Cheryl’s take:

When Love Actually came out, it was one of those big movies that I avoided even though everyone I knew rushed out to see it. I could taste the saccharine from the trailer and I wanted no part of it. On top of that, it was released on the heels of Bridget Jones’ Diary, a movie I never saw because I’d hated the book so much, I threw it across the room out of rage.

Finally, it happened: I was home, sick, in bed, and Love Actually was on tv. It was a welcome relief from home renovation shows and 24 hour news, and in my weakened state, I let it play. And I loved it. And now I watch it regularly — even outside Christmas holidays because it’s just a lovely, charming, bittersweet, slice of life.

Love Actually allowed me to understand why so many women swoon over Colin Firth and reminded me why I love everything that Alan Rickman does. I fell for the adorable round-cheeked Martine McCutcheon and the sweetly sultry Lucia Moniz. Emma Thompson and Bill Nighy are in top form here, too. In the end, this was a case where a stellar cast plus a pretty good script overcame any amount of contrived schmaltz that a holiday rom-com might otherwise deliver.

Alynda’s thoughts:

I don’t remember the logic behind the choice of Love Actually for this review.  Frankly, I don’t care either.  I love this one, an awful lot.  Now I know as the cock-eyed optimist, that’s what I’m supposed to say, but it is true and this isn’t your average romantic comedy anyway.

Can you think of a relatively well-known British actor?  They are probably in this movie.  It is a series of stories that twine around each other, and sometime collide, all about the nature of love.  When love is good, when love is bad, romantic love, platonic love, and how sometimes the love of family can outweigh romantic love for one’s self.

Aside from a lot of touching performances, and some really very funny bits, (Martin Freeman’s storyline is delightfully weird) what makes this a good movie in my opinion is that all the different stories don’t end up tied up in a shiny, happy bow.  Did I mention that this is set around Christmas?  No?   Enough do that you get that warm happy feeling but enough don’t that the film doesn’t veer too far into the saccharine.  There’s a scene with Emma Thompson where she’s so quietly devastated that you’ll forget that overall this movie is supposed to be funny.

This has become a go-to Christmas movie for me.  Even if it was terrible, which it is not, quite frankly it had me at Colin Firth, Alan Richman, and Liam Neeson.  Oh, and a dance number done by Hugh Grant!  Make yourself some cocoa, grab a blanket and snuggle up to watch this movie.  It’s worth it.

Cheryl’s thoughts:

Revisiting this movie, I had forgotten that it was a Michael Bay and Jerry Bruckheimer vehicle. Lots of explosions, stupid situations, a complete lack of plausibility in many places, and emotionally manipulative. Sidebar: the score by Trevor Rabin is note-for-note perfect for amping up the tension and tugging on heartstrings.

It’s got a solid cast, and decent timing — there’s a bit of a lag in the opener but it picks up pace and starts moving pretty soon thereafter. Get your popcorn inside the first half hour. Each of the cast plays their part: Bruce Willis kicks ass, Ben Affleck is the young-gun to Willis’ straight shooter, Steve Buscemi delivers ascerbic one-liners, and Liv Tyler is at her lip-quivering best (though I think she and Affleck were better on screen in Jersey Girl).

Armageddon fits squarely into the “Bruce Willis Saves the World” series of films but is also a about as pro-America as you can get without dipping into actual propaganda — the kind of movie that Team America: World Police squarely lampoons, right down to the getting-in-fighting-shape montage.

That said, if you’re looking for a solid brain-parking blockbuster, this is your movie. If you want something with a hint of science fact, try Deep Impact that came out the same year.

Alynda’s thoughts:

It is thanks to Armageddon that I now have a better understanding of Team America: World Police.  Once again, this is one of those huge blockbuster movies that I never got around to seeing when they came out.  Why?  I have no freakin’ idea.  I was familiar with the Aerosmith song, if that makes difference.  But I digress.  So there I am, finally watching this thing, and it is possibly the most “rah rah, America is amazing and will save the world” thing that I’ve ever seen, that wasn’t intended as satire.  Honestly, I kept waiting for someone to sing “America, f- yeah!”  In hindsight, I should have expected something of this nature when I realized that it was a co-production of Jerry Bruckheimer and Michael Bay.

I have to say, I can see why we chose this as being representative of the summer blockbuster genre.  It has all the classic components: Bruce Willis, the earth at risk, a love story that is both germane and unnecessary to the story, heroism, and sacrifice.  I could feel how hard the movie was working to make me cry, and yet, even though I knew I was being manipulated, I still did get a little soggy around the edges.  That is my nature, after all.  I think there is at least 20 minutes too much exposition; tighter editing would have resulted in a better paced movie overall.  I did like it, but I don’t think I’m in any great hurry to watch it again anytime soon.  Perhaps if it didn’t take itself quite so seriously, I’d have enjoyed it even more.

I really wanted to find the making-of clip about the creepy alien-bug-in-the-ear but it hasn’t been shared Trust me, it’s cheesy.

Cheryl’s take:

The Star Trek franchise is what one might call well-loved and among the films in the franchise, Star Trek II the Wrath of Khan is among the most well-loved by fans. It’s also very accessible to someone who’s never seen an episode (I don’t know anyone but I am certain they exist).

This film introduces us to Captain Kirk’s son and re-introduces Kirk’s nemesis, Khan Noonian Singh (played with scenery-chewing glee by Ricardo Montalban) and takes viewers on a roller-coaster sci-fi romp that includes some tension, some explosions, and plenty of pathos. If you’ve been around people quoting Star Trek there’s a good chance the line was from this film: Kirk’s immortal, “Khaaaaaaaaann!” yell; Spock’s logical, “The needs of the many outweigh the needs of the few.. or the one.”; or Khan’s frustrated, “The override. Where’s the override?”

Is it great cinema? Not particularly. The special effects are very dated and look incredibly clunky by today’s standards; the acting is, as you can guess, pretty over-the-top; and the plot? the plot is surprisingly above-average. In the end, this is one of those movies you just have to see. Entertaining and cannon as far as sci-fi films go.

Alynda’s Take:

Age changes your perceptions. When I first watched Star Trek II: The Wrath of Khan, I could not watch the scene with the space slug/scorpion being inserted into the ears of Chekov and some other random guy. I found it just too disgusting. Flash forward about 20 years or so. Special effects are now so good that the scene that once made me close my eyes now looks so tacky that I nearly laughed out loud. You know what? It turns out that when you’ve aged at least 20 years since your first viewing, you also realize that this movie is really about dealing with getting older, coming to grips with mistakes you’ve made in your past, and the enduring power of friendship.

But enough philosophy. Even though I can see a deeper meaning, the bottom line is that this is just full-on cheesy fun. Ricardo Montalban reprises his role as Khan-where he chews up the scenery in a most delightful way. His appearance and performance may be the best thing in this movie. Even if he is wearing a prosthetic chest. (Are those prosthetic pecs? I don’t know, but if not, wow! Not bad for a 62 year old man) The costumes and hair are 80’s chic, Spock makes logical choices, Kirk makes foolish ones (for a Captain anyway), Bones complains, and Scotty does his best to keep the engines running. Just another day in the Star Trek (TOS) universe. And I wouldn’t have it any other way. KHAN!!!!

Cheryl’s thoughts:

Having seen and not loved other Baz Lurhmann films, I did not have very high expectations for Strictly Ballroom. Those low expectations were not exceeded. Initially, I was pretty excited because it started out with a documentary feel and there were crazy bejewelled costumes everywhere and I was hoping for Spinal Tap… I did not get that.

What I found inside was the typical underdog sports tale — Bad News Bears, Rudy, Seabiscuit, take your pick — with a dash of Pretty in Pink wrapped in glitter. Oh, and throw in a little bit of mis-matched, star-crossed-leads (less Romeo and Juliet, more Beverly Hills Cop) to up the tension on screen and there you have it.

Strictly Ballroom was entirely too melodramatic for my taste, taking over the top to new heights. Until Luhrmann’s next film Romeo + Juliet, which pushed those heights even further

Alynda’s thoughts:

There was a time when ballroom dance was only seen on PBS, and there were no quasi-celebrities vying for another 15 minutes of fame and a mirror-ball trophy. But in 1992, Baz Luhrman gave us “Strictly Ballroom”, a romantic comedy set in the world of Australian ballroom dance competition. It turns out that he was following the instruction to write what you know: his mother was a ballroom dance teacher and he had studied ballroom dance as a child! I consider this movie to be one of the first of those quirky Australian comedies of the early 1990’s, like “Priscilla, Queen of the Desert”, And “Muriel’s Wedding”.

I truly love this movie-it is everything you want from a good date: charming, funny, and attractive. It’s an ugly duckling story, and also encourages you to follow your dreams, no matter what others may think. All presented in a fluffy, bejewelled, and twinkly costume. Adapted from his own play, this movie really shows the genesis of what, to me, is Luhrman’s particular style: the music is as much a part of the narrative as the lines, and spectacle is par for the course. This is not a film of deep thought, but it is a lot of fun.

1. The Wizard of Oz (1939). Yes, it’s cheezy and melodramatic and kitchy, but I still watch it at least once a year. A few years ago, I saw it at Cinecenta — the first time I had watched it in a darkened theatre on a full-size screen and the tornado sequence was so much more frightening! If you’ve never seen it on the big screen, I highly recommend tracking it down at a repertoire theatre.

2. The Apartment (1960). This film was full of surprises for me and, while it is very dated now, it’s somehow still relevant. I think this was the first Billy Wilder film I saw and certainly the first time I had seen Fred MacMurray in a darker role (I was used to seeing him on My Three Sons and in Disney films). I also finally understood why Jack Lemmon and Shirley MacLaine were stars.

3. The Day the Earth Stood Still (1951). Sure, Gort looks pretty non-threatening to today’s viewers, but the brilliance in this film is the script. It’s solid sci-fi and serves as a great overview of Cold War paranoia.

4. The Italian Job (1969). OK, so this was technically released the year I was born, but I’m confident that it was made before I was born and there’s no way I would have seen it in the theatre. There is so much brilliance in this film — Michael Caine is in fine form, the sequence with the Minis was brilliantly coordinated, and the ending? That’s just movie gold. The “remake” from 2003 is a pathetic shadow of this movie and should be avoided at all costs.

5. The Odd Couple (1968). I never watched the TV show so I only begrudgingly bothered to watch this film the first time around. Turns out, it’s hilarious and I frequently quote the characters. Full credit has to be given to Neil Simon’s screenplay at the core of this film but also to the great performances by the lead and supporting cast.

6. Pillow Talk (1959). Possibly the finest example of a screwball romantic comedy with Rock Hudson and Doris Day giving some of their best performances. If you liked Down With Love, this movie is required viewing — several scenes are almost shot-for-shot in homage; the reverse is also true!

7. The Desk Set (1957) Spencer Tracy and Katherine Hepburn spar when a computer is introduced into the fact-checking department at a newspaper. Librarians are still facing off against Google and this movie still makes me giggle for that reason.

8. Mr. Blandings Builds his Dream House (1948). Every time we consider building a house, this movie runs through my head. Cary Grant has an intense job with an ad agency and an apartment full of women so they decide to buy a house in the country. Turns out the house is falling down so they decide to build-to-suit. Despite the laughably low prices for real estate and construction and the rather offensive caricature that is Gussie, the family housekeeper, this movie is very watchable and very funny.

9. Singing in the Rain (1952). I don’t consider myself a fan of musicals, but this is the second one on my list. Debbie Reynolds sparkles and Donald O’Connor cracks me up every time plus it contains some of the most recognizable Hollywood musical songs.

10. Rope (1948). Really tough call between this one and Rear Window (1954); both feature James Stewart in strong Hitchcock films but Rope is just that much darker and that much more masterful. Actually, they make a good double feature if you can handle the tension!

The Italian Job (1969) — Michael Caine leads a crew of Brits through the streets of Turin to pull off a heist during the World Cup celebrations. Don’t be hoodwinked into renting the re-make; it’s a pale imitation that lacks all the imagination and cool of the original.

Shallow Grave (1994) — Ewan McGregor, Christopher Eccleston and Kerry Fox are roommates who share a very dark sense of humour. When they find a dead body and a lot of money their friendship may be at risk. This film is very dark, and more than a little violent but also very funny.

The Prestige (2006) — Michael Caine again, here with Christian Bale and Hugh Jackman in a tale about two rival magicians. Before I saw this film, someone told me to pay close attention to a certain scene because it would reveal the ending. I paid attention and still gasped as the ending played out screen.

The Spanish Prisoner (1997) — Campbell Scott and Steve Martin headline this clever con film. Maybe my favourite David Mamet film, the script is filled with sharp dialog and plot twists right to the last lines.

Knowing (2009) — Strange things start to happen after a time capsule is opened; Nicholas Cage leads. Probably the cheeziest movie on this list but I really appreciated the follow-through.

War of the Roses (1989) — When Michael Douglas and and Kathleen Turner decide to get a divorce, it gets ugly, fast. Another black comedy, the details in the final scene paint it even darker.

The Talented Mr. Ripley (1999) — Matt Damon finds that he is skilled in impersonation while on a trip to Italy to retrieve a playboy living in luxury. At once dreamlike and creepy, this film will stick in your mind.

NOTE: this post originally appeared at The Medianook, by Cheryl DeWolfe, and is reprinted with permission.