In the three years since Match Cuts came online, I’ve found myself returning to certain recent films time and time again, trying to endlessly wrap my mind around them. It’s as if these select few works continue to challenge my understanding about filmmaking, writing, and the world around me, even after becoming incredibly familiar. They’re often incomplete, mysterious, and confounding pieces, seemingly evolving over the course of time, and my repeat viewings are a direct confrontation with their shifting parts. Yet others resonate so perfectly despite their many flaws that the entertainment value actually increases with each viewing. These might not be masterpieces, or even the best films of their respective years, but they might just be some of my favorites since they continue to fascinate me no matter how many viewings. A small list follows, with thoughts for discussion in anticipation of further evolutions.
Miami Vice (Mann, 2006) – Michael Mann’s enigmatic cop film functions as a brilliant and cynical sign of the times, where subversive law enforcement factions fail to nab the big fish in the face of grave social danger, settling for a victorious return to the status quo. The strange digital artifice feels absolutely connected to the cold, blue hues of Mann’s stylized vision of moral ambiguity.
Kill Bill: Vol. 1 (Tarantino, 2003) – The best modern action film, not simply because the fight scenes are exquisite, but because the entire narrative boils with cinematic intensity. Music, visuals, and dialogue fuse together forming a calculated, masochistic, and breathtaking postmodern mish-mash. The film is a striking first half of a twin genre juggernaut constantly at odds with itself.
Just Friends (Kimble, 2005) – Makes me laugh like no other recent film. Maybe it’s Ryan Reynolds’ inspired performance, or Anna Faris’ nut-job pop princess, or the vintage slap stick wackiness, but it all adds up to something unique – a modern comedy devoted to character and smarts over gross out set pieces.
Gangs of New York (Scorsese, 2002) – Brash, brutal, and abrasive, but undeniably compelling. A disturbing vision of our nation beginning from spoils of blood, sweat, and revenge. Scorsese’s strange slice of historiography changes with each viewing, equal parts epic, war film, and melodrama. It’s these shifty tones that force the viewer to re-address the work with different eyes.