The Vault #7- High Noon (1952)

Director: Frank Zinneman
Starring: Gary Cooper, Grace Kelly, Lloyd Bridges

Let's talk about tension. In theory, it's not too hard to make something thrilling or intense. Just provide an interesting conflict, a character you can empathize with, an air of uncertainty, and maybe a set piece or two. That said, there's definitely an art to tension. And few pieces of film do it as well as High Noon. It's a simple premise. A murderer gets out of prison, and travels to a town to kill the marshal who put him away. The same day, the marshal gets married and gives up his post. The killer is coming to the town at noon. As I said, it's quite a simple idea. But what makes this film great is that, rather than run or hide, Marshal Will Kane, played by Gary Cooper, chooses to stay and stand his ground. That means more than you might think. See, Kane tries to get the townspeople he spent most of his life protecting to stand by him and help him fight. But one by one, they start to turn their backs on him, ultimately leaving him alone to fight against the four men coming to kill him.

It's actually fairly easy to make a concept like this so tense despite it's simple plot progression. The film takes place over about two hours, and it slowly builds and builds towards the fight. It doesn't have any massive plot twists or even too much of a focus on plot in general, instead focusing more on building up to it's incredible climax. What makes High Noon so tense is that the odds Kane has to overcome are massive, and as everyone turns on him as the film goes on, the situation starts to feel more and more desperate. This really helps in creating some seriously intense buildup, and when the climax does come at the end of the film, you feel so attached to Will Kane that you can't help but root for him. And it avoids the usual clichés of the invincible hero by having Kane feel so isolated and alone. During the last fight, Kane could die at any minute. You know that he probably won't, but the film is so immersive that honestly, it feels like he just might. It draws you in with this incredible atmosphere, and as each minute passes the tension becomes more palpable, but also more painstaking. This is what makes High Noon so thrilling. It forgoes a complex and ever changing story because it honestly doesn't need one. The whole film is set up in the first ten minutes or so, and the rest of the movie is spent following this one man and seeing how he's going to deal with this massive conflict that he has to face. It's so simple, but it's also just magnificent in it's execution.

Another thing I love about High Noon is the character of Will Kane. In many respects he's dry, jaded and cynical. But he's also so ineffably brave, and tenacious, and despite the fact that the whole town completely abandons him, he stays and fights regardless. Why? Because he knows that he has to. He understands that there is no other way. He knows that he has to fight, no matter the circumstances. And ultimately, he does fight. Not for glory, or to protect the townspeople, but purely to protect himself. It may sound cowardly, but it's actually quite the opposite. Knowing that he has to fight, and realizing that nobody will fight alongside him, Kane does what he has to do, he fights regardless. I'm not going to dive too deeply into the actual final battle itself, because of several things that happen in the story, but the way High Noon actually ends feels like a perfect way to resolve Kane's arc throughout the film, and though his actions were criticized at the time, honestly I really think that his character comes full circle in the end. It's actually quite bittersweet, but it works well because it isn't a 100% happy ending. Kane isn't automatically the town's hero, but at this point, he doesn't care. He gets what he wants in the end, regardless of anyone else.

It is quite hard to talk in depth about High Noon, because it's actually very simple. It's absolutely fantastic, don't get me wrong, but at the same time, there really isn't much to it. Again, there doesn't need to be for it to be good, but so much of this film is the experience. I can sit here and write about the tension in this movie and what makes it so, but honestly, you're better off just watching the movie. Because it's so suspenseful and tense and thrilling, it needs to be seen to be believed. The tension comes from the simplicity, unlike something like Vertigo (or anything by Hitchcock really), where the tension comes at a steady rate due to twists and developments in the story. No, High Noon is one of those cinematic experiences that everyone should have, one that's so tense and so uncertain and ultimately so powerful. As I said, me trying to describe the movie seriously doesn't do it justice, it seriously just needs to be watched to be fully appreciated. Also that soundtrack. Damn that's good music.

The Vault #6- The Grand Budapest Hotel (2014)

Directed by: Wes Anderson
Starring: Ralph Fiennes, Tony Revolori, Saoirse Ronan

I love Wes Anderson's films, and while The Grand Budapest Hotel isn't my favourite of his films, it's certainly one of his stronger ones. It's pure Wes Anderson, and I mean that in the best way possible. For those who don't know Wes Anderson's work, his films so incredibly stylized in every aspect, from the cinematography and set design, to the writing and soundtrack. All of his films are made in this distinct and instantly recognizable way, and almost all of them use their quirkier aspects to address and explore darker themes. And The Grand Budapest Hotel is no different. The film centres around Zero, the lobby boy of The Grand Budapest Hotel, a prestigious resort located in Nebelsbad in Zubrowka. Basically, the film is about Zero's close friendship with the hotel's concierge, Monsieur Gustave H, who's accused of a crime that he didn't commit. The films then follows the two as they try to clear Gustave's name. The plot of this film is undoubtedly strange, but it's also one that only Wes Anderson could have pulled off, or at least done in this way.

Anderson's style is front and centre in the film, arguably more so than any of his previous works. The script is so unconventional and odd, but also absolutely fantastic. The dialogue is strong in this film. It makes the film, giving it this unique but endearing edge, but it never gets in the way of what matters, the relationship between the two main characters. The friendship between Gustave and Zero is so well done. Wes Anderson struck a perfect balance with these two. It always fits in with Anderson's style, but never once does it feel insincere. Fiennes and Revolori have this magnificent and incredibly strange chemistry. They bounce of each other in this strange but utterly satisfying way. Their relationship is the film's strongest and perhaps most important aspect. The film is at it's best when it's just them talking. As I said before, Anderson's style never gets in the way of the relationship between the two leads. It's a hard thing to do, but Wes Anderson excels at injecting his style into the simple aspects of every day life, like friendship in this case. The strength of the characters is massively helped by the absolutely wonderful acting. Not just from Fiennes and Revolori, but from the entire cast. Saoirse Ronan, Adrien Brody, Edward Norton, F. Murray Abraham, they're all fairly great and incredibly charismatic.

The film absolutely oozes Wes Anderson. The cinematography is some of the best I've ever seen, and is just beautiful. The use of colour gives the film such a delicately elegant feel and the soundtrack is so distinct and so wonderful. There are so many shots in this film that are so visually rich and well filmed, and the lack of CGI is so welcome in this day and age. Seriously, practical effects need to make some sort of a comeback. I'm not anti CGI, but sometimes it's better to go practical. Where was I again? Oh right, the cinematography. Colour is incredibly important in film, and Wes Anderson understands that. Every shot in this film looks like a piece of art. It's exquisitely filmed and absolutely beautiful.

So, overall, is The Grand Budapest Hotel Wes Anderson's best film? In my opinion, no. I mean, that says more about what an amazing director Anderson is than anything else, because even if it isn't his best, this film is still phenomenal. The story's great, the dialogue's sharp, the acting's incredible, the film looks amazing, the soundtrack is fantastic, the relationship between Zero and Gustave is great, and like all of Wes Anderson's films, it isn't without it's more poignant and thought provoking moments. It's not as dark as The Royal Tenenbaums, or as tender as Moonrise Kingdom, but I feel like it fall somewhere between the two. It's a perfect embodiment of Wes Anderson's talent as a director, and considering that it's his eighth film overall, I think it's pretty clear that Anderson has honed his style perfectly by this point. I mean, it certainly is not for everyone, Wes Anderson's style could potentially alienate some viewers, but you know what? That's really the only thing I can fault this film on. It's charming, tightly scripted and beautifully made. It's definitely one of my favourite films from one of my favourite directors.

The Vault #5- The Truman Show (1998)

Directed by: Peter Weir
Starring: Jim Carrey, Ed Harris, Laura Linney

I'm going to be honest, I honestly do like Jim Carrey as an actor. He's a pretty funny guy, but honestly I much prefer him when he's actually acting. My two favourite films that he's in are Eternal Sunshine of the Spotless Mind, and this film, The Truman Show. This movie has a very odd concept, and one that I think could easily have become a gimmick, but the film's superb writing honestly makes it quite a poignant and though provoking watch. The Truman Show is about, a man who's entire life is a TV show, with everything that's ever happened in his life controlled by Christof, the series' showrunner. The film follows Truman as he begins to realize his reality, and tries to escape it. I really like this idea, and I especially love where it goes as the film progresses. As I said before, it could have been a gimmick, but it's used in such a way where the film goes deeper than you'd honestly expect. It's not a pure comedy film, though it does have it's lighter moments. Truman slowly coming to realize what his existence means is fascinating to watch, and though the film starts great, it really comes together as it goes on. It starts to focus more and more on the emotional and moral implications that come with this idea, and it's so satisfying. A lot of people have talked about the philosophy of this film, and I might too one day, but for now, what makes The Truman Show work with such a strange concept?

As I said above, I love Jim Carrey in this film. He really is great as Truman Burbank. He's able to really convey the emotions that come with this scenario, There are moments in this film where just by his face, you can tell exactly what he's thinking and going through. And as he starts to question his existence more and more, Carrey continues to sell what Truman's feeling perfectly, and often subtly. The emotion in this film isn't shoved in your face most of the time, which better allows you to feel what Truman is feeling. I won't give away the ending, but there's this incredibly tragic moment where everything goes wrong, and everything that Truman, and by extension the audience have been feeling throughout the film finally comes full circle, resulting in such a powerful and sad moment, which leads into an ending which is probably one of the best endings I've seen any movie have. It's truly spectacular.

Another thing that this film does really well is the satire. I love any movie that parodies the entertainment industry, and The Truman Show is a great spoof of TV, particularly reality TV. I love how it parodies so many tropes used in television, such as one character's 22 year absence being explained with amnesia, or wonderfully unsubtle product placement. The satire is funny and sharp, but it strengthens the story and concept of the film. The Truman Show acknowledges the dodgy moral implications in having one person's whole life be a TV show, but it also points out the positives. The film even opens with it's creator explaining why a show starring a real person is a good thing, and what it does for the audience. Throughout the film, we constantly cut to the audience watching Truman's life, completely invested in what happens to him. It's strange that not long after this movie came out, there was this huge surge of reality series that were obviously fake. The show itself has such a devoted fanbase, who watch the series just to watch Truman's life, as a way to escape their own. And just like with the concept, the film addresses why this is strange and unhealthy, but it also acknowledges that people can take comfort in knowing that who they're watching is a real, thinking person, someone who they know isn't reading a script. It never really states whether the idea of The Truman Show itself is a good or bad thing. Even the ending of the film feels less like commentary, and more like a true conclusion to the character of Truman.

Is it perfect? No. There isn't anything wrong with it per se, but it really isn't for everyone. I could see the concept, tone and writing rubbing a lot of people the wrong way, but honestly I love this film. It's clever, it's thought provoking, it's touching, it's everything I wanted from a film with this plot. It does it's concept justice and is just a great, and thoroughly satisfying watch. It's not for everyone, but The Truman Show is one of my favourite films of it's decade. So, good morning, and if I don't see you, good afternoon, good evening and good night!

The Vault #4- The Warriors (1979)

Director: Walter Hill
Starring: Michael Beck, Deborah Van Valkenburgh, James Remar

Can. You. DIG IT? It's hard to really put my finger on why this film is as great as it is, because honestly, it's so simple. All of New York's gangs meet up one night to discuss forming an alliance, but when the leader of the gang proposing the truce is shot dead, a Coney Island gang called The Warriors are framed, and every gang in New York hunts them down. As I said, the plot is incredibly simple. You basically follow the Warriors as they attempt to get back to Coney Island alive. I think what makes this film work so well is the near impossible odds that our heroes are up against. Everybody wants them dead, and spends the whole film trying to kill them. There's something so intense about that, that literally every gang in the city is after this one group, and The Warriors never feel safe. Every time it looks like they might be alright, they get attacked by a rival gang, or chased by the police. And it's this feeling of constant threat that makes The Warriors such a thrilling watch. You know that anything could go wrong at any moment, and it does. The threat in the movie feels real. It feels like the Warriors are way out of their depth, like at any moment they could be killed or arrested. So many things go wrong for them in this film, and as the night goes on, their situation gets worse and worse. As the situation builds and builds, and things get worse for the Warriors, you start to wonder if they'll even get out at all. I think it would have been easy for the writers to just end the movie with a deus ex machina. But instead, and I'll try my best not to spoil anything here, they turn the situation around and end it the only way that they really could have.

The movie is made in such a way that you just know when something's going to go wrong. You can see when a problem is going to start, like with the scene with Ajax in the park. You know it's going to go wrong somewhere, and you're just waiting for things to go south. The whole film is like this. Anything that can go wrong, does go wrong, and makes the Warriors feel completely unprotected. The action is also really well done, albeit pretty over the top. But it definitely adds to the incredibly stylized tone that Walter Hill was going for.

Speaking of the movie's stylized tone, The Warriors has a distinct feel to it, and when I say that, I mean it's absolutely insane. The sheer madness of this film is perfectly reflected in it's visual style. I love the way that this movie looks. It really feels like New York is this huge battlefield for all these gangs, and the way that each area has it's own unique feel to it makes this movie a pretty visually interesting one. I really love the way each gang has their own style, and the opening credits where we see each gang en route to the meeting is one of the best opening scenes I've ever scene. It establishes who each gang is, as well as pretty much set up the entire plot of the movie in about seven minutes. It's just a fantastic opening scene that sets up the movie perfectly.

So, does this film have any flaws? Not really, actually. Yeah the story is a little bit simple, but apart from that, this film really works. It makes up for it's simplicity with a pretty distinct visual style, incredible action sequences and palpable tension, making for a chaotically fun and thrilling watch. It's a film that's always on the move, always going somewhere new, always throwing it's characters into new situations and always throwing new twists and turns at you (more from an action standpoint than from a story standpoint). Overall, The Warriors is a pretty fantastic dystopian crime action film. And like most dystopian films, it mixes it's world with some social commentary. Here, it's the perception of gangs. I love the scene on the train where Mercy's looking over at two civilians, almost envious at the life she has compared to them. That's actually pretty fascinating as commentary. Not everyone in these gangs are bad people, and everyone has a reason that they fight. It humanizes people that  would usually be portrayed as one dimensional villains anywhere else. It also says that these people can do heroic actions, and have honour. Yeah, the story is still pretty simple, but the commentary provides depth to the movie.

Overall, The Warriors is just an awesome movie. Fast paced, stylish action, mesmerizing visual style, and surprisingly deep social commentary make this movie one of the standouts of it's decade in my opinion. It's certainly one that I feel not enough people talk about, both as an action film and as social commentary. If you haven't seen The Warriors, please do. It's great movie, and one that's undoubtedly worth seeing, whether you just want great action or you want some surprisingly intelligent commentary on how we perceive criminals.

The Vault #3- Aliens (1986)

Director: James Cameron
Starring: Sigourney Weaver, Micheal Biehn













I think this film could have gone wrong very easily. I mean, sequels are always a risk anyway, but considering how great Alien was as a film, Aliens could have sucked. But it didn't. At all. I think that Aliens works so well because even though it isn't as much of a horror film as Alien was, it keeps the what made the first film great (for the most part). The beginning of the film shows us Ripley awakening from cryosleep. The moon from the first film now houses as colony of humans. When contact is lost with this colony, Ripley is called in to accompany the marines to investigate. Despite the fact that this film isn't really a horror film, instead focusing more on the action, Aliens works well in building its tension. Considering how formidable the xenomorph was in the first film, we know that multiple xenomorphs are bad news. And even if you haven't seen the first film going in, judging by Ripley's reaction, you know that these things are dangerous. And that's one of the better aspects of this film, it may have more action, but it keeps the tension. It's not as tense as the first film, but it's thrilling nonetheless.

There are so many good things in this movie. For one, the action is quite well done. It's hard to make gratuitous action not feel mindless, but this movie does it. It works because it blends it's fast paced action with it's blood pumping tension. The action scenes are usually preceded by intense buildup, followed by the insane xenomorph blasting. The action sequences work so well because there's buildup, and then payoff. And that's why it doesn't feel mindless. For me, action feels mindless if it comes out of nowhere. If it's just our hero blasting through his enemies who don't put up a fight, that's boring. Aliens lets us know what's at stake.We know if our heroes don't put up a fight, that's it. It builds up to each action scene while progressing the plot and showing us more and more of it's world. And that's hard to do. But I'd be lying if I said it was done perfectly.

See, I do think that the tension here is masterful. And the action is great. But even though we see how much of a threat the aliens are, I feel that after a while, they stop being threatening. Yeah, despite everything I said, which I do stand by, I can't help but feel that the xenomorphs aren't actually that intimidating here. See, in the first film, we fear the alien because we see it in action, and it feels unstoppable. Because it's completely unknown, everything it does is a surprise to both the audience and the characters. Here on the other hand, because people who have seen the first film know how threatening the xenomorphs are, and those who haven't seen the first film have heard how threatening they are, watching them be blown to smithereens by the marines is less satisfying. It's one of the few gripes I have with this movie, and I though I do feel that the writers try their best to work around that by having huge armies of xenomorphs swarm our heroes in compromising situations, I still can't help but think that this undermines the powerful and intimidating creature we saw in the first film. And I think that that comparison is justified because this film is a direct sequel to Alien. Again, the writers do work around this problem, but it's something I just can't help feeling whenever I watch this movie.

But that's just one small flaw in a movie with so many great things. The characters are all memorable and likable, especially Ripley. Sigourney Weaver is just so fantastic as this character. Just like in the first film, her strengths lie in her weaknesses. She gains her courage from being afraid, her power from being vulnerable. And her tenacity in defending Newt is just fantastic. This film succeeds in adding depth and development to an already fantastic character. Just like in the first film, the situation may feel impossible to overcome, but Ripley's sheer willpower and determination really enforce her status as the ultimate everyman hero. Like in the first film, the combination of her fantastic feats and human portrayal makes her feel like the hero we all could be. Like every great sequel, it advances the character's personalities in a way that feels real and satisfying, a natural development. I just love the character of Ellen Ripley, especially in this film.

H.R. Geiger did a fantastic job with the xenomorph in the first film, and his design is retained for the aliens in this film, with the exception of the queen, who looks fantastic. Her design is so complex and intricate, it's just wonderful. She's also just so threatening. She's a stark contrast from most of the aliens in the film, who, as I said, really don't put up much of a fight. The queen feels near invincible, and that's what makes the climax so endlessly thrilling. Just like the first film's climax, it really feels like Ripley is up against impossible odds, so it feels satisfying to watch her overcome them. The climax for me is probably the film's best scene. It's a culmination of everything in this movie, as every good climax should be, and it feels more intimidating than anything seen prior. It's such a fantastic scene.

I think a good sequel should up the ante from the first film, and Aliens does that. The xenomorphs may not feel as intimidating as the first movie, but that's honestly okay. the addition of the queen and swarms of xenomorphs make the stakes feel higher, even if the first film is more tense. The action is spectacular, and the character of Ripley is somehow improved form the first film, if that's even possible. While I personally don't think it's as good as Alien, Aliens does what most sequels don't do: feel necessary. It feels like an extension of the first film, and that's honestly pretty impressive.

My Top 8 Favourite Studio Ghibli Films

Very few studios make animated films quite the way Ghibli do. A combination of fantastic animation, great writing, memorable characters, genuine emotion and top notch soundtracks make Ghibli really stand out, both in the realm of animation and cinema as a whole. And given how much I love these guys, I think it's only right I pay tribute to them. Now, I could review a load of their films individually, but I think it would just be better to list some of my personal favourites. Seriously, these guys are worth it. Before I begin, I picked 8 instead of 10 because, though I have seen enough Ghibli films to make a top 10, I feel that these 8 are my definitive favourites, what I feel to be the creme de la creme of Gilbi. Also, cards on the table, I haven't seen Spirited Away. I know it's the most acclaimed Ghibli film and just absolutely great and everyone loves it, but I haven't seen it yet. When I do though, it'll probably get a post of it's own. Anyway, let's begin!

8. Howl's Moving Castle

I think this film is better than everyone gives it credit for. I mean, of all of Miyazaki's films, he has said that this is his favourite, and I can see why. Based on the novel by Diana Wynne Jones, Howl's Moving Castle follows Sophie, a young woman who becomes an old woman when cursed by a witch. She seeks the wizard Howl, in hopes that he can lift the curse. From there it becomes an epic tale of romance, war and magic. The visuals here are fantastic. There are so many creative ideas and designs here, that it's hard to know where to begin. I love how both the characters and the world looks, especially the castle, which is just so intricate and beautiful. The characters are also very memorable. Sophie is such a strong character, one who never gives up in spite of it all, and as a result becomes a very likable protagonist. Calcifer, the living... fireplace, is a pretty funny and likable character, as is Howl's assistant, Markl. But my personal favourite character is Howl. In many ways he's very cowardly, and arrogant. But it's how he develops, and becomes a better person. His growth is a very strong one, and one of the film's highlights. The relationship between Howl and Sophie really works too. It feels genuine, and you root for throughout the film. The anti-war themes are also quite strong. It's something you find in a lot of Ghibli films, but it works very well here. Overall, Howl's Moving Castle is a fantastic fantasy film, with it's creative ideas, strong characters, and well integrated morals. It's just such a strong film.

7. Pom Poko

And speaking of underappreciated Ghibli, films, Pom Poko. This film is notable for one reason, the ... let's call them... pouches.... the the protagonist's use. Yeah, this movie. It's kind of hard to get around the obvious aspect of the movie, but I definitely think this is one of Ghibli's strongest. Apart from anti-war themes, strong environmental themes are also present in Ghibli films. But they never feel preachy, and Pom Poko uses them well. Basically, a forest is threatened by human development, and a group of shape shifting tanuki band together to prevent it. The visuals are easily this film's strongest aspect. Especially during the Ghost Parade scene, which is one of the most visually stunning things I've seen in animation. It's so creatively weird, that you can't help but love it. The whole film is similarly creative in it's visuals, with some very good action scenes. The whole shape-shifting aspect is spectacularly done, and one of this film's strengths. The whole environmental-humans are terrible-save the forest thing actually isn't obnoxious. It's done fairly well, especially towards the end, where a lot of it actually does hit home. The ending is actually quite poignant. It would have been preachy and cliched if done by a lesser filmmaker, but Isao Takahata is not a lesser filmmaker. Through the fantastic visuals and strong message, Pom Poko is pretty memorable. Add in some genuine charm, and you've got an underappreciated gem on your hands

6. My Neighbour Totoro

You all knew it would be here. Yeah, I'm not about to deny the pure genius of My Neighbour Totoro. This was the film that introduced me to Studio Ghibli, and it's a pretty good gateway to these geniuses. But where do I begin? Everything is just done so well in this movie, that it's hard to know exactly where to start. I guess I'll start with my favourite aspect of the film: the relationship between the sisters. It's so genuine and sweet that it's hard not to love. The story is also quite strong. It seems cliche (family moves to countryside where supernatural shenanigans happen and everyone learns a thing or two about what it means to be a  family along the way), but My Neighbour Totoro does it so well. The movie has a lot of heart, and it shows. It's simple, sentimental, and really beautiful. The emotional aspects of this movie are very well done. The reason the family moves to the countryside is that the mother is recovering from a serious illness, and this really helps the emotional strength of the movie as we see the effect it's having on the family. The fantasy elements are also really well done. They tie the movie together very well. They really compliment the humanity of the characters and the world. Look, this movie is just pure genius. If you haven't checked it out yet, what are you doing here? Just go and watch it. It's seriously worth your time.

5. Laputa: Castle in the Sky

Of course Ghibli's first film has to get on my list. Laputa is like the ultimate adventure film. From the tense and action packed opening, to the heartfelt ending, this movie is fairly well rounded. Laputa follows Sheeta, a girl; with a mysterious amulet, and Pazu, an aviation enthusiast looking to find a floating island. They're pursued by the militarily and a gang of delightful sky pirates. The action and adventure here are really well done. There's never a dull moment in the movie, from fast paced action to interesting lore and some memorable characters, Laputa really has it all. The opening alone is so tense and thrilling, and the film really builds on that. Every moment progresses the plot in some way. By the time the film's over, you really feel like the characters have been on this great journey. The characters themselves are very well done. Sheeta and Pazu are really good characters, but to me, the sky pirate Dola and the evil Colonel Muska are the two strongest members of the cast. Every idea in this movie is so creative, especially the design of Laputa. If you're looking for an adventure film that's always on the move, Laputa might just be for you.

4. Arrietty

Or The Secret World of Arrietty, if you like. Just as Howl's Moving Castle is based on a book, Arrietty is based on The Borrowers. But if you ask me, this adaptation is far superior. The film follows Arrietty, a young borrower who wants to get out there and see the world, despite her parents warnings. She meets Sho, a sickly young boy spending the week with his Aunt. The relationship between the two main characters is fantastic. The two have this real connection, which stays completely platonic, by the way. But if you ask me, the film's strongest aspect is it's main character. Arrietty is such a fantastic and likable character. She's very independent, but still respects the people around her. She's rebellious, but still loves her family and respects their wishes. She never feels like a cliche, which nine times out of ten, is what you'd get with this kind of character. But,as we've seen before, Studio Ghibli don't use cliches. It's stuff like this that cements these guys as some of the most original filmmakers out there. They effortlessly subvert tropes in most of their works, and it's here that I feel that that's at it's strongest. Arrietty is such a fresh, original movie, and I haven't even touched on the visuals. I love the way this film looks. The way that the borrower's world is made up of smaller versions of things found in the human world makes the design so intricate and fascinating. Arrietty is definitely one to check out.

3. Kiki's Delivery Service

 

Here's an interesting little film. I think Studio Ghibli excels at doing simple concepts, and really exploring the themes and ideas in depth. And nowhere is that more apparent than in Kiki's Delivery Service. A film about a witch in training taking a sabbatical... because why not, Kiki's Delivery Service is about so much more than it's premise would suggest. A coming of age story about friendship, insecurity, vulnerability and the transition from childhood to adulthood. None of those themes get in the way of the story by the way. Yeah, if you haven't realized it by now, Ghibli are kind of great. The character of Kiki in particular is one of the film's strongest aspects. You really see her grow and develop, face adversity and change. The film is basically her transition to adulthood, trying to understand herself, and deal with self doubts and her own insecurity. And that's actually really fascinating. The challenges she faces are the challenges we all face at some point or another. Kik's Delivery Service is just wonderful. It's simple, but also complex at the same time. It's thought provoking, challenging and just so pleasant. I highly recommend this one.

2. Grave of the Fireflies

 

I think the less said about this film, the better. Yeah, I have been avoiding spoilers on this list, but anyone who has seen Grave of the Fireflies will know why I'm staying quiet. But I suppose I have to say something. Grave of the Fireflies follows two siblings trekking across Japan during World War 2. That's kind of the plot, but so much of this film comes from the emotion. It's not a very happy movie to say the least. In fact, it's incredibly sad. Just watching their situation get increasingly worse is heartbreaking to watch, especially because there isn't an awful lot that they can do about it. But the film is absolutely beautiful. It's not sadness for the sake of sadness. It's got an incredible anti-war message, which, yes, pops up in a lot of Ghibli films, but is something that this film in particular excels at. It focuses on the effects of war on the average person, and I think that's why it works so well. It's not all sadness though, which ironically makes it even sadder. It creates an accurate portrait of life. It acknowledges the positive aspects of life, the hopeful aspects, the stuff worth living for. It's a portrait of life in unfortunate circumstances, and that's why it hits so hard. Ghibli films know how to hit you right in the feels, but Grave of the Fireflies goes further. You care so much because of how these characters are written. They aren't just likable, anyone can do likable, they're natural. They're real. They're believable. In a word, they're human. And that's why it hits harder. Simply magnificent.

1. Princess Mononoke

 

Yeah, this was a tough one. I mean, with a company like Ghibli, you've got so many good movies. Like seriously, they don't have any bad movies. Kiki's Delivery Service and Grave of the Fireflies were great, but for me, it always comes back to Mononoke. First off, the story. Princess Mononoke follows Ashitaka, a young warrior who is inflicted with a cursed arm after fighting a beast. He sets out on a quest to heal himself, and finds himself in the middle of a conflict between the gods of the forest and the humans who inhabit a nearby village. And here's where the film gets good. See, most films that use the humans are evil-save the forest plot never allow us to sympathize with the humans, but honestly, the village leader Lady Eboshi is no villain. Seriously, her motives are understandable, and everything she does, she does for her villagers, who adore her. But the gods aren't the villains either. After all, they just want to protect their land. There is no villain, because the film doesn't need one. The conflict is between two parties with opposing beliefs, and that's the strength of this film. But, that's not all. Spectacular animation, great worldbuilding, fluent action, and fantastic characters make Mononoke such a wonderful watch. 

Ashitaka is a great hero, because he's neutral. He sees the good aspects and the bad aspects of both parties. But he also knows that neither of them can defeat the other. He understands that he can't pick sides, because the balance needs to be maintained. Eboshi is fantastic. She's a realistic leader, and would be the villain in any other movie. But as I said, she has understandable goals. She just wants the best for her village. And she treats the villagers very well. I'm not too big a fan of San, who to me was always quite whiny and quite frankly, annoying. But this film is just so wonderful. It's the best that Ghibli has ever done in my opinion, and is just one of my favourite animated movies, kind of ever. Seriously, if you haven't seen Princess Mononoke, give it a watch. It's just spectacular.

And that was my Top 8 Favourite Ghibli films. I hope you enjoyed this list, it really wasn't easy to make. With a company like Studio Ghibli, there's just so much good that it's sometimes hard to choose the best, but these are the films I always find myself coming back to time and time again. And seriously, if you haven't seen a Ghibli film, go now and watch as many as you can. Trust me, they're worth it.

The Vault #2- The Producers (1968)

Directed By: Mel Brooks
Starring: Zero Mostel, Gene Wilder, Kenneth Mars




Where the hell do I even begin with this movie? It's one of the funniest, best written and fantastically acted movies I've ever seen. Zero Mostel plays Max Bialystock, a failing theatrical producer. Gene Wilder plays his accountant, who concocts a scheme to create the biggest flop possible, in order to scam their investors out of their excess money. I love the idea of this movie, and Mel Brooks really does everything he can with it. The two go out of their way to ensure that the play is terrible by choosing the worst play they could find and hiring the worst director and actors. It's here that a lot of the laughs come out. I won't go into detail, because I really don't want to spoil any of the jokes, because they really are that good. I will say that the performances help a great deal. Zero Mostel is perfect as Bialystock. He's so smug and sarcastic, and he never fails to get a laugh. Gene Wilder is beyond fantastic as Leopold Bloom. He's constantly on edge, and Wilder plays his panic and hysteria perfectly. The two play off each other so well, which is one of the reasons the film works as well as it does. Their chemistry really is something special, leading to the witty and flowing dialogue you'd expect from a Mel Brooks' movie. They play off each superbly, and really make this film.

The best thing about The Producers in my opinion though, is the satire, which I feel is more relevant now than it was at the time. Mel Brooks' perfectly lampoons the entire entertainment industry. Everything, from the fatcat producers, to the eccentric director and the self entered and arrogant actor, is spot on. I also really love the scene when (and I don't know if this could be considered a spoiler, but I'll say it anyway) the audience begins to love the terrible and offensive play. That's just as relevant now as it was at the time, what with all those terrible comedy movies coming out at the moment. Everything this movie says about the industry is genius, and it actually holds up pretty well today, which is more than can be said for most satires. And as long as the industry stays greedy, it'll stay relevant.

I feel it's a pretty accurate portrayal of how carnivorous the industry can be, but that never distracts from the laughs. The movie is both side-splittingly funny and bitingly sardonic, and it balances both aspects perfectly. The comedy never overshadows the commentary, and the commentary never overshadows the comedy. If anything, they improve each other, and help give the movie a distinct, yet funny and clever feel, and that's something I really respect. Mel Brooks got Best Original Screenplay for this movie and he definitely deserved it. The script is so tight and witty, and is easily one of the best things about this movie.

Is it offensive? I wouldn't say so. First of all, the context. Bialystock and Bloom are trying to make the most offensive, inappropriate and terrible play they can, so it's not out of nowhere. That's the point of the story. Also, It's treated as disgracefully tasteless in-universe, and I think that's a golden rule when it comes offensive humor. Don't try to offend your audience. Always have the characters have more of a reaction than the viewers. I've put in a link to an article about the making of this movie and Mel Brooks' vision (which you can find here: http://www.theguardian.com/film/2008/aug/16/comedy.theproducers), so check that out and see what you think.

All in all, The Producers is a pretty bold movie, and one I honestly don't think would be made today (what 2005 remake?). Despite that, it's one of the funniest movies I've ever seen. I honestly can't find anything wrong with this movie. The timing is spot on, the pacing is great, the satire is sharp, the performances are wonderful, the music is surprisingly good, and overall it's genius. It's just a great movie if you ask me, and one that really has a spot on portrayal of the entertainment industry. I'd highly recommend this one if you're looking for a laugh. It's just so clever. Give it a watch. It's definitely worth your time.