Back to 1986

 

Ma sélection

1- La Mouche (David Cronenberg )

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2- Aliens (James Cameron )

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Roger Ebert 18.07.1986:

The ads for « Aliens » claim that this movie will frighten you as few movies have, and, for once, the ads don’t lie. The movie is so intense that it creates a problem for me as a reviewer: Do I praise its craftsmanship, or do I tell you it left me feeling wrung out and unhappy? It has been a week since I saw it, so the emotions have faded a little, leaving with me an appreciation of the movie’s technical qualities. But when I walked out of the theater, there were knots in my stomach from the film’s roller-coaster ride of violence. This is not the kind of movie where it means anything to say you « enjoyed » it

[…]

I don’t know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn’t want to talk to anyone. I was drained. I’m not sure « Aliens » is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft.

The director, James Cameron, has been assigned to make an intense and horrifying thriller, and he has delivered. Weaver, who is onscreen almost all the time, comes through with a very strong, sympathetic performance: She’s the thread that holds everything together.

The supporting players are sharply drawn. The special effects are professional. I’m giving the movie a high rating for its skill and professionalism and because it does the job it says it will do. I am also advising you not to eat before you go to see it.

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« Siskel & Ebert » Movie Review

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3- Manhunter (Michael Mann)

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4- Platoon (Oliver Stone)

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Roger Ebert 30.12.1986

He (Oliver Stone) abandoned the choreography that is standard in almost all war movies. He abandoned any attempt to make it clear where the various forces were in relation to each other, so that we never know where « our » side stands and where « they » are.

Instead of battle scenes in which lines are clearly drawn, his combat scenes involve 360 degrees: Any shot might be aimed at friend or enemy, and in the desperate rush of combat, many of his soldiers never have a clear idea of exactly who they are shooting at, or why.

Traditional movies impose a sense of order upon combat.

Identifying with the soldiers, we feel that if we duck behind this tree or jump into this ditch, we will be safe from the fire that is coming from over there.

In « Platoon, » there is the constant fear that any movement offers a 50-50 chance between a safe place or an exposed one. Stone sets up his shots to deny us the feeling that combat makes sense.

The Vietnam War is the central moral and political issue of the last quarter-century, for Americans. It has inspired some of the greatest recent American films: « Apocalypse Now, » « The Deer Hunter, » « Coming Home, » « The Killing Fields. » Now here is the film that, in a curious way, should have been made before any of the others. A film that says – as the Vietnam Memorial in Washington says – that before you can make any vast, sweeping statements about Vietnam, you have to begin by understanding the bottom line, which is that a lot of people went over there and got killed, dead, and that is what the war meant for them.

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5- Mission (Roland Joffé )

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6- Le nom de la rose (Jean-Jacques Annaud)

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7- Blue Velvet (David Lynch )

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8- Cobra (George P. Cosmatos)

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9- La folle journée de Ferris Bueller

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10- Hitcher (Robert Harmon)

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11- Big Trouble in Little China (John Carpenter )

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12- Hannah et ses soeurs
(Woody Allen )

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« Siskel & Ebert » Movie Review

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13- La couleur de l’argent (Martin Scorsese )

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14- At Close Range (James Foley)

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15- Top Gun (Tony Scott)

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16- Short Circuit (John Badam)

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17- Invaders From Mars (Tobe Hooper)

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18- Mosquito Coast (Peter Weir)

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Top 10 National Board of Review

A Room with a View (James Ivory)
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Hannah et ses soeurs
My Beautiful Laundrette (Stephen Frears)
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La Mouche
Stand By Me (Rob Reiner)
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La Couleur de l’Argent
Children of a Lesser God (Randa Haines)
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‘Round Midnight (Bertrand Tavernier)
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Peggy Sue s’est mariée  (Francis Ford Coppola)
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La Mission 

 

Oscars majeurs:

Meilleur film: Platoon
Meilleur réalisateur: Oliver Stone
Meilleur acteur: Paul Newman (la couleur de l’argent)
Meilleure actrice: Marlee Matlin (Children Of A Lesser God)

 

Palme d’or:

Mission (Roland Joffé)

 

Lion d’or:

Le Rayon Vert (Eric Rohmer)

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Ours d’or:

Stammheim (Reinhard Hauff)

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