And btw, thanks for picking Ex Machina, now I gotta find a new movie for my next pick...![]()
Aww, yeah!

I had a backup for "E", and it's a movie I love, but nobody has seen it, so if I lost out on Ex Machina it was coming in like round 20.
And btw, thanks for picking Ex Machina, now I gotta find a new movie for my next pick...![]()
To fill my “E” column in the alphabetical movie draft, I select:
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Ex Machina (2014)
Written and directed by Alex Garland
Starring Alicia Vikander, Domhnall Gleeson, Oscar Isaac
Trailer
A smart young coder at the world's biggest search engine is selected for a one-week vacation at the company founder's remote estate - but when he gets there, he learns that the real purpose of his visit is to participate in a Turing Test of sorts on the founder's newly constructed, human-shaped AI.
Outside of a couple of small roles, there are really only three actors in this film - Isaac as the founder, Gleeson as the coder/tester, and Vikander as Ava, the AI. Obviously it wasn't written as such, but outside of a few stunning nature visuals, this could be put on as a stage play with almost no rework to the script. Despite what the poster looks like, this is not remotely an action film. This is a deep-thinking Sci-Fi film that is probably the best treatment of the question "What does it mean to be human?" since...well...the only thing that comes to mind is Star Trek TNG's "Measure of a Man" episode. But I'll welcome other suggestions on that. Either way, if you haven't gotten around to seeing this film, fix that!
Try me. I'm hot on high-level abstraction.
With my seventh pick in the Shelter in Place Alphabet Movie Draft, I will make use of the letter D to select:
Do the Right Thing (1989):
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Director: Spike Lee
Dir. of Photography: Ernest R. Dickerson
Writer: Spike Lee
Score: Bill Lee
Cast: Giancarlo Esposito, Spike Lee, Danny Aiello, Rosie Perez, John Turturro, Bill Nunn
Genre(s): Comedy, drama
Runtime: 2 hours
IMDb Entry: https://www.imdb.com/title/tt0097216/?ref_=ttfc_fc_tt
Spike Lee's 'Do the Right Thing' looks at life in the Bedford-Stuyvesant district of Brooklyn, New York on a hot summer Sunday. As he does everyday, Sal Fragione (Danny Aiello) opens the pizza parlor he's owned for 25 years. In that time, the neighborhood has changed considerably and is now composed primarily of African Americans and Hispanics. Sal's son Pino (John Turturro) hates it there and would like nothing better than to relocate the eatery to their own neighborhood. For Sal however, the restaurant is important and he sees it as a part of the community. What begins as a simple complaint by one of his customers, Buggin Out (Giancarlo Esposito)–who wonders why he has only pictures of famous Italian Americans on the wall when most of his customers are black–eventually disintegrates into violence as frustration seemingly brings out the worst in everyone.
In light of the present moment, I am picking a landmark film whose message continues to reverberate throughout American culture. It should be noted that I am not using this selection as an opportunity to smuggle my own personal views about the events currently unfolding on the streets of America into our Shelter in Place Alphabet Movie Draft. Yet here we are, more than thirty years after the release of Do the Right Thing, and racial tensions in this country remain at a boiling point.
I'm a writer. I genuinely enjoy writing about film. There is much that I might say about this Spike Lee masterpiece. But for the first time in this draft, I feel the need to surrender this space to those with greater authority on the subject matter than myself. It is a tiny gesture. It amounts to nothing at all in the larger discourse about the value of black voices in cultural spaces typically dominated by white people. Regardless, here are what three black voices have to say about this incredibly important film, including the director himself.
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Tambay Obenson (Culture writer, IndieWire):
'Do the Right Thing' doesn’t provide answers to the problems it exposes. Instead, the film reflects back to its audience their own perspectives on prejudice and compliance. The film was made as the result of provocations, and so it in turn provokes. It reacts to white supremacy and paternalism with a justified rage, drawing attention to systemically racist institutions and the injustices they produce; injustices that still exist today.
Events that followed its release 30 years ago only underscore the profundity of the film’s commentary, from the tragic stories of the Central Park Five and Rodney King to the more recent death of Eric Garner. The latter resembled the scene from 'Do the Right Thing' in which Radio Raheem is choked to death by police. The arguments Lee makes in the film continue to have relevance, and that relevance in the era of Black Lives Matter is not only a tribute to the original work but also a testament to the resolve of the prejudiced system that the film contends with. It's quite damning that so little seems to have changed in three decades.
Credit is most certainly due to striking cinematography by Ernest Dickerson, colorful production design by Wynn Thomas, and complementary costume design by Ruth E. Carter. The score was composed by Lee’s father, jazz musician Bill Lee. Among its less touted accomplishments were the many young actors that the film gave early opportunities to. For Martin Lawrence and Rosie Perez, it was their first film. For the late Bill Nunn, who died in 2016, it was his second, and his pivotal role as Radio Raheem will likely forever be the character that he's most remembered for. Others, like Samuel L. Jackson, Giancarlo Esposito, and John Turturro, went on to have long and illustrious careers. Several of these same actors would work with Lee again.
But despite all its technical accomplishments and socio-political resonance, 'Do the Right Thing' was mostly ignored by the Academy. Though Lee was nominated for an Oscar for Best Original Screenplay and Danny Aiello was nominated for Best Actor, it won neither category. In a detail that remains a tragedy for Lee, the film wasn't nominated for Best Picture. The category was won by maybe the most lambasted race reconciliation movie of all, [redacted]. In 2015, Lee was awarded an honorary Academy Award and he would finally win his first Oscar in 2019, picking up Best Adapted Screenplay for [redacted].
Just 32 years old at the time and with two feature films on his resume, Lee announced himself as a filmmaker unafraid to hit a raw nerve with 'Do the Right Thing.' With a library of many similarly confrontational films that would follow, he has cemented his legacy as one of the boldest and most provocative filmmakers of our time. And it’s quite possible that even if he never made another film after 'Do the Right Thing,' its enduring relevance and power would’ve secured him a spot in cinema history.
https://www.indiewire.com/2019/06/do-the-right-thing-spike-lee-30-anniversary-1202154208/
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Steve McQueen (British filmmaker):
The first time I saw 'Do the Right Thing,' when it was over, I didn’t speak for a while. I was just trying to take it all in. It was a knockout – almost like being in a boxing ring. Sometimes it was brutal, and sometimes beautiful; an attack, done with style, anger and compassion. In terms of giving a snapshot of a New York community, the only thing that comes close are those films from the 30s and 40s like [redacted].
It brings back great memories, but also painful ones, and that combination is so powerful. Great art has a resonance in the past, present and future, and 'Do the Right Thing' is just that. When it came out, the echoes with the UK political situation were loud and clear. In England, there was police brutality and unemployment, and it resonated with me in a direct way. I love the bit when John Savage’s character–the white guy wearing the Larry Bird jersey, carrying his bicycle–steps on the new Air Jordans that Buggin Out is wearing, and this sparks a heated conversation about gentrification. It reminds me of what England was like at the time, and it also illustrated the importance of trainers back then!
There are many iconic moments: the to-camera "love and hate" speech by Radio Raheem stands out, as does the conversation between pizza-shop owner Sal and his racist son Pino, who says he feels sick of being in the neighbourhood. Through the window of the pizzeria you can see the autistic character Smiley milling around, and the way Lee builds up the tension is amazing; it’s ingrained in my mind.
But my most powerful memory is right at the start: you see the Universal logo–the image of the world turning–and there’s this lazy saxophone melody over it ["Lift Every Voice and Sing," the so-called Negro National Anthem]; it’s as though Universal’s logo becomes part of the fabric of the piece, and it feels like the setting for an old fable that’s been told and retold. There’s the 40 Acres and a Mule [Lee's production company] symbol, and then we go into the stunning credit sequence with Rosie Perez dancing to Public Enemy’s "Fight the Power." It’s just beautiful. I was knocked out before the film even started.
https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/remembering-do-the-right-thing-spike-lee-seven-filmmakers-steve-mcqueen-penny-woolcock
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Spike Lee (American filmmaker):
Spike Lee spoke at Cal Poly the day after handing the first foreign film best picture Oscar to Bong Joon-ho for Parasite. It was a thrilling experience to be in the audience for that specifically historical snapshot of time.
Lee’s take on the entire narrative of Do the Right Thing revolving around the simple and primal dynamic of a Brooklyn heatwave slowly turning up in intensity, mirroring the rise of revolution, and bringing to surface raw and suppressed pain, divides, thoughts, and emotions was especially poignant.
Do the Right Thing had been in my periphery interest for a while before then, but shot up to the top of my Must See list after that.
Seeing it is the right thing.
Do the Right Thing had been in my periphery interest for a while before then, but shot up to the top of my Must See list after that.
I really owe it to myself to get on that, and stat. Seeing it is the right thing.
The film was directed by Anthony and Joe Russo from a screenplay by the writing team of Christopher Markus and Stephen McFeely. It stars Chris Evans as Steve Rogers / Captain America alongside Scarlett Johansson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Frank Grillo, Emily VanCamp, Hayley Atwell, Robert Redford, and Samuel L. Jackson. In the film, Captain America joins forces with Black Widow and Falcon to uncover a conspiracy within the spy agency S.H.I.E.L.D. while facing a mysterious assassin known as the Winter Soldier.
(T)he writers settled on the conspiracy genre for the screenplay, and cited Three Days of the Condor, The Parallax View, and Marathon Man as influences, feeling it better conveyed Captain America's trust issues and contrasting values in the new world he was living in, with Markus saying, "If you put that 1940s man into present day geo-politics everything is going to seem like a conspiracy. It's just going to seem dirty and underhanded and shifty, and people won't be telling the truth."
The writers felt this approach was similar to how Stan Lee reinvented Captain America in the 1960s and 1970s, with "the Captain dealing with all sorts of the same things that the country [was] dealing with–Vietnam, Watergate and all that stuff–so he gets to have opinions on that", thus making the "guy who is ostensibly from the more black and white 1940s react to this ultimately grey world that we live in."
I love this movie! The final scene also explains all the support and popularity demagogs enjoy nowadays.
Watched this movie out of curiosity mostly, but it slowly sucked me in. I don't know if I would call it a great movie, but more of it falls into a class of it's own. Probably not for everyone, but I thoroughly enjoyed it.To fill my “E” column in the alphabetical movie draft, I select:
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Ex Machina (2014)
Written and directed by Alex Garland
Starring Alicia Vikander, Domhnall Gleeson, Oscar Isaac
Trailer
A smart young coder at the world's biggest search engine is selected for a one-week vacation at the company founder's remote estate - but when he gets there, he learns that the real purpose of his visit is to participate in a Turing Test of sorts on the founder's newly constructed, human-shaped AI.
Outside of a couple of small roles, there are really only three actors in this film - Isaac as the founder, Gleeson as the coder/tester, and Vikander as Ava, the AI. Obviously it wasn't written as such, but outside of a few stunning nature visuals, this could be put on as a stage play with almost no rework to the script. Despite what the poster looks like, this is not remotely an action film. This is a deep-thinking Sci-Fi film that is probably the best treatment of the question "What does it mean to be human?" since...well...the only thing that comes to mind is Star Trek TNG's "Measure of a Man" episode. But I'll welcome other suggestions on that. Either way, if you haven't gotten around to seeing this film, fix that!
Try me. I'm hot on high-level abstraction.
To fill my “O” column in the alphabetical movie draft, I select:
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O Brother, Where Art Thou? (2000)
Directed by Joel and Ethan Coen
Starring George Clooney, John Turturro, Tim Blake Nelson, Holly Hunter, John Goodman
Trailer
I missed out on my top Coen brothers selection, but there are plenty of others to choose from, and this one is joyously rewatchable. Loosely based on the Odyssey (to the best of my knowledge, the first film selected in this draft to list Homer among the film's writers), it follows the adventures of the endearing know-it-all Ulysses "Everett" McGill as he breaks out of a chain gang in 1937 Mississippi and goes on a journey to save his marriage with two fellow convicts at his side. Sly (or in some cases, not so sly) references to Polyphemus, the Cattle of the Sun, the Sirens, and of course Odysseus ("Ulysses" in Roman mythology) and Penelope abound. Plus, it's a heck of a comedy, with great performances from Turturro, Nelson, Goodman - with Clooney really taking the cake.
Heeee's a suitor!
The Great Race is a marvelously entertaining cartoon of a movie. Everyone is a broad character and slapstick abounds. The actors are great and the comedy is lively. If it has a fault, it's that it is a bit longer than necessary. However, it never slows down too much to make you lose interest.
Jack Lemmon steals the show as the deliciously despicable Professor Fate. Lemmon brings melodramatic greatness to what would normally be the Terry Thomas role (and I love Terry Thomas). His partner in crime is Peter Falk, as the harried, but loyal Max. Together, they make this film great.
Tony Curtis is the perfect true-blue hero, even if that becomes a bit obnoxious. He's so great that you just can't wait for Prof. Fate to get one up on him.
Natalie Wood gets a bit annoying, too, as Maggie Dubois. Her strident proclamations about equality start to get on your nerves fairly rapidly. She's not quite intrepid enough for Nellie Bly, and not quite smart enough for Gloria Steinum. She has some good comedic moments, though.
The film is episodic in nature and a bit uneven, but there are great moments throughout. Scenes to look for: The early daredevil rivalry between the Great Leslie and Prof. Fate, the saloon brawl in Borracho, the Prisoner of Zenda send-up, and the pie fight.
Hollywood doesn't make great slapstick farces like this anymore. Humor now revolves around groin injuries and stupid one-liners and catch phrases. We don't see great character pieces anymore. It's a shame as these kinds of movies hold up well; especially as family fare.
The Incredibles received widespread approval from critics and audiences, winning two Academy Awards and the Annie Award for Best Animated Feature. It was the first entirely animated film to win the prestigious Hugo Award for Best Dramatic Presentation.
The Incredibles was everything that computer-generated animation had trouble doing. It had human characters, it had hair, it had water, it had fire, it had a massive number of sets. The creative heads were excited about the idea of the film, but once I showed story reels of exactly what I wanted, the technical teams turned white. They took one look and thought, “This will take ten years and cost $500 million. How are we possibly going to do this?”
So I said, “Give us the black sheep. I want artists who are frustrated. I want the ones who have another way of doing things that nobody’s listening to. Give us all the guys who are probably headed out the door.” A lot of them were malcontents because they saw different ways of doing things, but there was little opportunity to try them, since the established way was working very, very well.
We gave the black sheep a chance to prove their theories, and we changed the way a number of things are done here. For less money per minute than was spent on the previous film, (redacted), we did a movie that had three times the number of sets and had everything that was hard to do. All this because the heads of Pixar gave us leave to try crazy ideas.
Travers also named The Incredibles as #6 on his list of the decade's best films, writing "Of all the Pixar miracles studded through the decade, The Incredibles still delights me the most. It's not every toon that deals with midlife crisis, marital dysfunction, child neglect, impotence fears, fashion faux pas, and existential angst." The National Review Online named The Incredibles no. 2 on its list of the 25 best conservative movies of the last 25 years, saying that it "celebrates marriage, courage, responsibility, and high achievement." Entertainment Weekly named the film No. 25 on its list of the 25 greatest action films ever and no. 7 on its list of the 20 best animated movies ever. IGN ranked the film as the third favorite animated film of all time in a list published in 2010. In 2012, film critic Matt Zoller Seitz declared The Incredibles as the greatest superhero film he has ever seen: "That thing works as a James Bond spoof; a meditation on identities, secret and otherwise; a domestic comedy; a statement on exceptionalism vs. mediocrity, and the perils of the nanny state… And yet it all hangs together. No part feels perfunctory or stupid. It’s all deeply felt."