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14. Green Card (1990)
Singling out Green Card as my least favorite Weir film was not difficult, and that is mostly due to the fact it is a rom-com - not my favorite genre. That being said, the movie is not a total loss at all. Gérard Depardieu gives a charismatic, memorable performance as the male lead, and the story makes a few unpredictable turns including averting a tidy ending that one might expect. Some of the comedy lands, some of it does not. There is less grittiness and commentary here than is present in most of Weir's work, and it definitely feels like the least impactful movie he made. It is passable, but it lacks the punch and fire that the director usually has.
13. The Cars That Ate Paris (1974)
Weir's debut feature film, The Cars That Ate Paris, has perhaps the most "clickbait" title of a movie I have ever seen, in the sense that I was expecting supernatural cars to wreak havoc in Paris, France. However, the cars are actually manned, the "ate" part of the title is metaphorical, and Paris is instead a small town in Australia here. Getting over that initial disappointment, the movie is alright, with a unique concept of purposefully caused car accidents being the way a corrupt small town runs its economy. There is some dry humor throughout the movie and a particularly exciting climax. The problem is that there is an overload of exposition and the characters are not very memorable or special. The base story is interesting enough, and there are a handful of really good scenes, but the overall package is just a little better than okay. For a first movie, it is not a bad effort from Weir, and there are a few sparks of his genius here that would grow much better and more consistent later on.
12. The Way Back (2010)
Transitioning from Weir's first film to his final one, The Way Back is a decent but unspectacular way to wrap up his filmography. It is well-acted, has a good story, and avoids major flaws, but it feels pretty one-note. The movie is basically just about escaped prisoners walking for a very, very long time and suffering expected hardships on their journey trying to find a better life. I do not want to call the film "boring," but I do feel like it is a bit repetitive and basic as a survival film, which I guess I am a little picky about as a genre of film. The historical backdrop of World War II and most of the characters are interesting enough, but the survival aspects do not feel very original or fresh here. I thought that the opening half-hour in the prison and the initial escaping was the most exciting part, and it starts to feel a bit slow and samey after that. It is a well-done movie, but probably not one that I would watch again.
11. The Plumber (1979)
The Plumber is a simple tale about a socially awkward, subtly menacing plumber bothering a mild-mannered woman at her apartment. The main theme at play in this film is definitely social status; Max, the working class plumber, has no social graces and constantly oversteps his boundaries, while Jill, the well-off apartment resident, is affable but a little paranoid and prejudiced, although still mostly the victim in the story (though the ending makes things especially interesting). This feels like a movie that could have been a basic slasher in the hands of another director, but Weir wisely focuses on the psychological aspects instead, making the film subtler and more thought-provoking than if Max was more outwardly "evil." Unfortunately, the other few characters and plot elements involved are nothing special, so while I do enjoy the main conflict, I cannot call the whole picture outstanding. I do think this one deserves some more attention, though; it is a pretty engaging and suspenseful short flick.
10. The Year of Living Dangerously (1982)
Though it is just under two hours long, The Year of Living Dangerously definitely achieves the feeling of an epic, with the tumultuous, historical backdrop of Indonesia during the ousting of President Sukarno. The film has many good acting performances, nice music, and an engaging narrative with intense twists and turns until the very end. I do feel like some of the political aspects of the story are conveyed messily, and the pacing is sometimes on the rough side, but the movie definitely has sufficient entertainment and dramatic value. I consider it to be mostly solid, but not quite one of Weir's best.
9. Master and Commander: The Far Side of the World (2003)
It might be a little controversial to rank the acclaimed Master and Commander: The Far Side of the World this low, but I want to be clear that I enjoy this one a lot still. In a technical sense, the movie is arguably Weir's most impressive work; the battle scenes between the ships are absolutely incredible, as are the costumes and dialogue that help make the early 1800s setting feel really authentic. The cast, led by Russell Crowe as Jack Aubrey, is excellent across the board. Narratively, it does feel like it runs around in circles a bit, and I was not totally satisfied with the ending, though I suspect the absence of closure was much of the point thematically speaking. While not a total homerun for me, this is still a very good movie packed with fantastic action and intensity, and I would definitely watch it again.
8. The Mosquito Coast (1986)
The Mosquito Coast is an overlooked gem ripe for reappraisal. Harrison Ford's performance as the disenchanted American inventor Allie Fox is perhaps the most unique and unsettling of all his acting gigs, at least that I have seen. The rest of the cast / characters is strong, too, but Ford being psychotic, cruel, yet well-intentioned really is the big highlight. Fox's frustrations with America are understandable, but this is a perfect cautionary tale that the grass is always greener on the other side; different challenges and problems will always be waiting for someone no matter where they go. The movie is not quite impressive enough for me to call a "masterpiece," but it is thoroughly gripping and fierce with its story and worsening conditions for the main characters. Some work on the pacing and ending could have helped, but as it is, this is a very worthwhile drama film that still feels very relevant and meaningful.
7. The Last Wave (1977)
For a truly solid, one of a kind movie, I recommend The Last Wave. It has a cool, dreamlike feel throughout it, a subtle and unique look at race relations, and some great performances from actors such as Richard Chamberlain and David Gulpilil. I really love and respect that so much of the film is left open to interpretation, with a lot of mystery remaining by the end and the lines of reality and fantasy being constantly blurred. I could see how the unorthodox storytelling and deliberately unclear moments could be frustrating to some, but I was very engaged with the movie almost the whole way. I was especially fond of all the stormy, watery visuals. I have never seen anything else like it, and I felt quite gripped by it.
6. Gallipoli (1981)
Weir's epic anti-war film Gallipoli is a very emotional and intense ride. The heart of the film is the deep friendship formed between Archy and Frank, played incredibly well respectively by Mark Lee and Mel Gibson. Seeing the highs and lows they go through together and separately is deeply impactful. Weir somehow strikes a perfect balance between slice of life and epic scale sequences, making the movie feel both intimate and grand when it needs to be each. The ending is jaw-dropping, to say the least. It is well-shot, well-acted, well-written, and well-directed. Making a war movie stand out in a great way can be difficult, but Weir pulls it off here.
5. Fearless (1993)
Getting into the Top 5 - my favorite Weir movies - Fearless is a rock-solid drama film that left me rattled in a positive way. Jeff Bridges and Rosie Perez lead a superb cast with outstanding performances, and effectively get across the movie's main point which is the horrible, different ways people can be affected by an extremely traumatic event. Though much of it is very dark and depressing, considering it is about a plane crash and the lives it took and left broken, there is a ray of hope by the end that perhaps all does not have to be lost. The dialogue and PTSD feels very realistic, and beyond the acting and writing, the other aspects of the film are all well-done. I highly recommend it.
4. Dead Poets Society (1989)
A coming-of-age classic, Dead Poets Society is an emotional rollercoaster that I have loved for many years now. Much has been said about Robin Williams's warm, magical performance as teacher John Keating, and all I can do is echo the compliments, and also give respect to other great turns from actors here like Robert Sean Leonard, Ethan Hawke, and Norman Lloyd. I have seen the film be critiqued as overly sentimental and idealistic, but given the way things turn out in the story, my main takeaway is that it really is about the futility of fighting against authoritarianism, and that sometimes there is no way to win, so it does not feel too syrupy for me. Weir often explores the theme of repression in his films, which certainly plays a big part in this one with how a system stamps out the ambitions and individualities of school students. It is a beloved classic for a reason, and I just have to say that I am one of its many fans.
3. Picnic at Hanging Rock (1975)
I have scarcely seen a movie tackle mystery and ambiguity more effectively than Picnic at Hanging Rock. Though Rachel Roberts steals the show as the strict, potentially very sinister Mrs. Appleyard, all the actors do a great job in the movie, and the audience really gets a sense of how broken the characters become after the disappearance of the girls at Hanging Rock. There is a very haunting, unsettling vibe to the whole picture, especially when the dark ending scenes arrive. Excellent cinematography and music pitch in to make this movie as iconic as it is. Weir conveys themes like sexual repression, fear, and loneliness with commanding subtlety and power. I really believe this film should be considered as one of the defining masterpieces of the 1970s. It dares to ask more questions than it answers, and exposes that society causes far more harm than bringing about good outcomes, and that we are all truly alone as individuals when all is said and done. The film both entertains and stimulates the brain, like all the best films do.
2. Witness (1985)
Witness is a really awesome movie, top to bottom. Harrison Ford is at his best as the protagonist John Book, showcasing both his fierce, rough side and tender, caring side with aplomb. Kelly McGillis is also fantastic as the repressed but passionate Rachel Lapp, and together with Book, the characters have one of the most interesting and convincing romance stories I have seen in a movie. There is plenty of intense drama and action as well, though, including a terrifically tense climax that always has me on the edge of my seat. The rest of the cast / characters is spot-on, the music by Maurice Jarre is one of the most memorable soundtracks in a Weir movie, and the story and writing is simply impeccable. Though I think every aspect was nailed with this movie, my favorite part is the juxtaposition of Book's dangerous city life with the peaceful Amish countryside life, and the wild things that happen when those two worlds collide. It is a very artistically pleasing and satisfying movie, and I feel like it really has something for everyone to enjoy in it.
1. The Truman Show (1998)
Though he made many other impressive films, it is The Truman Show that is unquestionably Peter Weir's magnum opus, as far as I am concerned. It boasts one of the most fascinating concepts ever put to film, a sensational script, perfect acting, razor-sharp satire, and seamlessly blends genres such as drama, comedy, psychological horror, romance, and science fiction all at once. Jim Carrey in the lead role proves he can be more than just a funnyman, and his journey as his reality crumbles around him is consistently engaging from start to finish. The rest of the cast is flawless, with Ed Harris particularly deserving of a shoutout as the demented god or father figure to Truman. The philosophical and existential aspects of this film left a profound impact on me when I first saw it many years ago, and it has lost none of its magic in my countless rewatches since then. Beyond a story that never lets up in being captivating, so many cool details like the product placement moments or varied camera shots that accentuate the corporate evil and privacy invasion give the movie so much personality and identity. The whole affair is also eerily prophetic and relevant to this day. In my eyes, this is one of the most brilliant movies ever made. It is so fantastically put together in every way, and I am proud to call it one of my favorite films of all time.
I really liked Suspiria too, which doesn't seem to be the consensus opinion. It's very long, which many have complained about.
Guadagnino's not really a horror director [though Bones & All is also pretty good]. His Suspiria is partly an open homage to the original Agento, but without the vibrant color and iconic Giallo music of the earlier film.
Most interesting to me is that he especially references the time in which the Argento was made. He set his Suspiria in 1977 Berlin, the year of the original movie, but it has a kind of aestheticized dour, dissolute "punk" quality that may turn off some. What with it's Nazi past and Baader-Meinhoff "present," the dread is profound throughout the remake. I really liked it. Have seen it twice. All that was missing for me were allusions to Bowie & Iggy, though that's not a criticism, of course ...
Guadagnino just makes good movies.
I too loved Queer. Mostly for Craig's realistic portrayal of an aging man's sexual desire, something usually frowned upon in our culture, or presented as "creepy", especially in the context of an inevitably doomed May/December romance. Surprised he wasn't Oscar nominated ... not that that should mean anything.
And such a sad & beautiful ending.
So heartbreaking ....
Rival's Cronenberg's Naked Lunch for my favourite Burroughs' adaptation.
Police Academy 1984, a lot of nostalgia and stupid fun. Many of the jokes still land I laughed a lot, I must have watched this film hundreds of times in my youth. I intend to do a full series rewatch.
From memory the first four films were watchable, as soon as Guttenburg left it was all down hill. I recall Mission to Moscow being unwatchable despite Christopher Lee being involved.
Fun times with the great Peter Falk and a fine supporting cast. I didn't know Emily Lloyd; terrific actress and very charismatic... and that accent! Remarkable. The Brits are good at accents. Also, it's so cool to see Jerry Lewis in another straight role; he's so subdued here, but still has a lot of presence and authority. I love the late 80s style and how this movie combines it with the usual trappings of a mob story; I feel they could've gone even further with that. But the movie's main shortcoming is that it ends up being too much about plot and too little about its characters. You can sense the growing bond between Falk and Lloyd's characters but it's like the movie wants to skip over all that and get back to the plot. I bet someone took the script and removed two or three serious scenes in which these characters talk and gradually patch things up between them. Hell, perhaps they even filmed them and removed them later on because they wanted a shorter picture. It's a shame, but what remains is good fun.
Late 80s Peter Falk ranking:
1. Happy New Year
2. Vibes
3. Cookie
Yet to watch:
Wings of Desire
The Princess Bride
Might never watch:
Big Trouble (I didn't even care for The In-Laws)
A classic
Yeah. Recently rewatched it too. Unbelievably good.