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The late, great Ray Harryhausen. (1920-2013)
When I was a little kid my grandpa showed me King Kong, the 1933 one. King Kong doesn’t look real, but it looks good, because it looks right. Looking ‘right’ is the key.
Special effects are perhaps film’s biggest point of separation from the other arts. In literature, if you want a monster in your story, you just describe it. But a movie has to convince you what you’re looking at is real, even when you’re looking at the most not real things humans can dream up. This takes a perfect synthesis of human imagination, technology, and innovation.
With the remake of Carrie out, it’s that time again for everyone to make their favorite complaint: “Oh god, another remake! It’s like they’re raping my childhood!”
If you’re going to put forth that Hollywood is in need some new ideas, I’ll listen. But it’s not as though this is a new thing. Movies have always mostly been sequels, remakes, or adaptations. Pick any random year since the dawn of cinema and I guarantee you’ll find as many as you do today.
Field of Dreams. The undisputed king, for sure. But here’s ten other great ones.
It was a really tricky thing putting this together because they’re ranked on niceness, not goodness. Number two and number five are the best movies on the list. But they aren’t the nicest.
Niceness is even harder to define than coolness. Niceness is a warm and fuzzy feeling that a lot of art can generate. Probably the most popular example would be Norman Rockwell paintings. Niceness, like coolness, taps into our primal brains somewhere. We’re wired to feel it because it connects us to each other. But the problem with niceness is that it borders so heavily on cheese. Cheese done right is transcendent. But cheese done wrong is, well, cheesy.