I couldn’t rest on my laurels for Worth Fighting For even for a second, since I
had to immediately get home. I crammed some dinner into me at 11 (darn
shirtless scenes!), made sure I had everything packed for the morning and took
half a sleeping pill to ensure that I would not be like a zombie. The music video
was for an up-and-coming band called Stolen City – and I was to be one of three
thugs bullying a transgender girl. Call time was for 8 am, so it was the 6:15 bus
from Ashford to meet everyone in the city. The producer Shireen Langan met
me at Connolly, along with Dave McCabe the lead guitarist and Jamie
O’Herlihy – who would be the protagonist of the video. While in the car,
Shireen showed us a clip of the band’s previous music video for “Miles”, to show an
example of the director’s work. Within ten seconds, I got very excited.
Are you sitting comfortably? I’m here to tell you a story. It’s about a young writer, actor and a bunch of other things that aren’t really relevant. Situated in Wicklow, he made the odd decision to go to film school in Carlow of all places. Seemed like a good idea at the time – until college ended and he moved back to Wicklow. There he found that when he got ideas for film scripts, he had trouble rustling a crew together – as most of his contacts lived in the Carlow/Kildare region. After well over a year of failed projects that never got off the ground, he was well and truly in a rut. Then one day he saw three words online that would change his life:
North Wicklow Filmmakers
I said we were going to do Dark City next but I guess I didn’t deliver what I advertised. But that’s oddly related to the film I am delivering. Raise your hands if you’ve ever gone to see something based off the trailer. I’m guilty of it myself; often dismissing a film because its trailer didn’t look good. But really, time has proved that trailers are quite frankly bullshit. The trailer only contains clips of the film, edited in a way to make it appealing. But editing is a powerful thing. There’s a whole subculture of YouTubers who edit trailers to make the movie look like a completely different genre; take The Shining as a family dramedy, Mrs Doubtfire as a horror movie, and Harry Potter & the Half Blood Prince as a teen comedy. Real trailers pull this trick too. The most notorious examples:
*Bicentennial Man – a melancholy and sombre story about a robot questioning what it means to be human, marketed as another quirky Robin Williams comedy.
*Pan’s Labyrinth – a very dark and gothic fantasy film featuring lots of blood and scary imagery, marketed as a family-friendly fairy tale.
*Bridge To Terabithia – a preteen coming of age story where two children use their imaginations to create a fantasy world, marketed as a Narnia-type adventure where the fantasy stuff is real.
There’s a lot of reasons for this. The most glaring one is that the people who make the trailers are not the actual filmmakers – but rather the marketing department. Two films released last year – Trolls and the reboot of Ghostbusters – had the makers criticising the trailers for how badly they represented what they were supposed to be promoting. Essentially it comes from the marketing department trying to reach the widest demographic possible. As this film stars Vanessa Hudgens coming off the heels of her breakout role, they advertised it as this:
When it’s actually more like this:
55 – Sunshine Cleaning:
Anyone who has ever had to hear me go on about this movie will probably roll their eyes when they see that I’ve finally done a review of it. This is actually a pretty recent addition to the list. We’re talking it getting added while I was on the hiatus over the summer. I can’t remember what I bumped in favour of it, so I guess it wasn’t anything special. To me, a great film always used to have to be big. It had to be epic. It had to be everywhere. It had to wow you with anything big – whether it be an explosive blockbuster like The Avengers or a dramatic tragedy like Atonement. When I saw this, I learned a new definition of great. Greatness can sneak up on you and floor you without even realising it. Greatness can stay with you for days after you’ve initially experienced it. Greatness can hit you without having to do a single big thing.
Believe me, no one’s more surprised than I am that I’m saying such things towards a movie that’s about a god damn cleaning service.
56 – 50/50:
So confusingly enough, I did not put this movie at the number 50 position – although it would have made for a nice pun. You’ll notice that I opened with a joke, since we’ve got a very serious topic to talk about with regards to this movie. The Big C, the disease that shall not be named, the subject that’s incredibly uncomfortable to talk about. I’m not going to explain what cancer is, because we don’t need to. It’s that convenient of a dramatic device that TV and film have told us everything we need to know about the disease – and we recently got an Emmy winning five season show about a sufferer. It can be seriously overused as a cheap attempt to pull at the audience’s heartstrings – especially using a child with the disease. So to me, the best stories revolving around cancer are the ones that have some grain of truth to them. The Fault In Our Stars was primarily based on a girl that the author knew. So John Green knew what he was talking about. This movie likewise was written by a man who had the disease and lived to tell the tale – so he dramatized parts of his own life to form the screenplay. And since his best friend is Seth Rogen, there was little trouble in bringing it to the silver screen. The result is the fantastic 50/50.
57 – Stardust:Just the other day, I went to myself ‘Matthew Vaughn is awesome, isn’t he?’ – and ain’t that the truth? Mr Vaughn originally started out as a producer – and he’s the man responsible for hits like Snatch, Lock, Stock & Two Smoking Barrels and Mean Machine – before making a big impact with his directorial debut Layer Cake. Matthew Vaughn is one of those directors who isn’t afraid to drift towards films that aren’t ‘Academy friendly’. His filmography includes the brilliant superhero deconstruction Kick Ass and X-Men: First Class, which helped redeem the X-Men on the silver screen. If you’ve got Matthew Vaughn behind the director’s chair, you can count on having a film that’s a lot of fun to watch and also has a lot of depth to it. So when Disney inevitably give Aladdin a live-action remake, we know who they should turn to. One other thing that Matthew Vaughn is known for is his outside-the-box casting choices. I mean, no one would have thought of James McAvoy to play Charles Xavier – and now look at how excellently he played it. Chloe Moretz wasn’t the first child star you’d think of to play Hit-Girl, and it ended up making her a household name. The film here also features a few of those – and they are every bit as awesome as one should come to expect in a Matthew Vaughn film.
58 – The Spectacular Now:
Ah, the good old coming-of-age story. Who doesn’t love one of those? Every generation seems to have one. 80s kids had Stand By Me, 90s had The Sandlot and for 2000s kids it was possibly Bridge To Terabithia. It might be just me, but I find that a coming-of-age movie is a good way to find the potential stars of tomorrow. After all, the protagonist is usually a child or teenager – and often played by an unknown. In the case of this movie, that was exactly the case. Both Miles Teller and Shailene Woodley rocketed to mainstream success shortly after this was released, due to both of them starring in the Divergent adaptations. A good coming-of-age story knows how to make an audience empathise with a teenager. The teen years are a dark part of all our lives – and once they’re over, we try our very best to forget them. But a story that can remind us of how hard it was to be a teenager is always a winner in my book.