Reel Facts & Opinions: The Oscars Get Short

A dust-up has erupted around the upcoming 94^th Academy Awards. 

 

This week, it was announced that eight of the 23 categories will not be presented live. Those categories are the three short films (Best Animated, Live-action, and Documentary Short), along with Sound, Makeup/Hairstyling, Production Design, Editing, and Score. The presentations and acceptance of the eight awards will take place in the Dolby Theatre an hour before the telecast begins, which will be recorded and edited into the live broadcast. 

 

The move, which was first attempted in 2018 but quickly scrapped after a backlash, is being done to cut-down on the hefty running time of the ceremony, and to get it down to three hours. This also being done as a reaction to last year’s ratings, which were the lowest in the history of the Oscars. 

 

There is a double-edged sword at work here. The Tony Awards and The Grammys have done something similar in the past, and the Oscars broadcast has often been criticized as bloated. A tighter ship could certainly be run, but they’re going about it the wrong way. The categories that are being pre-taped will likely cut out acceptance speeches, which is a significant time-saver, but these are also the “below-the-line” categories that are won by the people behind-the-scenes. These people behind the curtain who build sets, style makeup, mix sound, and make all the important edits never get their proper due. And here, the Academy is taking that away from them. These are the “everyman” categories that are reachable for most of us, and this move makes the Hollywood dream seem even further away. The real head-scratchers are the Best Editing and Score. The latter will rob us of attention and tribute to beloved composers such as John Williams and Hans Zimmer, while the former omission takes attention away from one of the most vital categories on the path to Best Picture; two-thirds of all Best Picture winners have also won for Editing. 

 

Ratings and advertising, of course, is important. As they said in the Best Picture nominee THE RIGHT STUFF in 1983, “no bucks, no Buck Rogers”. There are solutions to low ratings and bloated running times, and this could very work…but at what cost? Right now, this shows that the Academy is worried more about ratings than inspiring young filmmakers or paying tribute to the many hands that make a movie move. And length is a non-issue. After all, this is an age where people will play video games or binge-watch a show for 10 hours, or plop down and not move for a four-hour football game. The Academy seems to have fallen out of touch with their audience and maybe that’s why the ratings have been where they are. 

 

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The 94^th Oscars are March 27^th. 

A Reel Opinion: The Top 10 Best Opening Scenes

We are now 46 days into the year that is 2022. If 2022 was a movie, we would still be in the opening scene, meaning there is plenty of time left to find our destinies, make new alliances, overcome obstacles, and reach those goals. The opening scene for a year is vital, just as it is vital for a film. And that bring us to Reel Speak’s Top 10 Best Opening Scenes. 

 

The Opening Scene for any film has a lot to do; establish characters, its world/universe, the overall situation, and atmosphere. If it succeeds, the audience is hooked. If it fails, the movie can be lost. The Opening Scene can do this through action, narration, or even no dialogue at all. The best of the lot are the ones that hook us hard right away, firmly establish situation, character, and atmosphere…and over time, have earned a place in history. 

 

 

 

Let’s open with…

 

 

 

 

10. THE GOOD, THE BAD, AND THE UGLY (1966)

 

Sergio Leone’s iconic Western opens with a desert landscape, only to be interrupted by the sudden appearance of a weathered cowboy in a stunning transition that goes from wide shot to close-up without cutting away. From there the scene unfolds in a patient, slow burn…leading to a bloody gunfight and a smashing introduction to one of the principal players in the film, known as The Ugly. This opening scene succeeds in preparing us for the patience we would need for this Western, and prepares us to expect the unexpected. 

 

 

 

 

9. THE SOUND OF MUSIC (1965)

 

The hills are certainly alive with the sound of music as the practically perfect Julie Andrews sings, dances, and twirls across the beautiful hills of Austria. Robert Wise uses his time wisely here, providing stunning backdrops and establishing the character of Maria, who would much rather be dancing around the fields than tending to her duties…and that is a good thing. Iconic, memorable, and not-to-mention an everlasting internet meme. 

 

 

 

8. GOODFELLAS (1989)

 

Three men in a car at night, interrupted by a strange noise. They stop, open the trunk, and holy shit there’s a guy in the trunk! They take care of the problem, which leads us to one of the most memorable movie quotes of all time: “As far back as I can remember, I always wanted to be a gangster.” It was a trademark for director Martin Scorsese, who loves to start his films right in the middle of the action. The scene firmly nailed down the bloody and bonkers world of gangsters, and had audiences hooked as we just had to sit tight and see how that guy wound up in the trunk…and why it was so important to start the film that way.

 

 

 

 

7. THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001)

 

Peter Jackson brilliantly and succinctly sums up the history of the Rings of Power, which includes over 3,000 years of Middle-Earth history and thousands of characters; not an easy feat considering the depth of J.R.R. Tolkien’s immense writings. This is more of a wide-reaching prologue than a single scene, but it still counts as it is vital to the film and it’s two sequels. It gets us into this world right away and schools us on the Rings, their importance, and stuns us with amazing visuals that were new at the time and still holds power 20 years later. 

 

 

 

6. THERE WILL BE BLOOD (2007)

Paul Thomas Anderson establishes the hardships and dangers of mining in the late 1800's in this quiet, yet effective opening sequence that doesn’t have a word of dialogue for what seems like a very long time. Daniel Day-Lewis is as committed as ever, and we have no doubt that his character was down in a hole for hours at a time digging through solid rock by hand for a handful of silver. The near-disaster that his character goes through pushes him to do better and move on, which sets up the rest of this masterful film.

 

 

 

 

5. 2001: A SPACE ODYSSEY (1968)

 

Anderson was clearly channeling his idol Stanley Kubrick when he filmed THERE WILL BE BLOOD, because Kubrick’s sci-fi masterpiece has the same style of prologue. For over 10 dialogue-less minutes we spend time with stone-age apes as they fight for territory and learn violence when a mysterious object appears. It seems simple on the surface, but the deeper message of apes becoming humans when they learn to kill is enough to spin heads, and set the stage for the rest of the cerebral film. Not to mention the sequence, called The Dawn of Man, ends with one of the best transitions ever put to film. 

 

 

 

4. JAWS (1975)

Steven Spielberg’s JAWS has scared people from going in the water for over four decades now, and that all started with this first scene of a beach girl swimming at night and attacked by a killer shark. It establishes the danger that is lurking underwater while we engage in one of our favorite past-times, and John Williams’ foreboding score lets us know that something is coming. Expertly shot and edited with a dose of humor, Spielberg got his teeth into us here and never let go. 

 

 

 

3. THE GODFATHER (1972)

 

Francis Ford Coppola shows great patience in establishing the world of THE GODFATHER; beginning with a man asking Don Corleone for justice. Shot with as little light as possible, an endless zoom-out, and acted perfectly, this opening scene establishes the great amount of respect the Sicilians earned and gave out, and showed that The Don understood the difference between justice and revenge. The opening line of “I believe in America” is a double-edged sword, as all the players in THE GODFATHER believe this is a country of opportunity, but they’re going to do it their own way. Everything we need to know about the business of The Don is summed up here. 

 

 

 

2. THE LION KING (1995)

 

Walt Disney Pictures’ majestic, game-changing, and pop-culture altering animated film starts off with a sunrise, and then kicks into a powerful soundtrack capped with Elton John’s iconic Circle of Life. Stunning animation of birds and beasts follows, presented in ways we had not seen before; tremendous depth-of-field (how do you rack-focus on a cartoon???), and endless horizons. It’s an opening sequence that can still bring the emotion after 20 years and countless viewings, and one that everyone is familiar with. 

 

 

 

1. STAR WARS (1977)

 

Long-time friends of Reel Speak may say “of course he picked STAR WARS”, but there are good reasons for it. George Lucas’ space-epic and fantasy, which changed filmmaking forever, disturbs the peace of the vastness of space with a clap and thunder of a space battle, thundering over our heads in a way that has us ducking for cover. The brilliant design of the Star Destroyer provides converging lines; a classic technique for drawing our eyes inward, and the outstanding sound effects coupled with John Williams’ score brings it all together. The universe of STAR WARS is established as a dangerous, yet fun place, and audiences then and now are along for the ride from the first frame. The year of 1977 was the year movies were changed forever, and that renaissance began with this scene.  

REEL SPEAK'S TOP 10 BEST OPENING SCENES

1. STAR WARS
2. THE LION KING
3. THE GODFATHER
4. JAWS
5. 2001: A SPACE ODYSSEY
6. THERE WILL BE BLOOD
7. THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING
8. GOODFELLAS
9. THE SOUND OF MUSIC
10. THE GOOD, THE BAD, AND THE UGLY

Ivan Reitman: 1946 - 2022

Director and producer Ivan Reitman, helmer of the beloved GHOSTBUSTERS, has passed away at 75. 

 

Born in Czechoslovakia in 1946, Ivan Reitman and his parents arrived in Canada as refugees; his mother was a survivor of Auschwitz, and his father was a resistance fighter. He attended Oakwood Collegiate in Toronto, and achieved a Bachelor of Music in 1969 from McMaster University. At McMaster he produced and directed several short films. 

 

After a short stint in television, Reitman produced films such as David Cronenberg’s SHIVERS (1975), and RABID (1977). His breakout came in 1978 when he produced the classic comedy NATIONAL LAMPOON’S ANIMAL HOUSE, and then directed MEATBALLS in 1979. 

 

In 1981 he began a long friendship with actors Harold Ramis and Bill Murray when he directed the U.S. Army comedy STRIPES. Three years later, he would direct one of the greatest comedies of all time, GHOSTBUSTERS; a film that would spawn a franchise and make a splash in pop culture. Reitman would direct the sequel GHOSTBUSTERS II (1989), and act as a producer in the craptacular remake in 2016. In 2021, he would team-up with his son Jason for the magnificent GHOSTBUSTERS: AFTERLIFE. 

 

Other directing credits include a pair of Arnold Schwarzenegger comedies; TWINS (1988), and KINDERGARTEN COP (1990). He would direct the most-excellent DAVE in 1993, along with JUNIOR (1994), SIX DAYS, SEVEN NIGHTS (1998), and NO STRINGS ATTACHED (2011). His last directed film would be DRAFT DAY from 2014. 

 

As a producer, his credits include HEAVY METAL (1981), SPACE JAM (1996), PRIVATE PARTS (1997), HITCHCOCK (2012), and the Best Picture nominated UP IN THE AIR (2009) …which was directed by his son Jason. 

 

In 2009 he was made an Officer of the Order of Canada for his contributions as a director and producer. His son Jason has become an established filmmaker, with hits such as JUNO (2007), and THANK YOU FOR SMOKING (2005). His daughter Catherine is the creator, executive producer, writer, and star of the CBC comedy series WORKIN’ MOMS. 

 

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Ivan Reitman has his name stamped on some of the greatest comedies to come out of the 1980’s, most of which are regarded as some of the best of all time. From bustin’ ghosts, to military chaos, to teen summer-camp adventures, to raucous fraternity madness…Reitman constantly showed a talent for laughs and character. It is sad knowing that the man behind the camera for GHOSTBUSTERS has left for the afterlife, but there is great comfort to be had in knowing that he departs on a high note. His collaboration with his son Jason for GHOSTBUSTERS: AFTERLIFE was a true labor of love that resulted in an emotional closure for the franchise, fans, and his own family. A real-life Hollywood ending that is rare. 

A Reel Review: The Super Bowl Movie Trailers

The Super Bowl has traditionally been the event for studios to roll out trailers for their upcoming films of the summer; taking advantage of the many, many eyeballs they usually wouldn’t reach. With last year hijacked by COVID, this year’s Super Bowl LVI was the first full-blown opportunity to roll out the best of the upcoming Summer Movie Season since 2019. Here now are The Good, The Bad, and The Glorious trailers for films destined for a big-screen debut. 

 

 

 

THE GOOD

 

NOPE – This horror/thriller/mystery by Jordan Peele (GET OUT, US), had a full trailer released earlier in the day, and this TV spot was a shortened version of it. The quick spot suffered a little from the shortened running time, but still had an excellent build of mystery and atmosphere. 

 

 

SONIC THE HEDGEHOG 2 – The second film based on the beloved long-running video game character was action-packed, and gave us great looks at Jim Carrey’s returning villain Doctor Robotnik, along with Sonic’s sidekick Tails (voiced by Colleen O’Shaughnessey), and his rival Knuckles (Idris Elba). 

 

 

AMBLUANCE – This Michael Bay thriller sees two bank robbers (Jake Gyllenhall, Yaha Abdul-Mateen II), steal an ambulance occupied by a police officer in critical condition. The many shots of mayhem are backed by a dramatic score which makes the film seem more serious than it probably will be, but it still works very well. 

 

 

THE BAD

 

THE LOST CITY – This romantic adventure comedy with Sandra Bullock and Channing Tatum rolled out a spot that made the film look like a cheap JUNGLE CRUISE knock-off. 

 

 

You get negative points for not showing up. There were notable absences from high-profile films such as TOP GUN: MAVERICK, DC Comics’ THE BATMAN and BLACK ADAM, and Pixar’s LIGHTYEAR. As great as it felt to see movie trailers return to the Super Bowl, it felt like there should have been a lot more. 

 

 

THE GLORIOUS

 

JURASSIC WORLD: DOMINION – This was a cut-down version of the full trailer that stomped its way onto the internet a few days prior, but the shorter running time did not impact its power. Backed with a beefed-up rendition of the classic John Williams’ score, and a recycled voiceover from dino-creator John Hammond (the late great Richard Attenborough), this DOMINION trailer gave a new life to the franchise that sorely needs it after its last clunky film. JURASSIC PARK alums Laura Dern, Sam Neill, and Jeff Goldblum make a welcome return, and the trailer showcased some impressive shots of the dinosaurs making chaos. 

 

 

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS – No trailer released last night sent the internet into hyper-analytical mode than this spot for the 28^th film in the Marvel Cinematic Universe (MCU). Building on the events of the recent SPIDER-MAN: NO WAY HOME, and their WANDAVISION streaming series, MADNESS seems true to its name; popping the cork on the vast multiverse and all of its alternate realities. Since the trailer dropped, scores of fans have been analyzing every frame looking for clues, debating, and creating a huge buzz. That’s what a great trailer should always do. 

 

 

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Super Bowl LVII will be played February 12, 2023. 

A Reel Review: DEATH ON THE NILE

Hot on the heels of his Oscar nominations for BELFAST, actor and director Kenneth Branagh wastes no time getting back to work…starting 2022 with his second adaptation of famed mystery writer Agatha Christie novels. This time heading down-river with DEATH ON THE NILE. 

 

While on holiday in Egypt, famous detective Hercule Poirot (Branagh), is invited to the extended wedding party celebration of Linnet (Gal Gadot), and Simon (Armie Hammer). While on a cruise down the River Nile, one of the party members is found murdered, springing Poirot into action. 

 

Directed by Branagh and based on the 1937 novel of the same name, DEATH ON THE NILE is a complex ride with a top-heavy focus on characters. The entire wedding party is a suspect, including Poirot’s old friend Bouc (Tom Bateman), his mother Euphemia (Annette Benning), Linnet’s maid (Rose Leslie), a jazz singer and her manager (Sophie Okonedo and Letitia Wright), Linnet’s former fiancé (Russell Brand), Simon’s former fiancée (Emma Mackey), and a handful of others. 

 

NILE lives up to its name in death happening on the cruise, but it is in no hurry to get there. The first body (and yes, more than one), is found nearly at the halfway mark, as the first half is busy getting characters into the right places. Once Poirot starts working, the film picks up its pace, as he conducts interviews with everyone which reveal secrets and backstory…leaving us on a constant guessing game as everyone seems to have had motive and opportunity. 

 

Branagh does his best to keep the pacing going despite a dialogue-heavy film. Moments of action are handled well, and the many surprises are well-timed. NILE is a great-looking movie, despite some environments looking horribly artificial. The un-conventional structure may have audiences shifting in their seats while things start to get going, and an extended prologue showing Poirot’s time in WWI is effective, but eats up a lot of time. The costumes and period music of 1937 are excellent. 

 

Acting is all over the place. Kenneth Branagh, working in front of and behind the camera, reprises his role of Poirot nicely although his thick French accent is hard to understand in places. Gal Gadot is magnificent as always, and Emma Mackey a show-stealing. Russell Brand steps into a dramatic role very well and is a surprise. Armie Hammer and Annette Benning’s attempt at accents is cringeworthy. 

 

DEATH ON THE NILE has plenty of surprises in the unraveling of the mystery, most of which can’t be seen coming…even though one part of it is hinted at early and quite bluntly. Like a river, this film has many twists, turns, hazards, and beauty. It does get us to the end, but it’s a choppy ride. 

 

BOTTOM LINE: Rent it 

A Reel Birthday

This month marks Reel Speak’s 12^th anniversary. 

 

The number twelve has a significant place in our culture. There are 12 numbers on a clock, 12 months in a year, and 12 signs of the zodiac (Western and Chinese). The number has a place in ancient storytelling, with the 12 Olympians as the principal gods of the pantheon, along with the 12 labors of Hercules. In cinema, the number appears in significant films such as 12 ANGRY MEN (1957), THE DIRTY DOZEN (1967), 12 MONKEYS (1995), and 12 YEARS A SLAVE (2013). And as of this writing, there have been 12 STAR WARS films released in theatres. 

 

And it was with STAR WARS where this Blog has its roots. It was in the Spring or Summer of 1977 when This Blogger’s young mind was changed forever when he saw the magic of big-screen cinema. Fast-forward to 2010 when This Blogger had an idea; to share his love and knowledge (or lack of), with friends, family, and anyone else who would listen. 

 

After doing this for a dozen years, it is natural to wonder just how much longer this little Blog can go on. Especially after the last two years, where a mishandled pandemic and annoying streaming services have nearly wrecked movie theatres, and made it nearly impossible to keep up on new releases. It’s hard to maintain that love of the big screen when the big screen isn’t what it used to be. 

 

But, every year, to celebrate Reel Speak’s birthday, this Blogger looks back on the top reasons why I fell in love with cinema in the first place. This was always a way to share, and to perhaps inspire others to look back and remember what they love about the movies too, but here in Year 12, it has reminded this Blogger that there is always magic to be found when the lights dim and the screen lights up. 

 

Why do I love the movies? Let me count the ways: 

 

20. Because the trick is not minding that it hurts. 

19. Because if they catch you, they will kill you. But first, they must catch you. 

18. Because a Jaguar Shark ate my best friend. 

17. Because we will not walk in fear of one another. 

16. Because of John Williams.

15. Because I have been, and always shall be your friend. 

14. Because what we do in life echoes in eternity. 

13. Because Red October was hunted.

12. Because the only Virtue is Vengeance. A Vendetta. 

11. Because Crom laughs at your four winds! 

10. Because it’s a wonderful night for Oscar.

9. Because they made me an offer I couldn’t refuse.

8. Because “I love you”, and “I know”.

7. Because if someone asks me if I’m a god, I say yes.

6. Because I will drink your milkshake.

5. Because every man dies, not every man really lives. 

4. Because they needed a bigger boat.

3. Because there had to be snakes.

2. Because the Fellowship will not fail. 

1. Because the Force will be with you, always. 

 

A Reel Opinion: Oscar Nominations - The Good, The Bad, & The Glorious

The nominations for the 94^th Academy Awards were announced this morning. Here is how it all landed in The Good, The Bad, and The Glorious. 

 

THE GOOD

-The announcement was hosted by Leslie Jordan and Tracee Ellis Ross, who made a great pair. In a nice touch, there were category announcements by healthcare workers, NYPD firemen, Phylicia Rashad at Howard University, and others. Despite a few technical glitches due to both hosts in their respective homes, it was a well-thought-out show as the kickoff to Oscar Season. 

 

-Jane Campion’s THE POWER OF THE DOG led the way with 12 nominations, including four for acting: Benedict Cumberbatch, Kristen Dunst, Jesse Plemons, and Kodi Smit-McPhee. Campion’s nomination for Best Director makes her the first woman to be nominated twice in that category. 

 

-Kenneth Branagh’s BELFAST earned seven nominations. Branagh is now the first person in history to earn nominations in seven different categories; Best Director, Screenplay, and Picture for BELFAST, Adapted Screenplay for HAMLET in 1996, Supporting Actor for MY WEEK WITH MARILYN in 2011, and for Live Action Short Film for SWAN SONG in 1992. 

 

-The animated docudrama film FLEE earned three nominations: Best Documentary Feature, Animated Feature, and International Film. It is the first of its kind to be nominated in all three categories. 

 

-CODA, Reel Speak’s pick for the best film of the year, earned three nominations, including Best Picture. 

 

THE BAD

-No nomination for Lady Gaga for her terrific performance in HOUSE OF GUCCI. Despite numerous nominations in BAFTA and the Guild Awards, the Ridley Scott-directed film only pulled one nomination: Makeup and Hair Styling. 

 

-Denis Villeneuve, whose magnificent DUNE earned 10 nominations (second most of the year), did not earn a nomination for Best Director. 

 

-Not necessarily good or bad, but Aaron Sorkin failed to earn a nomination for Best Screenplay for his BEING THE RICARDOS; a category that he is usually an automatic entry. 

 

 

THE GLORIOUS

-Denzel Washington’s nomination for Best Actor for THE TRAGEDY OF MACBETH makes him the most nominated Black actor of all time. 

 

-Judi Dench’s Best Supporting Actress nomination for BELFAST makes her an eight-time nominee. At 87 years and 61 days, she is the second-oldest nominee in this category, behind Gloria Stuart for TITANIC in 1997 (87 years, 221 days). 

 

-As said above, 10 nominations for DUNE is noteworthy, as it’s always good to see science fiction and fantasy films get their deserved credit. 

 

-Steven Spielberg’s WEST SIDE STORY earned seven nominations, including Best Picture and Director. Spielberg set several historical marks; He is the first to score Best Director nominations in six different decades, has a record 11 Best Picture nominations, and is one of four filmmakers to have received at least eight Best Director nominations. His success today was like welcoming back an old friend. 

 

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The Oscars will be awarded March 27^th.

A Reel Preview - The Year in Film 2022: Episode II

The bad news about the month of February is that we are still in Movie Siberia; where unwanted films are sent to die. The good news we’re in the final four weeks of dead chill before things start to heat up again. Here now is a preview for the ultra-thin month of February. 

 

 

JACKASS FOREVER – Johnny Knoxville (what’s left of him), returns for yet another installment in the JACKASS series, along with cast-members from the series now in its fifth film. 

 

 

 

MOONFALL – Master of Disaster director Roland Emmerich (INDEPENDENCE DAY, THE DAY AFTER TOMORROW, 2012), directs this sci-fi noisemaker which sees our Moon knocked out of orbit and set on a collision-course with Earth. The cast includes Halle Berry, Patrick Wilson, John Bradley, Michael Pena, and Donald Sutherland. 

 

 

BLACKLIGHT – Liam Neeson stars in another shoot-em-up, this time playing a secret government agent tasked with extracting agents from hostile territories. 

 

 

 

DEATH ON THE NILE – Kenneth Branagh directs and reprises his role as master detective Hercule Poirot in this sequel to MURDER ON THE ORIENT EXPRESS from 2017. The cast includes Annette Benning, Russell Brand, Gal Gadot, and Armie Hammer. 

 

 

 

MARRY ME – A Latin pop star (Jennifer Lopez), chooses to marry a stranger (Owen Wilson) at one of her concerts. Sarah Silverman co-stars. 

 

THE CURSED – In this horror film, a 19^th century village is terrorized by a curse that lurks in the surrounding woods. Boyd Holbrook stars. 

 

 

 

DOG – Channing Tatum plays a U.S. Army Ranger tasked with delivering a military working dog home to his master. 

 

 

 

UNCHARTED – The long-awaited adaptation of the popular video game series. Tom Holland (Marvel’s SPIDER-MAN), and Mark Wahlberg star as a duo of treasure hunters looking for a lost fortune. It is directed by Ruben Fleischer; helmer of the excellent ZOMBIELAND (2009), and the not-so-excellent VENOM from 2018. 

 

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Next month, Reel Speak previews the month of March. 

A Reel Opinion: The Top 10 Best Films of 1982

As summarized by Reel Speak last week HERE, 2022 marks the 40^th anniversary of one of the greatest years in film, the year that was 1982. This Blogger gave credit to nearly 40 significant films of that year, and this week will whittle them down to the Top 10. 

 

The films of 1982 had landmarks in mostly the sci-fi and fantasy genres, with their best efforts raising the bar for films with spaceships, aliens, swords, and sorcerers. Fantasy and sci-fi films tend to lose a lot of their shine as time goes by, as their limitations at the time (mostly budget and special effects), don’t age very well. But 1982 brought us films of those two genres that haven’t aged a day in look for feel, which means the test of time, the best barometer of any film, will be a strong factor in stacking this list. Other factors include the story, execution, and cultural impact. 

 

So let’s take 40 to just 10…

 

 

 

 

10. FAST TIMES AT RIDGEMONT HIGH

Amy Heckerling, in her feature debut, directed this coming-of-age tale that packaged teenage lives of school, work, and romance. Sean Penn became a household name, and the film was also a launch-pad for future stars; Nic Cage, Eric Stoltz, Forest Whitaker, and Anthony Edwards. Added to the National Film Registry in 2005, RIDGEMONT HIGH did for raunchy high school films what ANIMAL HOUSE (1978) did for colleges. 

 

9. THE SECRET OF NIMH

Animation legend Don Bluth directed this adaptation of the beloved children’s’ book which sees a widowed field mouse trying to save her home from destruction. What looks like a simple kids’ tale of family and love takes a darker turn as the story progresses, moving into dark magic, spooky environments, and scary-looking rats and owls. Not to mention a finale/final battle which sees rats fighting with swords and stabbing each other to death. Shocking for a kid and a new standard for where animated films could go. 

 

8. BLADE RUNNER

Ridley Scott helmed this sci-fi statement on humankind which is often regarded as one of the best of its genre all-time. Harrison Ford takes on the role of a “blade runner”; tasked with “retiring” bio-engineered humans in a film that to this day has audiences questioning the plot and its many turns and questions. BLADE RUNNER today is subject to a lot of debate with its many different versions that have been released, but it has influenced a great many sci-fi films that have come after it. 

 

7. FIRST BLOOD

Sylvester Stallone put aside the boxing trunks of Rocky Balboa to bring John Rambo to the screen. Based on the 1972 novel of the same name, Rambo became an instant action icon for the action-heavy, shoot-em-up 1980’s, but at the same time made a statement about one of America’s greatest sins: the mistreatment of Vietnam Vets. 

 

 

6. POLTERGEIST

There is a lot of debate today over who actually directed this; was it Tobe Hooper of THE TEXAS CHAINSAW MASSACRE (1972) fame? Or was it credited producer Steven Spielberg? Debate away, because none of that matters when the ghosts start causing havoc around the Freeling family in this modern, haunted house tale. Heather O’Rourke, at the tender age of seven years, gives the film a huge heart and raises the stakes in an emotional way for a horror film. 

 

5. THE THING

John Carpenter helmed this mashup of science fiction and horror in this closed-quarters terror about an alien that can take on the form of humans. A remake of the classic film THE THING FROM ANOTHER WORLD from 1951, Carpenter turns up the tension and the gore with some startling special effects that hold up even by today’s standards, and the film’s ending, along with the path it takes to get there…still has fans debating. 

 

4. GANDHI

When the cinematic heroes of the 1980’s are discussed, the late great Richard Attenborough’s GANDHI is often left out of the conversation…simply because its monk-ish character gets the boot over bang-bang characters like Rocky and Rambo. It’s a shame because GANDHI is a remarkable film in acting and in execution. Shot beautifully with stunning locations and costuming, they simply don’t make them like this anymore. A winner of eight Oscars, including Best Picture, GANDHI set a new standard for biopics. On top of everything else, it was the big-screen debut of budding legends Ben Kingsley and Daniel Day-Lewis…and not many films can make a claim like that. 

 

3. E.T. THE EXTRA-TERRESTRIAL

Prior to 1982, we were all used to films with aliens coming down to Earth to destroy us, and Steven Spielberg turned all that upside-down with this emotional wallop that sees a wayward alien befriending a young boy. With excellent animatronics to bring E.T. to life, convincing performances from the young cast, an outstanding score by John Williams, and a heartbreaker of an ending…E.T. would surpass STAR WARS (1977), as the highest box office earner of all time; a mark that it would hold for 11 years. 

 

2. CONAN THE BARBARIAN

John Milius introduced the world to Arnold Schwarzenegger in this adaption of Robert E. Howard’s muscled, sword-swinging warrior destined to become a king. It’s a tale of revenge and destiny, taking the best of Howard’s many stories for a brutal, yet elegant film. Beautifully shot, highly quotable, and backed by Basil Poledouris’ magnificent score…this is a movie of high adventure. 

 

1. STAR TREK II: THE WRATH OF KHAN

And speaking of revenge, the second film in the STAR TREK franchise dusted off Khan (brilliantly reprised by Ricardo Montalban) in a story of payback. Directed by Nicholas Meyer, THE WRATH OF KHAN looks like a simple story of vengeance on paper, but plays with deeper themes for Kirk and his crew. The true final frontier of old age and life-and-death is grappled by Kirk as he fends off attacks from Khan, and they are human issues that resonate well. KHAN set a new standard for not just sequels but for STAR TREK films overall, as every TREK movie that has come after has been chasing KHAN. The emotion is high, the script is everlasting, and the film gives sci-fi a new legitimacy that has carried forward for the last four decades…allowing the class of 1982 cinema to go boldly where no year has gone before. 

Reel Speak's Top 10 Best Films of 1982

1. STAR TREK II: THE WRATH OF KHAN
2. CONAN THE BARBARIAN
3. E.T. THE EXTRA-TERRESTRIAL
4. GANDHI
5. THE THING
6. POLTERGEIST
7. FIRST BLOOD
8. BLADE RUNNER
9. THE SECRET OF NIMH
10. FAST TIMES AT RIDGEMONT HIGH