If there ever was an Academy Award Best Picture nominee that throws everything at you but the kitchen sink, 2022's Everything Everywhere All at Once, written and directed by Daniel Kwan and Daniel Scheinert, would be it. A philosophical thinking piece woven within an Asian infused Marvel-style multiverse of madness – which incorporates kung-fu action, quirky comedy, marital stress and romance, familial drama, and plenty of adventure, the narrative follows the Wang family: mother Evelyn (Michelle Yeoh), father Waymond (Ke Huy Quan), daughter Joy (Stephanie Hsu), and visiting grandfather Gong Gong (James Hong).
Iconic German director F.W. Murnau is often considered to be one of the most influential filmmakers of the silent film era. Creating the first ever vampire movie, Nosferatu (a perfect example of German Expressionism) in 1922 and Sunrise (sometimes considered to be the best silent film drama of all-time – and the first motion picture he made in America) in 1927, a perhaps slightly lesser known movie (of his) that is equally as impressive is 1926's Faust: A German Folk Legend. Revolving around the age old struggle of good versus evil, the tale begins with the demon Mephisto (Emil Jannings) debating with an Archangel (Werner Fuetterer) about the nature of human beings. The agent of darkness believes that he will be able to corrupt the righteous, wise old sage Faust (Gösta Ekman). The two agree that, if Mephisto succeeds, the Devil will be given rule over the Earth.
Considered one of the great films of the Czech New-Wave, Valerie and Her Week of Wonders takes the viewer on an unorthodox nonlinear journey through a bizarre, sensual, dream-like fantasy world where the lead character, Valerie (Jaroslava Schallerová), is just budding into womanhood. Seen through the eyes of the impressionable, pure, and innocent ingenue, we are not sure if what we are seeing is, in fact, reality, or whether it is dream (or perhaps more accurately – nightmare), or projections of what coming into adulthood is like, or some mixture of them all.
Hollywood studios have long used focus groups as a way to determine if audiences like a film. And, for just as long as they’ve been around, there have been complaints about them: ‘Who are the people who comprise the focus groups?’, ‘Do they have any insider movie knowledge?’, ‘Why are they more knowledgeable than the screenwriters and directors who have made the film?’, "Why are studios changing the ending of a movie just because a few random people disliked it?’.
Every once and a while, a writer devises a ghost story that is not mere horror or thriller, but expands the eerie vibe to a more intimate otherworldly friendship or romance. Two of my favourites are the oddball buddy comedy Blackbeard’s Ghost (released by Disney in 1968) as well as the 1990 romantic dramedy simply titled Ghost. I now have a third excellent film to add to this rather abstract list – the 1947 motion picture The Ghost and Mrs. Muir.
There have been many attempts at turning the King Arthur legend into film – from bloated action tales and Cold War bewilderment (where the villains wear Soviet Union red outfits), to animated Disney classics, but the movie that best captures the true essence of the historic tale is the 1981 John Boorman (Deliverance) epic Excalibur.
Roger Ebert’s top film of 2006 was the Spanish motion picture Pan’s Labyrinth, which he considered to be one of the greatest fantasy movies of all-time. A fairy tale meant for adults, the storyline follows a young girl, Ofelia (Ivana Baquero), as she moves to a secluded old mill with her mother Carmen (Ariadna Gil) and new stepfather, Captain Vidal (Sergi Lopez).