that slowly mutates from a comedy caper into a genuinely strong shoot ‘em up thriller. I loved it from its opening car crash gag right the way through to its sequel baiting final scene. A sequel that... just like Kiss Kiss Bang Bang, The Last Boy Scout, The Long Kiss Goodnight, etc... we will NEVER GET TO SEE because APPARENTLY NONE OF YOU FUCK TRUMPETS TOOK THE TIME TO SEE THIS!

Rectify that now. “And stuff!”

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jessicakehoe · 5 years ago

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Beanie Feldstein of Booksmart on Being “Built Happy,” Overcoming Tragedy and (of Course) Llamas

We’re on the patio at one of Beanie Feldstein’s favourite brunch spots. It feels transplanted from Los Angeles—which is to say there is a shocking dearth of deep-fried dishes. But the mechanical roar and shudder from a nearby construction crew, the buildings and the presence of Beanie* herself place us very clearly in New York. Chelsea, to be exact. And when in Chelsea with an impossibly charming actress well on her way to attaining her dream career, you talk about llamas.

* Author’s note: It’s journalistic convention to refer to a subject by his/her last name after his/her first appearance, but it feels wrong to do so with Beanie Feldstein. Beanie—a name her late brother gave her when she was a baby named Elizabeth—fits better. It’s like if Coca-Cola were a person, you wouldn’t call her Cola; it’s too broad and generic. No, you’d call her Coke.

“I loved llamas growing up,” says Beanie. “My second screen name ever, my second email, was pinkllamas12. My favourite colour, my favourite animal, my favourite number.”

As far as conversational tangents go, this isn’t that random. Beanie, whom you’ll recognize from playing the so-loyal-it-hurts best friend in Lady Bird along with the so-loyal-it’s-hilarious best friend in this past summer’s instant high school classic Booksmart, was talking about apartments in New York. This led to talk of dogs. Big dogs, specifically, and how, what with a roommate and all, she can’t get one at the moment. Helpfully, I asked if she had considered llamas. “They’re also quite tall.” Ha ha.

And so we spoke of llamas.

As it turns out, we each have one piece of llama trivia. Mine hasn’t exactly been fact-checked, so I’m concerned that my llama anecdote will contradict hers—and wouldn’t that be awkward? Rule number one of celebrity interviews: Don’t argue with the talent (especially about llamas).

Photography by Arkan Zakharov. Styling by Anna Katsanis. Creative direction by Brittany Eccles. Hair, Peter Butler for TraceyMattingly.com. Makeup, Matin for TraceyMattingly.com/Nars. Manicure, Miss Pop/Zoya Nail Polish. Fashion assistant, Paulina Castro Ogando. Photography assistants, Ian Bishop and Alicia Brooks.

“From what I read when I was 11, you have to have at least two llamas,” she says. “Because if a llama doesn’t get attached to another llama, it’s going to get attached to you and then be violent with anyone who comes near you. But if you have two, they’ll get attached to each other.”

My tidbit is that instead of using sheepdogs (or maybe in addition to using sheepdogs…my knowledge of shepherding practices comes almost exclusively from Looney Tunes), shepherds will sometimes put a llama in with their flock. So long as that llama remains singular, it will defend its little woolly cousins against all comers—will literally flatten any coyotes that come sniffing around. But if that llama has a llama friend, it could give a shit about those damn sheep.

The point of both of our anecdotes is the same: Llamas have very powerful feelings. And as such, they provide an imperfect yet apt metaphor for who Beanie is (minus what are clear co-dependency issues on the part of the llama).

“I love deep,” Beanie tells me later. It might be the truest statement anyone has ever made. In the hour we talk, Beanie uses the word “love” approximately 60 times. If she mentions someone—a director or past co-star or anyone—she’ll first list specific reasons why she loves them. And hers isn’t the “Oh, Marty Was Such a Thrill to Work With” kind of talk show praise that celebrities usually dish either. It sounds genuine—like everyone is a friend she met at camp and can’t wait to tell you about.

“It’s very rare for me not to connect with people,” she says. “It’s subconscious: I feel connected or I don’t. Every now and then, I’m wrong. And it hurts. But I think I just sort of know. I just love deeply.”

She just knows herself, too. And I get the sense that, more importantly, she likes herself. That’s a big part of why she can be so positive about pretty much everything. That might sound like she’s a typical millennial, pumped full of untested self-esteem. But it’s not like that. It’s a choice, and it’s one that doesn’t go unchallenged. After all, one assumes that being a plus-size actress in Hollywood comes with certain pressures that can be anathema to self-acceptance.

In a brief essay for Refinery29, she wrote about how precarious and hard-fought self-love can be, at least when it comes to her body. After unintentionally losing weight after a stint on Broadway, she noticed how many comments and compliments she was getting about her looks. “It really messed with my head,” she wrote. “After years of pain, I had finally found such a beautiful peace, one that most people, no matter what size they are, don’t have […]. But here’s the issue: When everyone started telling me I looked smaller, I lost my beautiful mindset that took decades to find.” Her self-acceptance and confidence don’t come from outside; they come from her own self-awareness. She has a healthy understanding of her talents as well as her weaknesses.

“When everyone started telling me I looked smaller, I lost my beautiful mindset that took decades to find.”

Her upcoming film, How to Build a Girl, is based on the novel by Caitlin Moran (“so charismatic and so effervescent and magical”). Beanie plays a girl named Johanna, who is “so different from Caitlin.” The character and Moran do, however, share a pretty similar biography. They are both music critics from the British town of Wolverhampton and speak like it. It’s not an accent that comes naturally to anyone not from Wolverhampton; it’s an accent that even her girlfriend, English film producer Bonnie-Chance Roberts, couldn’t help her with. “It’s not just a British accent,” she says. “Coky [Giedroyc, the director] was like, ‘Even as Londoners, we don’t know how to do that accent.’”

“I’m not an accent savant like some people,” says Beanie. “Saoirse Ronan is brilliant in every way, but her work with accents is so insane. I approached it academically.” She’ll tell you, without self-deprecation or false modesty, that she is neither the most creative nor the most intelligent in her family. But she is the most academic.

“I know the moment I got the part,” she says. “I was Skyping with the producers before I went to London for my audition. And they were like, ‘We looked all around for someone from Wolverhampton to play Johanna.’ But they couldn’t find anyone and so they were looking all over the U.K. I was like, ‘If you’re not casting someone from Wolverhampton, then anyone would be doing an accent.’ And I saw their heads cock, and it was the right thing to say.”

Bold, right? But then she had to work to nail Moran’s accent—which took a three-week immersion in Wolverhampton-ese while embedded in one of the town’s female-run shops. She said it was awkward at first, since she was under orders to speak in the accent well before she had it down, but what’s a little discomfort if it means getting to work with someone like Moran?

“She is everything I would want to be as a woman,” she says. “I just couldn’t believe that they chose a Jewish girl from Los Angeles. And I think in my core they saw something in me that Johanna has, which is like an eternal optimism.”

And like with her character, it’s an optimism that has been tested. As a good sociology grad (Weslyan ’15), she knows that her life has been privileged: raised in Los Angeles by well-off, creative parents; a famous older brother (named Jonah Hill); loads of natural talent and charisma. But that doesn’t mean she hasn’t had challenges or faced grief.

Her oldest brother, Jordan, was a manager for Maroon 5, Robin Thicke and Elle King. He died at the end of 2017 from a blood clot in his lung. “It’s unbearable at times,” she says. “But it doesn’t linger in me. I mean, my tragedy lingers in me every day. My grief is something that I am alongside every single day. But it doesn’t present itself as depression or sadness.”

“It’s unbearable at times. But it doesn’t linger in me. I mean, my tragedy lingers in me every day. My grief is something that I am alongside every single day.”

There’s a difference between eternally optimistic and blindly optimistic. She knows that life is hard and things are shitty. And it’s hard to keep a big heart from getting hurt every now and then, but all the pain isn’t pointless. “I found myself unwillingly in a new club,” she wrote in an essay for InStyle. “It is a club full of suffering and questioning but is also a community of people who have a truly broadened perspective on the human experience.”

And while it doesn’t make up for the loss, that kind of perspective is helpful when your job is to inhabit different human experiences. “I think one of the most beautiful lines I got to say in Lady Bird was ‘Some people just aren’t built happy,’” she says. “I was really struck, because I have no words for how much I miss my brother, but I think that I am just built happy.”

After reading all this, you shouldn’t be surprised that Beanie is a theatre person. She fell in love with Funny Girl before she was old enough for kindergarten. She spent most of 2017 on Broadway starring in Hello, Dolly! with Bette Midler. (Bet you can’t guess how Beanie feels about her.) Theatre—musical theatre, specifically—might be the only thing she loves more than…all of the other things she loves.

“I think one of the most beautiful lines I got to say in Lady Bird was ‘Some people just aren’t built happy.’ I was really struck, because I have no words for how much I miss my brother, but I think that I am just built happy.”

Considering how many theatre nerds there are around the world, there are relatively few true theatre people in Hollywood, but you know them when you see them: enthusiastic, touchingly game, often improbably good at accents (spoiler alert: Beanie can talk like a native of Wolverhampton now) and probably on the verge of tears (happy or sad) at this very moment. “They are people with the biggest hearts,” she explains. “I’ve never met a more hard-working people than the theatre community. Broadway is a slow burn of commitment.”

Maybe the size of their hearts helps with the required energy as well as her craft. She’s not a method actor. She connects to her characters through empathy, through inherent understanding and love.

One final observation: Beanie’s first breakout role was in Neighbors 2. She played a freshman student who started a wildcat sorority with Chloë Grace Moretz. In her next two major roles, she was a senior in high school. “And, now, in How to Build a Girl I’m 16,” she says. “I’m Benjamin Buttoning, which is funny because I’ve always felt like an old soul.”

Beanie passes as a teenager, of course, especially since we’re used to seeing 25-year-old high-schoolers in pop culture. But I think she keeps getting younger and younger in her roles as a corrective. Even though she’s only in her early twenties, we regret that we didn’t find her sooner, that we weren’t friends with her in high school. So, we’re going to force her back there. We want her in our musicals, films and lives for as long as possible.

Actually, maybe we’re the llamas in this metaphor.

Photography by Arkan Zakharov.

1/10

Beanie Feldstein

Dress, price upon request, Jonathan Simkhai at Rent the Runway. Earrings, $200, Jennifer Fisher. Rings (worn throughout), Beanie’s own.

2/10

Beanie Feldstein

Dress, $3,170, and shoes, $1,255, Marc Jacobs.

3/10

Beanie Feldstein

4/10

Beanie Feldstein

Dress, $2,860, Erdem at The Room. Shoes, $775, Stuart Weitzman.

5/10

Beanie Feldstein

6/10

Beanie Feldstein

Dress, $3,070, Balenciaga at Saks Fifth Avenue. Shoes, $1,875, Jimmy Choo. Belt, stylist’s own.

7/10

Beanie Feldstein

Top, $750, Versace at Holt Renfrew. Bracelet, Beanie’s own.

8/10

Beanie Feldstein

Top, $750, Versace at Holt Renfrew. Bracelet, Beanie’s own.

9/10

Beanie Feldstein

Dress, price upon request, Jonathan Simkhai at Rent the Runway. Earrings, $200, Jennifer Fisher. Shoes, $1,250, Gucci.

10/10

Beanie Feldstein

Dress, $170, Rahi at Shopbop. Shoes, price upon request, Salvatore Ferragamo.

The post Beanie Feldstein of <em>Booksmart</em> on Being “Built Happy,” Overcoming Tragedy and (of Course) Llamas appeared first on FASHION Magazine.

Beanie Feldstein of Booksmart on Being “Built Happy,” Overcoming Tragedy and (of Course) Llamas published first on https://borboletabags.tumblr.com/

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williamsjoan · 6 years ago

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Does the PlayStation Classic’s Lineup Live Up to the Original System’s Legacy?

The console race of the 1990s has reared its head again in recent years. However, this time it’s presented in a miniaturized format. What started off with the now iconic NES Classic from Nintendo soon gave life to a whole range of tiny machines imitating the heavy hitters of days gone by.

Since then, we’ve seen Nintendo jump back into the fray with a rendition of the SNES, SEGA kicking things into high gear with its upcoming tiny Genesis, and even the ’80s-era Commodore 64 getting a bite-sized new lease on life. Of course, with the wheels officially in motion, it was only a matter of time before Sony Interactive Entertainment dipped its toe in the water to bring new life to its oldest gaming conquest: the PlayStation.

“The PlayStation didn’t just feel like a console, it felt like a movement; a gargantuan push forward towards a more advanced gaming world.”

The PlayStation Classic is tasked with carrying the weight of a generation-defining machine on its tiny shoulders. When the original PlayStation launched more than two decades ago, it changed the way we play video games forever. It bravely made the leap from 16-bit gaming to fully fleshed-out 3D experiences, a generational leap the likes of which we’d never seen. It gave birth to a number of titles and characters who have since become household names, and it did it all with a hyperactive edgy overtone that would appeal to players in their teens.

Put quite simply, the original PlayStation was ground-breaking. Its shockwave was felt throughout the gaming world and its effects have spilled over to the subsequent generations of consoles that followed. The PlayStation didn’t just feel like a console, it felt like a movement; a gargantuan push forward towards a more advanced gaming world. The edgy titles and attitude that coincided with it were rebellious in nature, and it genuinely felt like gaming was growing up from its childhood years to embrace a more mature outlook on life.

Is it possible to instill that feeling, that effect, and that attitude into a device that can fit into the palm of your hand, or is the PlayStation Classic doomed to fail? In order to decipher this, we’ve got to take a look back at what the PlayStation really brought to the table, and what games are included in its cute little modern outing.

The PlayStation’s “I-don’t-care” attitude didn’t just come from its completely over-the-top advertising campaigns which embraced the true nature of just how wild the 90s could be. No, instead it was the games that really propelled the machine. Looking back now, more than two decades after the system first exploded onto the screens of our old CRT TVs, there are a number of titles that instantly come to mind because they changed the face of gaming forever.

First and foremost there was the machine’s unofficial mascot, Crash Bandicoot. Crash, like any characters that could be referred to as a mascot at the time, starred in platforming games. Proudly sporting its cartoonish 3D graphics, this anthropomorphic little animal sprinted through busy levels while spinning his foes into oblivion. The fast-paced, reckless nature of the game made it an instant hit and the system followed up with two direct sequels, each of which improved upon the original’s rocky beginnings, and a number of off-shoot titles which saw the cast of the Crash’s universe engaging in go-karting (which is getting its own remaster very soon) and other silly party games.

“The unfortunate truth is that a good chunk of games that would be seen as PlayStation heavy hitters are similarly tied up in this day and age.”

Something about Crash Bandicoot stuck a chord with players and, although he has appeared on Microsoft and Nintendo consoles since, he’s seen as being synonymous with the original PlayStation. Unfortunately though, possibly due to the recently-released Crash Bandicoot: N. Sane Trilogy, the crazed jeans sporting animal didn’t end up making a triumphant return on the PlayStation Classic.

The unfortunate truth is that a good chunk of games that would be seen as PlayStation heavy hitters are similarly tied up in this day and age. The 1990s’ adorable little dragon, Spyro, for example, has also recently starred in a gorgeously remastered rendition of his original adventures. Old Sir Daniel Fortesque of MediEvil fame will also be seeing a PlayStation 4 remaster in the near future, so that pretty much crosses the concept of his title making an appearance off the list too. The same could be said for fan-favorite Castlevania: Symphony of the Night which was recently included in a downloadable bundle.

Next up is the now iconic Lara Croft. The first Tomb Raider title has aged surprisingly well throughout the years. Overshadowed in many ways by Tomb Raider II, 1996’s original introduced us to a character who dominated the gaming scene for the remainder of the century. Perfectly timed and riding the wave of the Spice Girls’ movement of “girl power,” Lara Croft was a no-nonsense action hero whose ferocious combat skills and agility were surpassed only by her boundless intellect.

Lara Croft quickly became another iconic face of PlayStation, and indeed the face of gaming during that era. She appeared in soft drink advertisements, toured with U2, and made the cover of then-popular magazine The Face, and this was all before Angelina Jolie portrayed her in 2001’s major motion picture adaptation of the franchise (and the accompanying 2018 film starring Alicia Vikander). Bizarrely though, she too seems to be absent from the PlayStation Classic’s lineup, likely because of the recent reboot titles from Square Enix.

“It would be unfair to say that there aren’t any fantastic games pre-installed in the cute little machine.”

The list of classic characters and games that haven’t made the cut for the PlayStation Classic seems to go on and on. Early PlayStation titles such as Loaded would have fit right at home on the bite-sized device, as would the likes of Die Hard Trilogy. Iconic characters such as PaRappa the Rapper and memorable games Pandemonium! didn’t make an appearance either, and neither did any of the entries in PlayStation’s signature futuristic racing franchise, Wipeout.

With all of these games lacking, what exactly does that leave for the PlayStation Classic when it comes to representing the era it came from? It would be unfair to say that there aren’t any fantastic games pre-installed in the cute little machine. Final Fantasy VII, for example, leads the charge and is regarded by many to be one of the greatest games ever created. Tekken 3 is by far the best 3D fighter that the original console had to offer, and it still plays fantastically today. Grand Theft Auto is a fun little title that now serves as an interesting history lesson for fans of the series and Rockstar Games, proving that great things are possible from incredibly humble beginnings. This top-down 2D title laid the groundwork for what was to become one of the most successful franchises of all times. Then there’s the bizarre but charming Oddworld: Abe’s Oddysee that certainly deserves a slot, as does the original Destruction Derby for nostalgia’s sake.

To top it off, there’s no denying the sheer power and influence that the original Metal Gear Solid had over gaming as a whole. It integrated cinematic story-telling into video games in a way that we’d never seen before and single-handedly revolutionized the very concept of narratives within games. Again, this is a front-runner on the PlayStation Classic, and rightly so. It has earned its place as one of the system’s greatest and most well-loved titles.

Following these stellar games, though, are some seemingly bizarre choices that tend to miss the mark again and again. Mr. Driller and Super Puzzle Fighter II: Turbo both seem entirely out of place here, almost like last minute choices that simply didn’t pay off: Intelligent Cube also falls under this category. Cool Boarders 2 is a nice addition, but could and should have been swapped out for Tony Hawk: Pro Skater 2, which is superior and infinitely more popular in every way.

“The PlayStation Classic sadly seems like it will go down in history as a misfire.”

None of these titles are bad. They are all decent in their own rights, but they are by no means classic, especially not when compared to heavy hitters such as Tomb Raider, Silent Hill, Medal of Honor, Legacy of Kain: Soul Reaver, Rollcage, Tenchu: Stealth Assassins, Driver, or Dino Crisis. Even choices such as Twisted Metal seem a little unusual considering how badly this particular game has aged. It seems stranger still when you consider that its vastly superior sequel Twisted Metal 2: World Tour still plays brilliantly in 2018.

There is a sea of phenomenal games spread across the original PlayStation’s thick and robust catalog, but it simply seems like all we’ve got here is wave after wave of wasted potential and missed opportunities. What should have been a sure-fire line-up of stellar genre-defining titles wound up being a mishmash of games that might make you think that there was a misunderstanding about the definition of the word “classic.”

The PlayStation Classic sadly seems like it will go down in history as a misfire; a half-cocked attempt to follow in the footsteps of Nintendo’s miniature consoles but without truly knowing what made Sony’s original voyage into the world of gaming magical. Perhaps there are lessons to be learned here, and we’ll see a revised release at some stage in the future. For now, though, the PlayStation Classic seems destined to sit in the shadows of Nintendo’s outings to think about where it went wrong until it eventually drifts into obscurity.

The post Does the PlayStation Classic’s Lineup Live Up to the Original System’s Legacy? by Eoghan Murphy appeared first on DualShockers.

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Best Amazon Prime TV shows US

http://www.internetunleashed.co.uk/?p=18878 Best Amazon Prime TV shows US - http://www.internetunleashed.co.uk/?p=18878 Ah summer. At one time the warmer months meant nights spent beneath the warm glow of the drive-in movie projector. These days ... not so much.Thankfully, Amazon Prime Video is here to pick up the slack.While the service catches a lot of flak for uninteresting, non-noteworthy shows, there's actually a treasure trove of content waiting to be discovered ... if you know where to look.That’s why we're here to help you make that all important decision about which TV series you should binge watch this weekend and what we recommend you should skip. We've collected together a big selection of TV shows for you to choose from, including shiny new series through to Amazon's own original shows. In our guide you'll discover our pick of the best Amazon Prime TV shows that are currently on offer. We have options for fans of thrillers, comedy lovers and those who enjoy nothing more than a fantasy police drama. So, what's the best Amazon TV show to get sucked into without regretting it by the end of season 2? Read our Prime Video recommendations to find out.[Update: Looking for some classic Aughts TV? Suits is now available on Amazon Prime Video as is the much darker, much newer fifth season of Orphan Black.] You'll need a Prime subscription to watch Amazon Prime Instant Video for free, and best of all, you can get a free 7-day trial of Amazon Prime Video Amazon has been developing and creating titles itself over the past few years, which are called Amazon Originals or Amazon Original Series.These homegrown TV shows are arguably some of the best that the Amazon Prime Video service has to offer (think The Tick and Transparent), which you can watch instantly when you have Amazon Prime access. There are many more shows you can watch through Amazon too of course, but some of these have to be purchased in order for you to start streaming. We'll be keeping this list constantly updated – if any paid shows become free that we feel need to be included, they'll be added too. Scroll through to see our picks that we've divided up into the following categories: drama, comedy and thriller. If you can only watch one... The Marvelous Mrs. Maisel Nominated for the Emmy in Outstanding Comedy Series, The Marvelous Mrs. Maisel tracks Midge on her rise to the top of the comedy scene in the 1950s. The basic premise of the show is that Midge, a perfect stay-at-home wife, never quite gets the recognition she deserves from her drunk, deadbeat comedian husband. She picks up the mic herself and, as it turns out, is actually funnier than her lesser half. The monologues Midge delivers feel as appropriate for today's audiences as they were for the fictional crowd in the '50s, if not moreso. The result is genuinely funny, inspirational and, above all, human. Check out our in-depth Amazon Prime Video reviewFancy a film? Then our best Amazon Prime movies feature is for youWant to see what the rival is doing? Then check out best Netflix TV showsThese are the best movies on Netflix Amazon Prime or Netflix? Check out our comparison video below! Absentia If you've had a Stana Katic shaped hole in your life since Castle ended in 2016, you'll be glad to know she's starring in a brand new series on Amazon Prime. Katic takes up the role of FBI agent Emily Byrne who, six years after being declared dead, returns to the world and has to try and piece her life and memory back together. Seasons on Amazon Prime Video: 1 Animal KingdomLooking for a new crime drama to get stuck into? Animal Kingdom could be what you're looking for. The show follows teenager J Cody who moves in with extended relatives in Southern California after the death of his mother. Far from being boring, Cody finds his relatives live a wild life of excess and it's all funded by crime.Seasons on Amazon Prime: 2 BoschWith 20-something novels to mine for source material, Bosch is a character that was always destined for the small screen. Created by Michael Connelly but brilliantly brought to life by actor Titus Welliver, the series follows the exploits of LA Homicide detective Harry Bosch and features enough grit to pave the longest of driveways.This is no surprise - the series has been created by Eric Overmyer, who was part of the alumni that created The Wire. Bosch is another show that has been put together by Amazon Studios - proving that streaming services are becoming just as powerful as the HBOs of the world when it comes to producing compelling drama.Bosch Season 4 has now landed on Amazon Prime, continuing the saga of Harry Bosch and it comes with a nice uplift in quality too, building season upon season to become one of our favourite shows on Prime at the moment. Number of seasons on Amazon Prime: 4 GoliathBilly Bob Thornton stars as a washed-up lawyer looking for a big break who stumbles on to a big case that may well give him the solace he needs. Made by David E Kelly who loves a bit of courtroom drama, having already created Boston Legal, The Practice and Ally McBeal, the show works well as a standalone series but there's talk that it may get a second season. Goliath is part of Amazon's Original series of TV shows.Seasons on Amazon Prime: 1 Good Girls RevoltLet me set the stage for this one: It's 1969, and there's a war going on in America. The war is being fought in business offices around the country and the group leading the charge are women in the workforce, fighting for equal rights and equal acknowledgement for the work they've performed for years. Good Girls Revolt is set in this backdrop, at a fictional news outlet where the women have for too long been swept under the rug.The show scores major points for its poignant subject matter – both in the way that it covers the struggles of women in the workplace pre-1970, but also in the way it handles talking about the American history that the women in question are tasked with covering. Part raunchy history lesson, part stellar drama, Good Girls Revolt is a smart interpretation of a still-ongoing issue.Seasons on Amazon Prime Instant Video: 1 Hand of GodLast seen in Sons of Anarchy, Ron Perlman has moved from the mad world of biker gangs into the stranger world of law. Perlman plays a vice-riddled barrister who, after suffering a breakdown, starts to believe he is a messenger from god.The full first season for Hand of God arrived on Amazon Prime, after a successful pilot. A second season is also available, which will sadly be the last as Amazon has decided to not renew the show. This is a shame as it may not be a light-hearted ride - but it is one drama that takes dark turn after dark turn and is all the better for it.Seasons on Amazon Prime: 2 The Last TycoonF Scott Fitzgerald may be known for The Great Gatsby and Tender Is The Night but The Last Tycoon - his last and unfinished novel - is perhaps his most ambitious piece of work. It peels away the glitz and glamour of Hollywood in the '30s to show a time when backstabbing was the norm, fascism was on the rise and everyone had an unbelievable amount of money. Kelsey Grammer is superb as movie mogul Pat Brady, while Matt Bomer is also great as Monroe Stahr, the up and coming film exec who wants to make it big. The Last Tycoon is occasionally flawed but it's a sumptuous watch.Seasons on Amazon Prime: 1 Downton AbbeyLike watching fictional posh people live their lives in early-twentieth century opulence? You're not alone – millions of people tuned in to Downton Abbey during its TV run, and it's now available to stream in its entirety on Amazon Prime Video.Following the trials and tribulations of the Crawley family on the titular Downton Abbey estate, it's a kitchen sink drama of sorts – except all the cutlery is made of silver, and it's an army of servants doing the washing up. Seasons on Amazon Prime Video: 7 Sneaky PeteSneaky Pete's plot maybe a little cliche - a con man assumes the identity of someone else to try and make a new break in the world - but Giovanni Ribisi is superb as Marius, the titular character and there's plenty of intrigue to keep you glued to this new Amazon Original. Interestingly, the show is co-created by Bryan Cranston which makes him the streaming king, given he's done so well with Breaking Bad on Netflix. Don't expect Sneaky Pete to be as intense as Breaking Bad - it's a crime caper, yes, but it doesn't take itself too seriously. As of March 2018, the second season of Sneaky Pete has landed on Amazon. The premise is that Marius is on the cusp of starting fresh and leaving all of his mess behind. But that'd hardly make a compelling second season, would it? Luckily for fans he's dragged back into the drama kicking and screaming.Seasons on Amazon Prime: 2 TransparentAnything Netflix can do, Amazon Prime can do better it seems, especially when it comes to winning a Golden Globe. Netflix may have made history by being the first streaming service to win a Golden Globe, courtesy of the acting talents of Kevin Spacey in House of Cards, but Amazon went and topped this by winning the Best TV Show prize in 2014 for Transparent.It was much deserved. Transparent is everything you want in a TV show. It's heartwarming, funny and packs a real punch about a subject that doesn't get enough attention: transgenderism. Jeffrey Tambor's Maura Pfefferman is a television character we hope will be around for a long time.The fourth season will be available to stream from 22 September.Seasons on Amazon Prime: 3 Comedy Alpha HouseOne of the first successes to come from the Amazon Originals program, Alpha House is the antithesis of Netflix's House of Cards. Yes it has a political edge but the back stabbing is replaced with a little bit of rib tickling. John Goodman is superb as one of four US senators shacked up in the same house.While the humor may get a little too dry for some, there's warmth in the cynicism and a strange amount of believability in the characters. If you were to choose one comedy that lampoons US politics then go with Veep - but Alpha House is a decent second.Seasons on Amazon Prime Instant Video: 2 Jean-Claude Van JohnsonOkay, we'll admit this show isn't quite as good as its teaser promised us. But it is still a fun, meta look at the man, the myth Jean-Claude Van Damme who plays, well, Jean-Claude Van Damme. It's only six episodes long but it's a lot of fun, showing Jean as a black-ops spy who has been covering as an actor all along. Yeah, right. This means that he's still an ass-kicking action hero but a real life one. Well, an actor playing an actor playing a black-ops operative who pretends to be an actor. If that sounds like your thing, then Jean-Claude Van Johnson is for you. Seasons on Amazon Prime: 1 CatastropheFrom the minds of Sharon Horgan and Rob Delaney comes one of the funniest, most well-written sitcom in years. The plot is slight: a one-night stand turns into a relationship once Sharon announces she is pregnant. But the series contains some of the most cut-to-the-bone humour seen on TV. Combine this with a nice slab of pathos - nestled among many a sex joke - and what you have is a modern classic.The third series, which recently aired on Channel 4, is now available on Amazon Prime Video - it features the last ever performance from the imitable Carrie Fisher.Seasons on Amazon Prime: 3 Comrade DetectiveComrade Detective is a weird gem on Amazon. Starring Channing Tatum and Joseph Gordon-Levitt, the show is a parody of gritty American buddy cop shows and Communist Propaganda from the Cold War.It's an unusual combination, but it works. Each episode is presented as though it's a remastered real episode of a lost Romanian Communist Propaganda series from the 80s which was used to entertain and promote Communist ideals. The entire show was filmed in Romania with Romanian actors and then dubbed over by Tatum and Gordon-Levitt.Seasons on Amazon Prime: 1 The TickWe like a dark twist on the superhero genre as much as the next person, and The Tick delivers it: it's about an accountant with mental health issues, who may or may not be a superhero - it could all be in his head. Peter Serafinowicz is the eponymous Tick, and despite that rather sombre-sounding plot outline, this is a black and surreal comedy worth seeking out.The first half of the first season of The Tick has been on Amazon Prime since 2017, but as of March 2018 the second half is here and it manages to be even more baffling, entertaining and laugh-out-loud funny than the first.Seasons on Amazon Prime: 1 The Grand TourClarkson, Hammond and the other one are back for Grand Tour: Season 2. Well, we kind of knew that they would be as they all have massive contracts that mean we will be seeing quite a few seasons of the Definitely Not Top Gear But Quite A Bit Like Top Gear show. This season sees Clarkson drive a fast car, Hammond drive a faster car and nearly die, and the other one drive a fast car considerably slower than the rest. If you enjoy watching middle aged men burn rubber in the middle of the desert, like a scene out of Mad Max: Fury Road, then this is for you. And if we haven't quite convinced you yet - Gizmodo offered up this quote about the show: "Some men doing stuff for no clearly defined reason." Lovely stuff. Seasons on Amazon Prime: 2 (new episodes weekly) I Love DickRecently graduating from Amazon Originals pilot to fully fledged TV show, I Love Dick is a great subversive watch. The show stars Kevin Bacon and is based on the celebrated book that looks at a married couple who are having marriage issues and their relationship with college professor, Dick. Bacon is on top form as the charismatic Dick and the show's multiple POV storytelling (Rashomon style) works well.Seasons on Amazon Prime Video TV: 1 The Marvelous Mrs. MaiselA new series from Gilmore Girls creator, Amy Sherman-Palladino, The Marvelous Mrs Maisel tells the story of 1950s Jewish housewife Miriam Maisel. After her husband confesses he's been having an affair, Midge drunkenly gets on stage at a comedy club and discovers that she's utterly hilarious. In a time when women aren't encouraged to be publicly funny, Midge pursues her new-found comedic talent in the male-dominated stand up comedy world. Season one is on Amazon now, but a second has already been ordered.Seasons to watch on Amazon Prime: 1 Mad DogsThe UK version of Mad Dogs was a breath of fresh air when it first aired. Well, the first season was then it all went a little too strange. This remake - green-lit from Amazon's burgeoning Originals series - takes the best from the UK version and mixes it with a plot that's a little easier to follow and humour that's more laugh out loud than pitch black.The premise is the same: a bunch of mates go and visit one friend at his luxury villa to celebrate his early retirement, only for murder, mayhem and mind-boggling plot developments to ensue. A touch of genius is the recasting of Ben Chaplin. While he played the rich, retiring Alvo in the UK version here he gets to try his luck in a bigger and better role.Seasons on Amazon Prime: 1 Mozart in the JungleNow into its fourth series, Mozart in the Jungle was this surprise winner at the 2015 Golden Globes, where it won Best Comedy Series. The show is a comedy set in the strange world of classical music. Gael García Bernal plays young conductor Rodrigo who replaces a retiring conductor played by Malcolm McDowell. Based loosely on a true story and created by the likes of Jason Schwartzman and Roman Coppola, it's well worth a watch.Seasons on Amazon Prime Video: 4 Parks and RecreationParks and Rec is a joy of a show. Originally seen as a quasi spin-off of the Office - using the same documentary style camerawork, awkward pauses, asides to camera - it soon grew from an amusing first season, about the goings on in the parks department of Pawnee, to a comedy phenomenon that spanned a fantastic seven seasons. It's not just the script that makes it great, it's also the characters - headed up by the ever-brilliant Amy Poehler.Seasons on Amazon Prime: 7 Red OaksThe '80s is the en vogue decade when it comes to nostalgia. Not only are Seth Gordon and Adam Goldberg mining the era for their superb prime-time sitcom The Goldbergs, Red Oaks has appeared to prove that it is respectable to set shows in the '80s. Amazon-exclusive Red Oaks - made by another Green, this time David Gordon - focuses on David, a tennis player at the Red Oaks country club and his summer shenanigans. Great casting - Jennifer Grey! - some brilliant nods to '80s films, a short run time means this is a series you can eat up in one neon-fuelled sitting.The third and final season is now available to stream in its entirety on Amazon Prime and is a fitting end to one of the best shows around at the moment. Seasons on Amazon Prime Video: 3 Thrillers NEW SEASON: The AmericansThe Americans was cruelly mishandled when it originally came to UK TV, so we are glad it has finally found a decent place to reside. The show is a cracking crime period thriller that follows the exploits of a couple of KGB agents posing as US citizens around the time Ronald Reagan became US president.It may occasionally flit between the ridiculous and the sublime but you would expect nothing more from a show that's main conceit comprises characters duelling with duality. The '80s setting is fantastic, too, though there aren't enough shell suits for our liking.The final sixth season of The Americans has now landed on Amazon (but you have to pay for it), but the fifth season is now available to stream for free with Amazon Prime Video.Seasons on Amazon Prime: 5 Mr RobotThe popularity of Mr. Robot meant that there was something of a bidding war to see who would show it. Amazon, Netflix and other more traditional broadcasters fought for it, proving that even bean counters can see the worth in counter culture.Amazon won in the end and is the perfect place for a show that focuses on the exploits of hacker Elliot (a superb Rami Malek). Mr Robot is Fight Club for the Tor generation, lifting a lid on a world where what Linux kernel you use is not just a badge of honour but a way of life.Now in its third season, Mr Robot is proving to be one of the most addictive things on television right now.Seasons on Amazon Prime Video: 2 Man In The High CastleThere have been a number of successful Amazon pilots that have made it to a full series but none have the epic potential that Man In The High Castle has. This Philip K Dick adaptation is finally available to stream - with all episodes ready for your consumption. High Castle imagines what the world would be like if Germany had won World War II and the Nazis had taken global control. Turns out it's a bit worse than us all driving around in VW Beetles and wearing Hugo Boss coats.Season 2 is now available and expands on the mythos. Given this is a cautionary tale about what could happen when the hard right takes over America, things suddenly don't feel too far fetched.Seasons on Amazon Prime Video: 2 Sons Of AnarchySeemingly always vying for the top spot of Best Recently Finished Drama (we may have made up that award) with Breaking Bad, Sons Of Anarchy is a long brooding menace of a show that deserves your attention. Centred on a motorcycle gang that live by their own rules (you can probably guess what their name is from the title) the show is positively Shakespearean in its storytelling and will have you gripped from episode one.While Ron Perlman steals the show as Clay, Charlie Hunnam's Jax is one of the best tortured souls you will see on any television show. All seven seasons of the show are now streaming on the service.Seasons on Amazon Prime: 7 True BloodOne of the biggest advantages Amazon Prime Instant Video has over Netflix is its massive back-library of HBO programming that will make anyone with a monthly subscription salivate over. While each show could have its own entry on this list we instead chose to highlight the best of the bunch, starting with The Wire. A close, though vastly different second is True Blood, a show about the preternatural, social issues and sex. Lots and lots of sex. And if that tag line doesn't sell you, nothing will.Seasons on Amazon Prime Instant Video: 6 VikingsIf you have any interest in Norse mythology then the name Ragnar Lothbrok will mean a whole lot to you. Basically he was a king and powerful ruler that was a right git to the English and the French.Vikings is a series that traces his Norse-based goings on with enough charm and scope to take on Game of Thrones in the sword and sandals stakes. Yes it takes a number of liberties with its source material but the acting is top class, as is the cinematography in a historical romp that's now deservedly in its fourth season - the second half of which is now available.Seasons on Amazon Prime: 5 NEW ENTRY: You Are WantedThe first season of this German cybercrime thriller has been on Amazon Prime for just over a year, but now the second season is available too. Set in Berlin, the TV show is about a man called Lukas who has all of his online accounts hacked and gets accused of being involved in criminal, terrorist activity. In the age where it feels like big companies know more about our data than we do, it's a compelling contemporary tale that might leave you feeling like you really go and tweak your privacy settings or delete your online presence altogether.Seasons on Amazon Prime: 2 The best of the rest, and coming soon Tomorrow's WorldTomorrow's World was a ground-breaking BBC documentary series that ran for 38 years from 1965 to 2003. In 2017 the brand was 'revived' as part of a new series that explores the same themes of technology, science and the future as an umbrella brand for BBC's science programming. The latest season has recently landed on Amazon Prime and it covers artificial intelligence, nanotechnology, biometrics, the quest for immortality and how researchers, big corporations, doctors, scientists and inventors are shaping the future. Seasons on Amazon Prime Video: 1 Batman: The Animated SeriesYou've seen all the Nolan and Burton Bat flicks, and you're wisely avoiding the new Batfleck films. If you're still hankering for a Batman fix, you could do far, far worse than jumping into Batman: The Animated Series. Kicking off back in 1992, it bridges the gap of the Burton aesthetic and the comic book series, and is regarded by Batman fans as having perhaps the definitive onscreen take on the Dark Knight.It's ostensibly a kids cartoon, but the ongoing storylines are captivating and stylishly noir-like in delivery. And to cap things off, the voice cast is superb – Kevin Conroy is an assuredly-good Batman (reprising the role for the recent Batman: Arkham games), while Star Wars' own Mark Hamill is a fantastically unhinged Joker.Seasons on Amazon Prime Video: 4 All Or NothingAnyone who wants something to fill their Friday Nights Lights hole need to look no further. This documentary is a superb look at how gruelling a season of American football is. It gives the viewer unprecedented access to the coaches, the staff and, most importantly, the players and it's a fantastic watch. Tying the whole thing together is also some superb narration from Mad Men's Jon Hamm. Grand Prix DriverThis new Amazon Original documentary takes viewers underneath the glitz and glamour that is the surface of Formula 1, to explore the inner-workings of the 2017 McLaren team. Narrated by Michael Douglas, this documentary follows rookie driver Stoffel Vandoorne over four episodes, as he and his team prepare for the 2017 Formula 1 World Championship. Season on Amazon Prime Video: 1 GrimmMerge a fairy tale fantasy with a police drama and you get Grimm. It's all about Nick Burkhardt, a detective based in Portland in the US who discovers he's a Grimm. Which basically means he's a kind of mystical guardian who must keep the peace between humans and creatures called Wesen. As you might expect, a lot of the characters are inspired by Grimms' Fairy Tales, but the show draws from many other sources too to create a story that's a little like Buffy The Vampire Slayer, but with fairy tale creatures.Seasons on Amazon Prime Video: 6 Coming soon to Amazon Prime: OasisThe works of Michel Faber nearly always translate well to the big and small screen. The Crimson Petal and the White was given a great mini series adaptation by the Beeb in 2001. And Under The Skin is one of the most inventive films ever made. Another one of his works, The Book of Strange Things, has been given the Amazon Originals Pilot treatment. Called Oasis, the show is a twisty opaque look at a priest who is living in a human colony on another planet. Richard Madden, last seen in Game of Thrones, stars. Source link

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