You there! Tired of seeing the same old genericism within mainstream Hollywood? Desiring films that take risks, are creative and distinct? Well, look no further, for you’ve found what you are looking for!
2. Got completely snubbed by the Oscars (save for one, which I will get to later)
3. Are nearly, if not completely, obscure to the general public
4. And are extraordinarily unique creations
Each one deserves to be given at least a single viewing—far more so than a good deal of mainstream films. I highly recommend checking them out.
"Columbus is a prime example of how an already compelling story can be further heightened when a director effectively utilizes sound and cinematography. Columbus takes full advantage of its titled city’s unique architecture, both in and out of story. The scenery, sculptures, and buildings are beautiful eye candy to view. Its main duo are architect aficionados, giving the film an in-story reason to extensively focus on such art. The film often uses stationary long shots behind its characters, capturing the size and grandeur of whatever setting they’re appreciating. There’s little soundtrack in Columbus, instead relying on the setting’s serene nature sounds (birds, rain, etc.) to create ambiance. I particularly enjoy the film’s usage of rain, giving scenes a tranquil serenity alongside its rich, beautiful scenery. Mirrors are creatively used to showcase people and expressions from a stationary shot’s nonvisible angles. At one point the film uses two different mirrors for two people positioned in different areas of the room. It’s all so aesthetically pleasing and works wonders alongside the film’s story."
"Dave Made a Maze is bursting with creativity—unbound from the rules of science and logic, free to do whatever it pleases. A small cardboard fort on the outside contains an endless labyrinth of booby-traps and murderous monsters. The characters's blood and guts are replaced with red and pink yarn. There’s a fascinating optical illusion room, a tiny maze inside the actual maze, a glowing vagina that turns people into cardboard (I am not making that up!), a unique segment where the protagonists wear various paper outfits—repeating the same dialogue but with different implications, giving insight into their lives and psyche—and a whacky scene where the characters turn into paper bag puppets."
"Dealt is a well-made documentary about a card trick expect coming to accept and appreciate the cards he’s been dealt with in life. The success story of Richard Turner is a fascinating journey, with the documentary doing an impressive job balancing his backstory and current day situation. The film ends on several very touching scenes, including a victory that may have felt cheesy in a biographical feature, yet is moving and satisfying here. Dealt also serves as a secondary account on magicians and card manipulators, showcasing a lot of mindboggling techniques while conveying how vigorously Turner practices to be so good."
"Zombie stories are a dime a dozen, and if a writer desires to make an impact with their version, a new concept must be added to the mix. Infected yet immune characters are nothing new to the genre, as aren’t infected yet immune children, or infected yet immune girls. Where The Girl with All the Gifts distinguishes itself with its infected yet immune characters is their persisting desire for living flesh. Melanie is a sweet, compassionate girl, but once she gets hungry her desire for flesh overrides all rationality (though she tries her best to resist). There’s a scene where Melanie is sent out to “hunt” when she begins feeling the effects of the hunger. Melanie’s state, however, makes her a valuable member to the survival party as other hungries ignore attacking their own kind—allowing Melanie to go out and scout for safer routes and/or find animals to use as a distraction. Melanie’s state leads to some tragic scenes, yet also can make for some surprisingly witty dark humor. There’s a scene where Melanie’s hunger causes her to devour a cat, an animal she’s quite fond of. The scene itself is somber, but later leads to a humorous conversation where Melanie’s teacher asks if she wants (to adopt) a cat, causing Melanie to reply; 'No thanks. I already had one.'"
"It Comes at Night plays heavily on family coming first and how far each character is willing to go to ensure their loved ones’s survival, and yet there’s also the creeping basic humanity within the film's characters that hesitates them from going full pragmatist. It’s here where the film’s true horror arises as a conflict of emotions between family and friendship, doubt and trust, love and lust, and survival and empathy brings out the best and worst in its characters, with the end result being none-too-pretty. The cast’s solid performances certainly help convey the necessary, effective emotions for such scenes to work as tragically as they do."
Note: Yes, Willem Dafoe's performance here got nominated for Best Supporting Actor. Yes, he certainly gave an Oscar-worthy performance. Yes, several other cast members also gave Oscar-worthy performances. Yes, Defoe was most likely the only one nominated thanks to his previous stardom status. Yes, The Florida Project was snubbed in all other categories despite clearly deserving, at least, a Best Picture and Best Director nomination. Yes, The Florida Project belongs on this list for these reasons and more.
"The Florida Project’s heart stems from its child actors’s genuineness—from the way they talk and act to their childlike glee, wonder, innocence, and impish nature. The film takes its time showcasing its kids being kids and contains beautifully vivid cinematography. The motel is frequently utilized for various unique and/or lovely camera work. There’s a single take that follows the children as they run from one side of the motel to the other and a stationary shot of a rainbow above the Magic Castle. The film practically explores every inch of the motel, and by its conclusion, I was well familiarized with its structure and the places surrounding it."
"Ingrid is unstable, self-centered, obsessive, and borderline-psychotic—she’s also an oddly endearing character. Ingrid Goes West does a very good job at making its demented protagonist (played by Aubrey Plaza) both likable and sympathetic. The film achieves this through three methods. The first is making Ingrid’s “victims” less than stellar beings. The people Ingrid stalk have their own share of faults and obnoxious to downright loathsome traits, making it difficult to feel sympathy for them. Then there is Ingrid’s approach to stalking: an array of humorously awkward and deviously clumsy attempts at getting what she wants. It’s hard to hate a character when their sinister plots continuously backfire in comedic fashion."
"It’s in Personal Shopper that Stewart delivers her best performance to date. Personal Shopper’s minimalistic soundtrack usage and focus on Stewart’s body language (such as her trembling fingers as Maureen texts the unknown messenger) allows for a very relatable, incredibly natural performance. The big moments where Maureen showcases shock and fear are handled beautifully, yet it’s also the smaller touches—such as Maureen’s hesitancy to talk about her interests in ghosts (which, in turn, showcases her own clashing uncertainty over their existence), to the simplest moment of her pushing away some overly enthusiastic dogs—that turn Maureen into an all-too-realistic character. As strange as it might seem, it’s the latter enthusiastic dogs moment that really stood out for me; it’s an entirely unnecessary moment to the plot that could easily be taken out, yet adds an extra layer of realism to the story as it further humanizes Stewart’s character."
"Its name is no deceiver, Super Dark Times is a f@#%ed up film…a f@#%ed up film with great cinematography, a thoroughly engaging story, and phenomenal acting. The first twenty-five minutes of Super Dark Times is such a grounded, realistic portrayal of teenagers. I’m not certain how much dialogue was previously written and how much is improvised, but major credit must be given to the actors here for so effortlessly conveying how teenagers act. From the very beginning my first thoughts were; “My god, they actually sound and act like real kids”, and such thought process only grew stronger as the film progressed. For the first twenty-five minutes, it doesn't feel like you're watching a film, but rather a hidden camera documentary about teenagers that was polished in cinematography postproduction."
"It’s difficult to write the “likable asshole” character. Not a “sympathetic asshole” mind you—where the character is a jerk yet the audience feels compassion because of a tragic backstory and/or situation—but the character who says and does genuinely insulting, insensitive stuff, yet has enough redeemable qualities where the audience still roots for them. Wilson is a likable asshole. The man says stuff that would usually get one punched in the face…and it does, in fact, get Wilson beat up on a few occasions. Yet the remarkable manner in which Wilson’s portrayed and handled makes it clear his words are never meant to damage, but rather help. It may not seem helpful to call someone an asshole, or insult their intelligence, or call them a “toxic soul-draining vampire”, but with Wilson there’s always a reason, and if you listen to him, there may come a positive development in your life."
